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"content": "\u003cp>Most of us who type on a computer know we have a wealth of fonts and typefaces to choose from. There’s the classic Times New Roman and the modern lines of \u003ca href=\"http://www.hustwit.com/category/helvetica/\" target=\"_blank\" rel=\"noopener\">Helvetica,\u003c/a> which was the subject of a documentary a few years ago. Now there’s a colorful new typeface named Gilbert that was inspired by\u003ca href=\"https://ww2.kqed.org/arts/2017/03/31/rainbow-flag-designer-gilbert-baker-has-died/\" target=\"_blank\" rel=\"noopener\"> Gilbert Baker,\u003c/a> the San Francisco-based designer of the rainbow flag.\u003c/p>\n\u003cp>Baker died at the end of March at the age of 66, and his passing inspired marketing firm \u003ca href=\"https://en.wikipedia.org/wiki/Ogilvy_%26_Mather\" target=\"_blank\" rel=\"noopener\">Ogilvy and Mather\u003c/a> to create the font. \u003c/p>\n\u003cp>“We heard the sad news about Gilbert Baker, and we felt compelled to do it,” said \u003ca href=\"http://www.ogilvy.com/\" target=\"_blank\" rel=\"noopener\">Ogilvy and Mather\u003c/a> Creative Director Chris Rowson by phone from New York City. \u003c/p>\n\u003cp>Ogilvy and Mather has worked for years with NYC Pride and LGBTQ film festival NewFest on a number of pro bono projects, and Rowson said designing a new typeface seemed an important extension of that, giving the LGBTQ community a tool to for creating banners, posters and signs.\u003c/p>\n\u003cfigure id=\"attachment_12983976\" class=\"wp-caption aligncenter\" style=\"max-width: 718px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12983976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/GilbertBaker.jpg\" alt=\"Gilbert Baker, designer of the rainbow flag, died Mardch 31 at the age of 66.\" width=\"718\" height=\"404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/GilbertBaker.jpg 718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/GilbertBaker-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/GilbertBaker-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/GilbertBaker-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/GilbertBaker-520x293.jpg 520w\" sizes=\"(max-width: 718px) 100vw, 718px\">\u003cfigcaption class=\"wp-caption-text\">Gilbert Baker, designer of the rainbow flag, died Mardch 31 at the age of 66 \u003ccite>(Courtesy of Cleve Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a simple gesture,” said Ogilvy Creative Director Rodrigo Moran, who joined Rowson on the phone, “with an amazing meaning behind it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Baker lived in San Francisco for many years, and he designed the rainbow flag in the late 1970’s at the request of the city’s first openly gay supervisor, Harvey Milk, as a symbol of unity for the LGBTQ community.\u003c/p>\n\u003cp>“We really studied the geometry of the flag and gave the colors in the typeface the same proportions, the same weight as the colors in the flag,” Rowan said.\u003c/p>\n\u003cp>Rowson and Moran credited the company \u003ca href=\"https://www.fontself.com/\" target=\"_blank\" rel=\"noopener\">fontself\u003c/a> and Ogilvy designer Robyn Makinson for building the fonts.\u003c/p>\n\u003cp>The rounded, fluid forms of the letters are a tribute to the design styles and colors of the 1970’s, when the \u003ca href=\"https://en.wikipedia.org/wiki/Walkman\" target=\"_blank\" rel=\"noopener\">Sony Walkman\u003c/a> was popular and Baker created the Rainbow Flag. \u003c/p>\n\u003cp>“It’s very hard to strike the right balance,” Rowson said. “The design is very friendly, but bold and powerful too.”\u003c/p>\n\u003cp>Anyone can use the typeface, downloadable at www.typewithpride.com. There are no patents or trademark restrictions.\u003c/p>\n\u003cp>And Rowson said this is just the beginning of the project, with other fonts in the same typeface family to come. “This is not a money making project,” Moran said, “this is a way to remember Gilbert Baker.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Watch a video about the font from Ogilvy & Mather:\u003c/i>\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/213783128\u003cbr>\n\u003c/aside>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most of us who type on a computer know we have a wealth of fonts and typefaces to choose from. There’s the classic Times New Roman and the modern lines of \u003ca href=\"http://www.hustwit.com/category/helvetica/\" target=\"_blank\" rel=\"noopener\">Helvetica,\u003c/a> which was the subject of a documentary a few years ago. Now there’s a colorful new typeface named Gilbert that was inspired by\u003ca href=\"https://ww2.kqed.org/arts/2017/03/31/rainbow-flag-designer-gilbert-baker-has-died/\" target=\"_blank\" rel=\"noopener\"> Gilbert Baker,\u003c/a> the San Francisco-based designer of the rainbow flag.\u003c/p>\n\u003cp>Baker died at the end of March at the age of 66, and his passing inspired marketing firm \u003ca href=\"https://en.wikipedia.org/wiki/Ogilvy_%26_Mather\" target=\"_blank\" rel=\"noopener\">Ogilvy and Mather\u003c/a> to create the font. \u003c/p>\n\u003cp>“We heard the sad news about Gilbert Baker, and we felt compelled to do it,” said \u003ca href=\"http://www.ogilvy.com/\" target=\"_blank\" rel=\"noopener\">Ogilvy and Mather\u003c/a> Creative Director Chris Rowson by phone from New York City. \u003c/p>\n\u003cp>Ogilvy and Mather has worked for years with NYC Pride and LGBTQ film festival NewFest on a number of pro bono projects, and Rowson said designing a new typeface seemed an important extension of that, giving the LGBTQ community a tool to for creating banners, posters and signs.\u003c/p>\n\u003cfigure id=\"attachment_12983976\" class=\"wp-caption aligncenter\" style=\"max-width: 718px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12983976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/GilbertBaker.jpg\" alt=\"Gilbert Baker, designer of the rainbow flag, died Mardch 31 at the age of 66.\" width=\"718\" height=\"404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/GilbertBaker.jpg 718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/GilbertBaker-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/GilbertBaker-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/GilbertBaker-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/GilbertBaker-520x293.jpg 520w\" sizes=\"(max-width: 718px) 100vw, 718px\">\u003cfigcaption class=\"wp-caption-text\">Gilbert Baker, designer of the rainbow flag, died Mardch 31 at the age of 66 \u003ccite>(Courtesy of Cleve Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a simple gesture,” said Ogilvy Creative Director Rodrigo Moran, who joined Rowson on the phone, “with an amazing meaning behind it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Baker lived in San Francisco for many years, and he designed the rainbow flag in the late 1970’s at the request of the city’s first openly gay supervisor, Harvey Milk, as a symbol of unity for the LGBTQ community.\u003c/p>\n\u003cp>“We really studied the geometry of the flag and gave the colors in the typeface the same proportions, the same weight as the colors in the flag,” Rowan said.\u003c/p>\n\u003cp>Rowson and Moran credited the company \u003ca href=\"https://www.fontself.com/\" target=\"_blank\" rel=\"noopener\">fontself\u003c/a> and Ogilvy designer Robyn Makinson for building the fonts.\u003c/p>\n\u003cp>The rounded, fluid forms of the letters are a tribute to the design styles and colors of the 1970’s, when the \u003ca href=\"https://en.wikipedia.org/wiki/Walkman\" target=\"_blank\" rel=\"noopener\">Sony Walkman\u003c/a> was popular and Baker created the Rainbow Flag. \u003c/p>\n\u003cp>“It’s very hard to strike the right balance,” Rowson said. “The design is very friendly, but bold and powerful too.”\u003c/p>\n\u003cp>Anyone can use the typeface, downloadable at www.typewithpride.com. There are no patents or trademark restrictions.\u003c/p>\n\u003cp>And Rowson said this is just the beginning of the project, with other fonts in the same typeface family to come. “This is not a money making project,” Moran said, “this is a way to remember Gilbert Baker.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Watch a video about the font from Ogilvy & Mather:\u003c/i>\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/213783128\u003cbr>\n\u003c/aside>\n\n\u003c/div>\u003c/p>",
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"title": "At Wendi Norris, Boundaries Mapped and Defied in 'Seeking Civilization'",
"headTitle": "At Wendi Norris, Boundaries Mapped and Defied in ‘Seeking Civilization’ | KQED",
"content": "\u003cp>In late 1994, the exhibition \u003ca href=\"https://www.moma.org/calendar/exhibitions/436?locale=en\" target=\"_blank\" rel=\"noopener\">\u003ci>Mapping\u003c/i>\u003c/a> opened at New York’s Museum of Modern Art. Mounted by then-curator of painting and sculpture Robert Storr, the medium-sized exhibition comprising 30 pieces by as many artists considered the rich topics of cartography and wayfinding in contemporary art primarily through the narrow aperture of aesthetics. More than two decades on, Storr’s thesis is contextualized and expanded upon in \u003ca href=\"http://www.gallerywendinorris.com/seeking-civilization-art-and-cartography/\" target=\"_blank\" rel=\"noopener\">\u003ci>Seeking Civilization: Art and Cartography\u003c/i>\u003c/a>, on view at San Francisco’s Gallery Wendi Norris through May 6.\u003c/p>\n\u003cp>\u003ci>Seeking Civilization\u003c/i> is not a re-staging of the MoMA installation. In a generously paced presentation of work by seven artists who live in the Bay Area or are represented by regional galleries, curator and gallery program director Justin Charles Hoover illuminates many of Storr’s organizing principles, including knowledge production and project prototyping. He also further develops other themes — most importantly, the physical and psychological boundaries that confine us, and how they are often defied.\u003c/p>\n\u003cfigure id=\"attachment_13104268\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200.jpg\" alt=\"Miguel Angel Ríos, 'Le Premier Voyage a L'inconnu,' 1992-93.\" width=\"1200\" height=\"898\" class=\"size-full wp-image-13104268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200-1180x883.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200-960x718.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200-520x389.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Miguel Angel Ríos, ‘Le Premier Voyage a L’inconnu,’ 1992-93. \u003ccite>(Courtesy of Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Seeking Civilization\u003c/i> is anchored by \u003ca href=\"http://www.gallerywendinorris.com/miguel-angel-rios/\" target=\"_blank\" rel=\"noopener\">Miguel Angel Rios\u003c/a>’ \u003ci>Le Premier Voyage a L’inconnu\u003c/i> (The first trip to the unknown), a version of which was included in the original MoMA installation. Drawn from a reproduction of a map created by Christopher Columbus’ expedition team, this deconstructed image bears none of the authority and order typically associated with maps. It visualizes what Storr described in his catalog essay as “the ultimate pictorial coincidence of exacting representation and total abstraction,” with deliberate emphasis on the latter.\u003c/p>\n\u003cp>Two additional pieces by Rios hung around the corner from \u003ci>Le Premier\u003c/i> also take up cartographic abstraction and demonstrate the artist’s long-term interrogation of colonialism’s disastrous legacy. The inclusion of work by Rios, who is represented by the gallery, solidifies the link between the two exhibitions succinctly, and without overt referentialism.\u003c/p>\n\u003cfigure id=\"attachment_13104274\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1.jpg\" alt=\"Guillermo Galindo, 'Cartografía del Espiritu/Cartography of the Spirit,' 2017.\" width=\"1200\" height=\"829\" class=\"size-full wp-image-13104274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1-1020x705.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1-1180x815.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1-960x663.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1-520x359.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo Galindo, ‘Cartografía del Espiritu/Cartography of the Spirit,’ 2017. \u003ccite>(Courtesy of Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In general terms, maps help us navigate unfamiliar places and, more expansively, demarcate a country’s physical place on the globe. Artists \u003ca href=\"http://www.magnoliaeditions.com/artists/guillermo-galindo/\" target=\"_blank\" rel=\"noopener\">Guillermo Galindo\u003c/a> and \u003ca href=\"http://arcega.us/section/239130.html\" target=\"_blank\" rel=\"noopener\">Michael Arcega\u003c/a> approach mapping as an urgent social justice pursuit. Working with weather-beaten flags found at the U.S.-Mexico border and donated by the aid organization \u003ca href=\"http://waterstations.org/\" target=\"_blank\" rel=\"noopener\">Water Stations\u003c/a>, Galindo composed sound scores printed directly onto the flags. The frayed fabric superimposed with the composer’s marks gesture to modernist abstract compositions and, more poignantly, imagine the dangers of migrant travel through a violent physical and socio-political environment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arcega, whose work reflects interests in geography, history, and imbalanced power relations, adapts Polynesian stick charts used for oceanic travel. \u003ci>Prih-Sohn Stick Chart (Map of Isolation Chambers)\u003c/i> roughly marks through bamboo and crystals the locations of solitary confinement units nationwide. Arcega’s minimal installation reminds us that those enmeshed in the penal system disappear all too easily from collective consideration. And once lost, they may never be found.\u003c/p>\n\u003cfigure id=\"attachment_13083995\" class=\"wp-caption aligncenter\" style=\"max-width: 980px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13083995\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Prih-Sohn_Stick_Chart_Map_of_isolation_chambers_2.jpg\" alt=\"Michael Arcega, 'Prih-Sohn Stick Chart (Map of Isolation Chambers),' 2015.\" width=\"980\" height=\"776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Prih-Sohn_Stick_Chart_Map_of_isolation_chambers_2.jpg 980w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Prih-Sohn_Stick_Chart_Map_of_isolation_chambers_2-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Prih-Sohn_Stick_Chart_Map_of_isolation_chambers_2-800x633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Prih-Sohn_Stick_Chart_Map_of_isolation_chambers_2-768x608.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Prih-Sohn_Stick_Chart_Map_of_isolation_chambers_2-960x760.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Prih-Sohn_Stick_Chart_Map_of_isolation_chambers_2-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Prih-Sohn_Stick_Chart_Map_of_isolation_chambers_2-375x297.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Prih-Sohn_Stick_Chart_Map_of_isolation_chambers_2-520x412.jpg 520w\" sizes=\"(max-width: 980px) 100vw, 980px\">\u003cfigcaption class=\"wp-caption-text\">Michael Arcega, ‘Prih-Sohn Stick Chart (Map of isolation chambers),’ 2015. \u003ccite>(Courtesy of Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Occupying the gallery’s anterior space, works by \u003ca href=\"http://www.omarmismar.com/#/test/\" target=\"_blank\" rel=\"noopener\">Omar Mismar\u003c/a> and \u003ca href=\"http://www.taranehhemami.com/recounting\" target=\"_blank\" rel=\"noopener\">Taraneh Hemami\u003c/a> take up wayfinding as a measure of lived experience. Mismar’s \u003ci>The Path of Love #03\u003c/i>, a radiant wall-sized neon installation, visualizes paths Mismar walked while trying to get closer to men he first saw on the Grindr dating app and hoped to meet. His map reflects technology as it facilitates romantic potential, or thwarted desires, and deepens his investigation into how queer love is expressed.\u003c/p>\n\u003cp>Taraneh Hemami’s \u003ci>Recounting\u003c/i> fuses the personal and historical as a measure of time’s passage. The artist’s young life in Iran and her arrival in San Francisco shortly before the Iranian Revolution are represented by red wax marks superimposed over a classical Persian calendar. Together, the data points resemble the rings in a cross-section of a tree. Hemami’s account of her personal and professional journey doubles as a humbling reminder of life’s brevity, and satisfaction that may only be understood once a journey is well underway.\u003c/p>\n\u003cfigure id=\"attachment_13104269\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13104269\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200.jpg\" alt=\"Taraneh Hemami, 'Recounting,' 2011.\" width=\"1200\" height=\"1134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200-160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200-800x756.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200-768x726.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200-1020x964.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200-1180x1115.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200-960x907.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200-240x227.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200-375x354.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200-520x491.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Taraneh Hemami, ‘Recounting,’ 2011. \u003ccite>(Courtesy of Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An exhibition composed entirely of artists with substantive personal and professional ties to San Francisco, \u003cem>Seeking Civilization\u003c/em> acknowledges the city as a geographic terminus that, currently and as before, attracts newcomers motivated by myriad aspirations. Through Hoover’s incisive curatorial thinking and economic presentation strategy, mapping becomes a means to approach if not understand our precarious social and political climate through contemporary art, and what may lie in store for us on an as yet unknown path.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Seeking Civilization: Art and Cartography’ is on view at San Francisco’s Gallery Wendi Norris through May 6. For more information, visit \u003ca href=\"http://gallerywendinorris.com/artists/\" target=\"_blank\" rel=\"noopener\">gallerywendinorris.com\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A group show explores the cartography that confines us, and the ways in which we might escape those boundaries.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In late 1994, the exhibition \u003ca href=\"https://www.moma.org/calendar/exhibitions/436?locale=en\" target=\"_blank\" rel=\"noopener\">\u003ci>Mapping\u003c/i>\u003c/a> opened at New York’s Museum of Modern Art. Mounted by then-curator of painting and sculpture Robert Storr, the medium-sized exhibition comprising 30 pieces by as many artists considered the rich topics of cartography and wayfinding in contemporary art primarily through the narrow aperture of aesthetics. More than two decades on, Storr’s thesis is contextualized and expanded upon in \u003ca href=\"http://www.gallerywendinorris.com/seeking-civilization-art-and-cartography/\" target=\"_blank\" rel=\"noopener\">\u003ci>Seeking Civilization: Art and Cartography\u003c/i>\u003c/a>, on view at San Francisco’s Gallery Wendi Norris through May 6.\u003c/p>\n\u003cp>\u003ci>Seeking Civilization\u003c/i> is not a re-staging of the MoMA installation. In a generously paced presentation of work by seven artists who live in the Bay Area or are represented by regional galleries, curator and gallery program director Justin Charles Hoover illuminates many of Storr’s organizing principles, including knowledge production and project prototyping. He also further develops other themes — most importantly, the physical and psychological boundaries that confine us, and how they are often defied.\u003c/p>\n\u003cfigure id=\"attachment_13104268\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200.jpg\" alt=\"Miguel Angel Ríos, 'Le Premier Voyage a L'inconnu,' 1992-93.\" width=\"1200\" height=\"898\" class=\"size-full wp-image-13104268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200-1180x883.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200-960x718.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/le-premier-voyage_1200-520x389.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Miguel Angel Ríos, ‘Le Premier Voyage a L’inconnu,’ 1992-93. \u003ccite>(Courtesy of Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Seeking Civilization\u003c/i> is anchored by \u003ca href=\"http://www.gallerywendinorris.com/miguel-angel-rios/\" target=\"_blank\" rel=\"noopener\">Miguel Angel Rios\u003c/a>’ \u003ci>Le Premier Voyage a L’inconnu\u003c/i> (The first trip to the unknown), a version of which was included in the original MoMA installation. Drawn from a reproduction of a map created by Christopher Columbus’ expedition team, this deconstructed image bears none of the authority and order typically associated with maps. It visualizes what Storr described in his catalog essay as “the ultimate pictorial coincidence of exacting representation and total abstraction,” with deliberate emphasis on the latter.\u003c/p>\n\u003cp>Two additional pieces by Rios hung around the corner from \u003ci>Le Premier\u003c/i> also take up cartographic abstraction and demonstrate the artist’s long-term interrogation of colonialism’s disastrous legacy. The inclusion of work by Rios, who is represented by the gallery, solidifies the link between the two exhibitions succinctly, and without overt referentialism.\u003c/p>\n\u003cfigure id=\"attachment_13104274\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1.jpg\" alt=\"Guillermo Galindo, 'Cartografía del Espiritu/Cartography of the Spirit,' 2017.\" width=\"1200\" height=\"829\" class=\"size-full wp-image-13104274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1-1020x705.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1-1180x815.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1-960x663.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Galindo_Cartografi_a_del_Espiritu_Cartography_of_t_1200-1-520x359.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo Galindo, ‘Cartografía del Espiritu/Cartography of the Spirit,’ 2017. \u003ccite>(Courtesy of Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In general terms, maps help us navigate unfamiliar places and, more expansively, demarcate a country’s physical place on the globe. Artists \u003ca href=\"http://www.magnoliaeditions.com/artists/guillermo-galindo/\" target=\"_blank\" rel=\"noopener\">Guillermo Galindo\u003c/a> and \u003ca href=\"http://arcega.us/section/239130.html\" target=\"_blank\" rel=\"noopener\">Michael Arcega\u003c/a> approach mapping as an urgent social justice pursuit. Working with weather-beaten flags found at the U.S.-Mexico border and donated by the aid organization \u003ca href=\"http://waterstations.org/\" target=\"_blank\" rel=\"noopener\">Water Stations\u003c/a>, Galindo composed sound scores printed directly onto the flags. The frayed fabric superimposed with the composer’s marks gesture to modernist abstract compositions and, more poignantly, imagine the dangers of migrant travel through a violent physical and socio-political environment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arcega, whose work reflects interests in geography, history, and imbalanced power relations, adapts Polynesian stick charts used for oceanic travel. \u003ci>Prih-Sohn Stick Chart (Map of Isolation Chambers)\u003c/i> roughly marks through bamboo and crystals the locations of solitary confinement units nationwide. Arcega’s minimal installation reminds us that those enmeshed in the penal system disappear all too easily from collective consideration. And once lost, they may never be found.\u003c/p>\n\u003cfigure id=\"attachment_13083995\" class=\"wp-caption aligncenter\" style=\"max-width: 980px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13083995\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Prih-Sohn_Stick_Chart_Map_of_isolation_chambers_2.jpg\" alt=\"Michael Arcega, 'Prih-Sohn Stick Chart (Map of Isolation Chambers),' 2015.\" width=\"980\" height=\"776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Prih-Sohn_Stick_Chart_Map_of_isolation_chambers_2.jpg 980w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Prih-Sohn_Stick_Chart_Map_of_isolation_chambers_2-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Prih-Sohn_Stick_Chart_Map_of_isolation_chambers_2-800x633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Prih-Sohn_Stick_Chart_Map_of_isolation_chambers_2-768x608.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Prih-Sohn_Stick_Chart_Map_of_isolation_chambers_2-960x760.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Prih-Sohn_Stick_Chart_Map_of_isolation_chambers_2-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Prih-Sohn_Stick_Chart_Map_of_isolation_chambers_2-375x297.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Prih-Sohn_Stick_Chart_Map_of_isolation_chambers_2-520x412.jpg 520w\" sizes=\"(max-width: 980px) 100vw, 980px\">\u003cfigcaption class=\"wp-caption-text\">Michael Arcega, ‘Prih-Sohn Stick Chart (Map of isolation chambers),’ 2015. \u003ccite>(Courtesy of Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Occupying the gallery’s anterior space, works by \u003ca href=\"http://www.omarmismar.com/#/test/\" target=\"_blank\" rel=\"noopener\">Omar Mismar\u003c/a> and \u003ca href=\"http://www.taranehhemami.com/recounting\" target=\"_blank\" rel=\"noopener\">Taraneh Hemami\u003c/a> take up wayfinding as a measure of lived experience. Mismar’s \u003ci>The Path of Love #03\u003c/i>, a radiant wall-sized neon installation, visualizes paths Mismar walked while trying to get closer to men he first saw on the Grindr dating app and hoped to meet. His map reflects technology as it facilitates romantic potential, or thwarted desires, and deepens his investigation into how queer love is expressed.\u003c/p>\n\u003cp>Taraneh Hemami’s \u003ci>Recounting\u003c/i> fuses the personal and historical as a measure of time’s passage. The artist’s young life in Iran and her arrival in San Francisco shortly before the Iranian Revolution are represented by red wax marks superimposed over a classical Persian calendar. Together, the data points resemble the rings in a cross-section of a tree. Hemami’s account of her personal and professional journey doubles as a humbling reminder of life’s brevity, and satisfaction that may only be understood once a journey is well underway.\u003c/p>\n\u003cfigure id=\"attachment_13104269\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13104269\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200.jpg\" alt=\"Taraneh Hemami, 'Recounting,' 2011.\" width=\"1200\" height=\"1134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200-160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200-800x756.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200-768x726.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200-1020x964.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200-1180x1115.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200-960x907.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200-240x227.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200-375x354.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Recounting_01Hemami_2010-1200-520x491.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Taraneh Hemami, ‘Recounting,’ 2011. \u003ccite>(Courtesy of Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An exhibition composed entirely of artists with substantive personal and professional ties to San Francisco, \u003cem>Seeking Civilization\u003c/em> acknowledges the city as a geographic terminus that, currently and as before, attracts newcomers motivated by myriad aspirations. Through Hoover’s incisive curatorial thinking and economic presentation strategy, mapping becomes a means to approach if not understand our precarious social and political climate through contemporary art, and what may lie in store for us on an as yet unknown path.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Seeking Civilization: Art and Cartography’ is on view at San Francisco’s Gallery Wendi Norris through May 6. For more information, visit \u003ca href=\"http://gallerywendinorris.com/artists/\" target=\"_blank\" rel=\"noopener\">gallerywendinorris.com\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pro-Trump Artist Jon Proby Takes a Stand in Oakland",
"headTitle": "Pro-Trump Artist Jon Proby Takes a Stand in Oakland | KQED",
"content": "\u003cp>Oakland is a tough place to be a right-wing artist, but \u003ca href=\"http://jonproby.com/\" target=\"_blank\" rel=\"noopener\">Jon Proby\u003c/a> lives and works there just the same.\u003c/p>\n\u003cp>The hell-raising painter incorporates symbols like the Christian cross, the American flag, and \u003ca href=\"https://www.adl.org/education/references/hate-symbols/pepe-the-frog\" target=\"_blank\" rel=\"noopener\">Pepe the Frog\u003c/a> (a symbol closely associated with the White Supremacist movement) as well as Tarot-card style iconography into his works to send out pull-no-punches political messages about everything from civil rights to Barack Obama.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Recently, Proby’s canvases were part of the controversial, pro-Trump \u003cem>\u003cstrong>\u003ca href=\"http://www.daddywillsaveus.com/\" target=\"_blank\" rel=\"noopener\">#DaddyWillSaveUs\u003c/a>\u003c/strong>\u003c/em> art exhibition in New York City, where he presented his paintings alongside such attention-grabbing works as provocateur Milo Yiannopoulos’ performance art stunt involving pig’s blood and a bathtub.\u003c/p>\n\u003cp>KQED reached out to Proby to find out about the underpinnings of his process and political message, as well as hear about what it’s like to be a right-wing artist in left-leaning Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>You were born and raised in Los Angeles and now live in Oakland.\u003c/strong>\u003cbr>\n\u003cstrong> How has living in the state of California informed your work as a\u003c/strong>\u003cbr>\n\u003cstrong> political artist over the years?\u003c/strong>\u003c/p>\n\u003cp>I used to be a liberal because that’s just what happens when you are\u003cbr>\nraised in a black ghetto in a leftist stronghold. As I’ve grown as an\u003cbr>\nindividual, I’ve drifted further to the right. The intensely leftist nature of California city life has re-enforced my contrarian position.\u003c/p>\n\u003cp>\u003cstrong>Tell us about your creative process.\u003c/strong>\u003c/p>\n\u003cp>I chose painting because I’m a one man show. It’s the best\u003cbr>\nand quickest way to communicate my philosophy while showing the world that that the left doesn’t have exclusive rights to the art world.\u003c/p>\n\u003cfigure id=\"attachment_13084208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13084208\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-800x927.jpg\" alt=\"Jon Proby's painting 'For the Time Being' makes use of Tarot-like symbols. Of this work, the artist says: "Death, the ultimate limitation for the mortal. As we traverse this realm seemingly defined by the material, it is the symbolic which truly defines the mechanisms of Creation. The many faces of Chronos makes his harsh rule known."\" width=\"800\" height=\"927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-800x927.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-768x890.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-1020x1181.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-1920x2224.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-1180x1367.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-960x1112.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-240x278.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-375x434.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-520x602.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot.jpg 1768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Proby’s painting ‘For the Time Being’ makes use of Tarot-like symbols. \u003ccite>(Photo: Courtesy of Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My goal is to communicate to the audience through symbolism. Sometimes that means Tarot-like compositions that speak on a specific theme. Sometimes its a portrait that is framed in a way that translates my sentiment about a specific person. I build my own frames and I stretch my own canvas. I prep each canvas with gesso (a substance artists use to prime their canvases before painting on them) and I draw directly on the canvas with Conté crayons before I apply paint. For now, as I grow with the medium, it’s more of an illustrative process than a painterly one. It can take two weeks to two months to finish a piece depending on its complexity.\u003c/p>\n\u003cp>\u003cstrong>How did you learn to be an artist? \u003c/strong>\u003c/p>\n\u003cp>I’ve been making art on my own since I’ve been a young child. I\u003cbr>\nattended Los Angeles County High School for the Arts, spent two years at an arts college and also undertook independent study in private and community college classes focused primarily on figure drawing.\u003c/p>\n\u003cp>\u003cstrong>There are lots of symbols in your work, including religious\u003c/strong>\u003cbr>\n\u003cstrong> iconography (e.g. the cross), the American flag, and the scales of\u003c/strong>\u003cbr>\n\u003cstrong> justice. What role do these symbols play?\u003c/strong>\u003c/p>\n\u003cp>I view the world as a waking dream that we will one day wake up from on the day of our deaths. As such, the world is a living matrix of\u003cbr>\nsymbols that affect both our conscious and sub-conscious minds.\u003c/p>\n\u003cfigure id=\"attachment_13084210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13084210\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-800x1015.jpg\" alt=\"Jon Proby's portrait of James O'Keefe. Of his subject, the artist states: "The vanguard of undercover journalism and the sword of the new fourth estate."\" width=\"800\" height=\"1015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-800x1015.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-1020x1294.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-1180x1497.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-960x1218.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-375x476.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-520x660.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final.jpg 1435w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Proby’s portrait of James O’Keefe. Of his subject, the artist states: “The vanguard of undercover journalism and the sword of the new fourth estate.” \u003ccite>(Photo: Courtesy of Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thus I intentionally imbue my work with the symbols that I see as being most relevant to our place in western civilization, whether the subject matter is dark or light. Symbols are power.\u003c/p>\n\u003cp>\u003cstrong>What was your main takeaway from \u003cem>\u003ca href=\"http://www.daddywillsaveus.com/\" target=\"_blank\" rel=\"noopener\">#DaddyWillSaveUs\u003c/a>\u003c/em>, the\u003c/strong>\u003cbr>\n\u003cstrong> controversial, pro-Trump art show that opened last fall in New \u003c/strong>\u003cstrong>York in which you participated?\u003c/strong>\u003c/p>\n\u003cp>I was able to mingle and network it a large crowd of like minds, which is something I’d never experienced before. But it was also illuminating as to how biased against the right the media is, because nearly no news outlet that covered the show featured my work or my words; my work would have legitimized the idea that right wing fine art is a reality in America.\u003c/p>\n\u003cp>\u003cstrong>You live in a state where Democrats win a lot of elections. To what\u003c/strong>\u003cbr>\n\u003cstrong> extent have you had to deal with enraged feedback? Have you ever felt persecuted?\u003c/strong>\u003c/p>\n\u003cp>There is no room in this state for being open about my political and\u003cbr>\nspiritual beliefs. I’ve lost many friends and I know how much\u003cbr>\ndiscrimination there is both within the art world and without in California, so I don’t even bother. My avenues to exposure are exclusively online and on social media.\u003c/p>\n\u003cp>\u003cstrong>Does it feel immediately different creating artworks that are in\u003c/strong>\u003cbr>\n\u003cstrong> support of the ruling/winning party, after eight years of having a\u003c/strong>\u003cbr>\n\u003cstrong> clear-cut target in the Obama Administration?\u003c/strong>\u003c/p>\n\u003cp>Its only different in the sense that there is finally an administration that I can support for the first time in my life. Other than that, my goals remain the same: communicate the truth through symbols, and no one is above my critique. If Trump drifts too far off course, he will be the subject of heavy artistic criticism just as Obama was.\u003c/p>\n\u003cp>\u003cstrong>Who are the artists you most admire and why?\u003c/strong>\u003c/p>\n\u003cp>I admire \u003ca href=\"http://grrrgraphics.com/index.html\" target=\"_blank\" rel=\"noopener\">Ben Garrison\u003c/a> the cartoonist for his work ethic and commitment to principles even in the face of persecution. He will go down in history as one the most influential political artists of the modern era.\u003c/p>\n\u003cp>\u003cstrong>What is your goal as an artist? To what extent are you hoping to\u003c/strong>\u003cbr>\n\u003cstrong> change people’s minds with your work versus rallying those who share your opinions?\u003c/strong>\u003c/p>\n\u003cp>My goal is to carve inroads into the fine art world which has been\u003cbr>\ndominated for decades by leftist Post-Modernists that have sullied a\u003cbr>\nlauded western tradition of high culture with ugliness and sophistry\u003cbr>\nand shift the cultural \u003ca href=\"https://en.wikipedia.org/wiki/Overton_window\" target=\"_blank\" rel=\"noopener\">Overton window\u003c/a> back into a place where artistic significance will not be exclusively defined by leftist cultural\u003cbr>\nauthoritarians.\u003c/p>\n\u003cfigure id=\"attachment_13084215\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13084215\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Great-Again-800x1251.jpg\" alt=\"Jon Proby's painting titled 'Great Again.' \" width=\"800\" height=\"1251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-800x1251.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-160x250.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-768x1201.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-1020x1595.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-1920x3003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-1180x1846.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-960x1501.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-240x375.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-375x587.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-520x813.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again.jpg 1309w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Proby’s painting titled ‘Great Again.’ \u003ccite>(Photo: Courtesy of Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>We’re close to 100 days into the Trump presidency. Is there a\u003c/strong>\u003cbr>\n\u003cstrong> painting of yours that you think most effectively captures the spirit\u003c/strong>\u003cbr>\n\u003cstrong> of the past 100 days? Why?\u003c/strong>\u003c/p>\n\u003cp>My piece “Great Again” captures the victory that the right has had\u003cbr>\nwith Trump’s ascendancy to power. The painting shows Trump holding up Lady Liberty’s hand and her giving the thumbs up. This is a nice counterbalance to the imagery the mainstream media has littered the public with, such as showing Trump turning Liberty on its head, or in the case of the German publication \u003cem>Der \u003c/em>\u003cem>Spiegel, \u003c/em>showing Trump beheading Liberty. The presence in the painting of Kek Lord of Chaos and Jesus Christ provides the dualistic spiritual\u003cbr>\nside of the equation.\u003c/p>\n\u003cp>\u003cstrong>What’s next for you? \u003c/strong>\u003c/p>\n\u003cp>I have a couple more major paintings planned. But as I’m a struggling\u003cbr>\nartist, every piece I do has to come as I am able to afford the\u003cbr>\nmaterials. I’ll have to see what happens.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The hell-raising artist's use of hard-hitting symbols and iconography won him a place on the wall at a controversial, right-wing art exhibition last fall in New York City.",
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"description": "The hell-raising artist's use of hard-hitting symbols and iconography won him a place on the wall at a controversial, right-wing art exhibition last fall in New York City.",
"title": "Pro-Trump Artist Jon Proby Takes a Stand in Oakland | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland is a tough place to be a right-wing artist, but \u003ca href=\"http://jonproby.com/\" target=\"_blank\" rel=\"noopener\">Jon Proby\u003c/a> lives and works there just the same.\u003c/p>\n\u003cp>The hell-raising painter incorporates symbols like the Christian cross, the American flag, and \u003ca href=\"https://www.adl.org/education/references/hate-symbols/pepe-the-frog\" target=\"_blank\" rel=\"noopener\">Pepe the Frog\u003c/a> (a symbol closely associated with the White Supremacist movement) as well as Tarot-card style iconography into his works to send out pull-no-punches political messages about everything from civil rights to Barack Obama.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Recently, Proby’s canvases were part of the controversial, pro-Trump \u003cem>\u003cstrong>\u003ca href=\"http://www.daddywillsaveus.com/\" target=\"_blank\" rel=\"noopener\">#DaddyWillSaveUs\u003c/a>\u003c/strong>\u003c/em> art exhibition in New York City, where he presented his paintings alongside such attention-grabbing works as provocateur Milo Yiannopoulos’ performance art stunt involving pig’s blood and a bathtub.\u003c/p>\n\u003cp>KQED reached out to Proby to find out about the underpinnings of his process and political message, as well as hear about what it’s like to be a right-wing artist in left-leaning Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>You were born and raised in Los Angeles and now live in Oakland.\u003c/strong>\u003cbr>\n\u003cstrong> How has living in the state of California informed your work as a\u003c/strong>\u003cbr>\n\u003cstrong> political artist over the years?\u003c/strong>\u003c/p>\n\u003cp>I used to be a liberal because that’s just what happens when you are\u003cbr>\nraised in a black ghetto in a leftist stronghold. As I’ve grown as an\u003cbr>\nindividual, I’ve drifted further to the right. The intensely leftist nature of California city life has re-enforced my contrarian position.\u003c/p>\n\u003cp>\u003cstrong>Tell us about your creative process.\u003c/strong>\u003c/p>\n\u003cp>I chose painting because I’m a one man show. It’s the best\u003cbr>\nand quickest way to communicate my philosophy while showing the world that that the left doesn’t have exclusive rights to the art world.\u003c/p>\n\u003cfigure id=\"attachment_13084208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13084208\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-800x927.jpg\" alt=\"Jon Proby's painting 'For the Time Being' makes use of Tarot-like symbols. Of this work, the artist says: "Death, the ultimate limitation for the mortal. As we traverse this realm seemingly defined by the material, it is the symbolic which truly defines the mechanisms of Creation. The many faces of Chronos makes his harsh rule known."\" width=\"800\" height=\"927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-800x927.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-768x890.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-1020x1181.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-1920x2224.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-1180x1367.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-960x1112.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-240x278.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-375x434.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-520x602.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot.jpg 1768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Proby’s painting ‘For the Time Being’ makes use of Tarot-like symbols. \u003ccite>(Photo: Courtesy of Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My goal is to communicate to the audience through symbolism. Sometimes that means Tarot-like compositions that speak on a specific theme. Sometimes its a portrait that is framed in a way that translates my sentiment about a specific person. I build my own frames and I stretch my own canvas. I prep each canvas with gesso (a substance artists use to prime their canvases before painting on them) and I draw directly on the canvas with Conté crayons before I apply paint. For now, as I grow with the medium, it’s more of an illustrative process than a painterly one. It can take two weeks to two months to finish a piece depending on its complexity.\u003c/p>\n\u003cp>\u003cstrong>How did you learn to be an artist? \u003c/strong>\u003c/p>\n\u003cp>I’ve been making art on my own since I’ve been a young child. I\u003cbr>\nattended Los Angeles County High School for the Arts, spent two years at an arts college and also undertook independent study in private and community college classes focused primarily on figure drawing.\u003c/p>\n\u003cp>\u003cstrong>There are lots of symbols in your work, including religious\u003c/strong>\u003cbr>\n\u003cstrong> iconography (e.g. the cross), the American flag, and the scales of\u003c/strong>\u003cbr>\n\u003cstrong> justice. What role do these symbols play?\u003c/strong>\u003c/p>\n\u003cp>I view the world as a waking dream that we will one day wake up from on the day of our deaths. As such, the world is a living matrix of\u003cbr>\nsymbols that affect both our conscious and sub-conscious minds.\u003c/p>\n\u003cfigure id=\"attachment_13084210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13084210\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-800x1015.jpg\" alt=\"Jon Proby's portrait of James O'Keefe. Of his subject, the artist states: "The vanguard of undercover journalism and the sword of the new fourth estate."\" width=\"800\" height=\"1015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-800x1015.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-1020x1294.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-1180x1497.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-960x1218.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-375x476.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-520x660.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final.jpg 1435w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Proby’s portrait of James O’Keefe. Of his subject, the artist states: “The vanguard of undercover journalism and the sword of the new fourth estate.” \u003ccite>(Photo: Courtesy of Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thus I intentionally imbue my work with the symbols that I see as being most relevant to our place in western civilization, whether the subject matter is dark or light. Symbols are power.\u003c/p>\n\u003cp>\u003cstrong>What was your main takeaway from \u003cem>\u003ca href=\"http://www.daddywillsaveus.com/\" target=\"_blank\" rel=\"noopener\">#DaddyWillSaveUs\u003c/a>\u003c/em>, the\u003c/strong>\u003cbr>\n\u003cstrong> controversial, pro-Trump art show that opened last fall in New \u003c/strong>\u003cstrong>York in which you participated?\u003c/strong>\u003c/p>\n\u003cp>I was able to mingle and network it a large crowd of like minds, which is something I’d never experienced before. But it was also illuminating as to how biased against the right the media is, because nearly no news outlet that covered the show featured my work or my words; my work would have legitimized the idea that right wing fine art is a reality in America.\u003c/p>\n\u003cp>\u003cstrong>You live in a state where Democrats win a lot of elections. To what\u003c/strong>\u003cbr>\n\u003cstrong> extent have you had to deal with enraged feedback? Have you ever felt persecuted?\u003c/strong>\u003c/p>\n\u003cp>There is no room in this state for being open about my political and\u003cbr>\nspiritual beliefs. I’ve lost many friends and I know how much\u003cbr>\ndiscrimination there is both within the art world and without in California, so I don’t even bother. My avenues to exposure are exclusively online and on social media.\u003c/p>\n\u003cp>\u003cstrong>Does it feel immediately different creating artworks that are in\u003c/strong>\u003cbr>\n\u003cstrong> support of the ruling/winning party, after eight years of having a\u003c/strong>\u003cbr>\n\u003cstrong> clear-cut target in the Obama Administration?\u003c/strong>\u003c/p>\n\u003cp>Its only different in the sense that there is finally an administration that I can support for the first time in my life. Other than that, my goals remain the same: communicate the truth through symbols, and no one is above my critique. If Trump drifts too far off course, he will be the subject of heavy artistic criticism just as Obama was.\u003c/p>\n\u003cp>\u003cstrong>Who are the artists you most admire and why?\u003c/strong>\u003c/p>\n\u003cp>I admire \u003ca href=\"http://grrrgraphics.com/index.html\" target=\"_blank\" rel=\"noopener\">Ben Garrison\u003c/a> the cartoonist for his work ethic and commitment to principles even in the face of persecution. He will go down in history as one the most influential political artists of the modern era.\u003c/p>\n\u003cp>\u003cstrong>What is your goal as an artist? To what extent are you hoping to\u003c/strong>\u003cbr>\n\u003cstrong> change people’s minds with your work versus rallying those who share your opinions?\u003c/strong>\u003c/p>\n\u003cp>My goal is to carve inroads into the fine art world which has been\u003cbr>\ndominated for decades by leftist Post-Modernists that have sullied a\u003cbr>\nlauded western tradition of high culture with ugliness and sophistry\u003cbr>\nand shift the cultural \u003ca href=\"https://en.wikipedia.org/wiki/Overton_window\" target=\"_blank\" rel=\"noopener\">Overton window\u003c/a> back into a place where artistic significance will not be exclusively defined by leftist cultural\u003cbr>\nauthoritarians.\u003c/p>\n\u003cfigure id=\"attachment_13084215\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13084215\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Great-Again-800x1251.jpg\" alt=\"Jon Proby's painting titled 'Great Again.' \" width=\"800\" height=\"1251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-800x1251.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-160x250.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-768x1201.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-1020x1595.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-1920x3003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-1180x1846.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-960x1501.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-240x375.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-375x587.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-520x813.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again.jpg 1309w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Proby’s painting titled ‘Great Again.’ \u003ccite>(Photo: Courtesy of Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>We’re close to 100 days into the Trump presidency. Is there a\u003c/strong>\u003cbr>\n\u003cstrong> painting of yours that you think most effectively captures the spirit\u003c/strong>\u003cbr>\n\u003cstrong> of the past 100 days? Why?\u003c/strong>\u003c/p>\n\u003cp>My piece “Great Again” captures the victory that the right has had\u003cbr>\nwith Trump’s ascendancy to power. The painting shows Trump holding up Lady Liberty’s hand and her giving the thumbs up. This is a nice counterbalance to the imagery the mainstream media has littered the public with, such as showing Trump turning Liberty on its head, or in the case of the German publication \u003cem>Der \u003c/em>\u003cem>Spiegel, \u003c/em>showing Trump beheading Liberty. The presence in the painting of Kek Lord of Chaos and Jesus Christ provides the dualistic spiritual\u003cbr>\nside of the equation.\u003c/p>\n\u003cp>\u003cstrong>What’s next for you? \u003c/strong>\u003c/p>\n\u003cp>I have a couple more major paintings planned. But as I’m a struggling\u003cbr>\nartist, every piece I do has to come as I am able to afford the\u003cbr>\nmaterials. I’ll have to see what happens.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Fabricating 'Truth,' One Tin Can Bracelet at a Time",
"headTitle": "Fabricating ‘Truth,’ One Tin Can Bracelet at a Time | KQED",
"content": "\u003cp>In the process of creating a new piece for her recycled fruit crate label series entitled \u003ca href=\"http://harrieteestelberman.com/truth-california-collection\" target=\"_blank\" rel=\"noopener\">\u003cem>The California Collection\u003c/em>\u003c/a>, San Mateo artist \u003ca href=\"http://harrieteestelberman.com/\" target=\"blank\" rel=\"noopener\">Harriete Estel Berman\u003c/a> found herself drawn to a simply-designed 1930s Sunkist label.\u003c/p>\n\u003cp>Most historic fruit crate labels were typically embellished with images and illustrations that marketed their wares. But the Sunkist label just read “truth,” in a striking golden font.\u003c/p>\n\u003cfigure id=\"attachment_13008673\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13008673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label.jpg\" alt=\"The 1930 Gavilan Citrus Association's "Truth" fruit crate label which inspired Berman's project.\" width=\"500\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-240x222.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-375x347.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">The 1930 Gavilan Citrus Association’s “Truth” fruit crate label which inspired Berman’s project. \u003ccite>(Courtesy of Harriete Estel Berman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In a time when truth was a terribly powerful concept, I felt like it needed nothing else, so I put it away,” Berman says. “But three years later, after the election with 45 — President Donald Trump — we’re faced with this new reality which seems to get worse all the time.” She says the Trump administration’s cries of “\u003ca href=\"http://www.kqed.org/news/story/2017/02/17/226641/with_fake_news_trump_moves_from_alternative_facts_to?source=npr&category=politics\" target=\"_blank\" rel=\"noopener\">fake news\u003c/a>” and alternative facts have made her realize truth was not quite as absolute as she thought it once was.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>For the past three decades, Berman has created recycled sculptures and jewelry imbued with critical commentary on everything from \u003ca href=\"http://harrieteestelberman.com/checking-the-cost-of-gun-violence\" target=\"_blank\" rel=\"noopener\">gun violence\u003c/a> to the \u003ca href=\"http://harrieteestelberman.com/identity-bracelets-1\" target=\"_blank\" rel=\"noopener\">creation of identity\u003c/a> within consumer society. \u003cspan style=\"font-weight: 400\">Her \u003cem>California Collection\u003c/em> jewelry series re-purposes fruit crate labels and tin cans to create accessories that reflect on California’s simultaneously consumerist and green culture. Her creative output includes circuit board bracelets inspired by Silicon Valley’s flourishing tech industry and recycled milk bottles transformed into delicately textured jewelry.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in \u003cem>\u003ca href=\"http://harrieteestelberman.com/truth-california-collection\" target=\"_blank\" rel=\"noopener\">Truth\u003c/a>\u003c/em>, the latest addition to her \u003cem>California Collection\u003c/em> series, Berman confronts the current administration’s destabilization of the idea of “truth” \u003cspan style=\"font-weight: 400\">and examines our own responsibility in this new moral climate. \u003c/span>“I’m looking at this word ‘truth’ and I’m here actually, literally fabricating truth – the same way the administration is,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13008674\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13008674\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio-.jpg\" alt=\"Harriete in the studio. \" width=\"300\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio-.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio--160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio--240x360.jpg 240w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Harriete in the studio. \u003ccite>(Photo: Aryn Shelander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berman is currently in the process of creating two jewelry pieces that explore the roots of Trump’s current agenda against truth, respectively named \u003cem>Alternative Facts\u003c/em> and \u003cem>Circular Logic. \u003c/em>She spares no symbolism in the construction of each bracelet: \u003cem>Alternative Facts\u003c/em> is formed around a web-like structure echoing the administration’s recent \u003ca href=\"https://ww2.kqed.org/news/2017/03/20/fbi-chief-confirms-agency-is-probing-links-between-russia-trump-associates/\" target=\"_blank\" rel=\"noopener\">web of alleged collusion\u003c/a> with Russia; the face of the bracelet itself is printed with nutritional facts, which Berman considers another instance of “alternative facts” that we experience in our daily lives.\u003c/p>\n\u003cp>Berman’s decades of overtly political work are informed by the historically activist history of jewelry. The artist has taken notes from the patriotic “V for Victory” brooch that was popular during World War II, and peace sign jewelry protesting American involvement in the Vietnam war. Berman believes artists are messengers of a society, as their works are in direct conversation with the values and politics of the current culture.\u003c/p>\n\u003cfigure id=\"attachment_13008675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13008675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-800x450.jpg\" alt='The \"Alternative Facts\" bracelet in progress.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Alternative Facts” bracelet in progress. \u003ccite>(Courtesy of Harriete Estel Berman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cspan style=\"font-weight: 400\">We generally look at past civilizations through their art, from cave paintings to jewelry found at burial sites,” she says.\u003c/span>\u003cb> “\u003c/b>It’s how we evaluate their culture. It’s the most concrete voice that we have.”\u003c/p>\n\u003cp>Berman channels her reflections on politics through making jewelry. But she says the responsibility lies not only on the shoulders of artists to create work that responds to and resists the actions of the current administration.\u003c/p>\n\u003cp>“E\u003cb>\u003cspan style=\"font-weight: 400\">verything is in such an upheaval, and our elected representatives need the support of their constituents,” Berman says. “\u003c/span>\u003c/b>W\u003cb>\u003cspan style=\"font-weight: 400\">e can no longer assume that our government is going to run consistently and fairly without our voice. So you must do anything you can do to raise your voice.”\u003c/span>\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Harriet Berman's jewelry confronts the current administration’s destabilization of the idea of truth.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the process of creating a new piece for her recycled fruit crate label series entitled \u003ca href=\"http://harrieteestelberman.com/truth-california-collection\" target=\"_blank\" rel=\"noopener\">\u003cem>The California Collection\u003c/em>\u003c/a>, San Mateo artist \u003ca href=\"http://harrieteestelberman.com/\" target=\"blank\" rel=\"noopener\">Harriete Estel Berman\u003c/a> found herself drawn to a simply-designed 1930s Sunkist label.\u003c/p>\n\u003cp>Most historic fruit crate labels were typically embellished with images and illustrations that marketed their wares. But the Sunkist label just read “truth,” in a striking golden font.\u003c/p>\n\u003cfigure id=\"attachment_13008673\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13008673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label.jpg\" alt=\"The 1930 Gavilan Citrus Association's "Truth" fruit crate label which inspired Berman's project.\" width=\"500\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-240x222.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-375x347.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">The 1930 Gavilan Citrus Association’s “Truth” fruit crate label which inspired Berman’s project. \u003ccite>(Courtesy of Harriete Estel Berman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In a time when truth was a terribly powerful concept, I felt like it needed nothing else, so I put it away,” Berman says. “But three years later, after the election with 45 — President Donald Trump — we’re faced with this new reality which seems to get worse all the time.” She says the Trump administration’s cries of “\u003ca href=\"http://www.kqed.org/news/story/2017/02/17/226641/with_fake_news_trump_moves_from_alternative_facts_to?source=npr&category=politics\" target=\"_blank\" rel=\"noopener\">fake news\u003c/a>” and alternative facts have made her realize truth was not quite as absolute as she thought it once was.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>For the past three decades, Berman has created recycled sculptures and jewelry imbued with critical commentary on everything from \u003ca href=\"http://harrieteestelberman.com/checking-the-cost-of-gun-violence\" target=\"_blank\" rel=\"noopener\">gun violence\u003c/a> to the \u003ca href=\"http://harrieteestelberman.com/identity-bracelets-1\" target=\"_blank\" rel=\"noopener\">creation of identity\u003c/a> within consumer society. \u003cspan style=\"font-weight: 400\">Her \u003cem>California Collection\u003c/em> jewelry series re-purposes fruit crate labels and tin cans to create accessories that reflect on California’s simultaneously consumerist and green culture. Her creative output includes circuit board bracelets inspired by Silicon Valley’s flourishing tech industry and recycled milk bottles transformed into delicately textured jewelry.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in \u003cem>\u003ca href=\"http://harrieteestelberman.com/truth-california-collection\" target=\"_blank\" rel=\"noopener\">Truth\u003c/a>\u003c/em>, the latest addition to her \u003cem>California Collection\u003c/em> series, Berman confronts the current administration’s destabilization of the idea of “truth” \u003cspan style=\"font-weight: 400\">and examines our own responsibility in this new moral climate. \u003c/span>“I’m looking at this word ‘truth’ and I’m here actually, literally fabricating truth – the same way the administration is,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13008674\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13008674\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio-.jpg\" alt=\"Harriete in the studio. \" width=\"300\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio-.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio--160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio--240x360.jpg 240w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Harriete in the studio. \u003ccite>(Photo: Aryn Shelander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berman is currently in the process of creating two jewelry pieces that explore the roots of Trump’s current agenda against truth, respectively named \u003cem>Alternative Facts\u003c/em> and \u003cem>Circular Logic. \u003c/em>She spares no symbolism in the construction of each bracelet: \u003cem>Alternative Facts\u003c/em> is formed around a web-like structure echoing the administration’s recent \u003ca href=\"https://ww2.kqed.org/news/2017/03/20/fbi-chief-confirms-agency-is-probing-links-between-russia-trump-associates/\" target=\"_blank\" rel=\"noopener\">web of alleged collusion\u003c/a> with Russia; the face of the bracelet itself is printed with nutritional facts, which Berman considers another instance of “alternative facts” that we experience in our daily lives.\u003c/p>\n\u003cp>Berman’s decades of overtly political work are informed by the historically activist history of jewelry. The artist has taken notes from the patriotic “V for Victory” brooch that was popular during World War II, and peace sign jewelry protesting American involvement in the Vietnam war. Berman believes artists are messengers of a society, as their works are in direct conversation with the values and politics of the current culture.\u003c/p>\n\u003cfigure id=\"attachment_13008675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13008675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-800x450.jpg\" alt='The \"Alternative Facts\" bracelet in progress.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Alternative Facts” bracelet in progress. \u003ccite>(Courtesy of Harriete Estel Berman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cspan style=\"font-weight: 400\">We generally look at past civilizations through their art, from cave paintings to jewelry found at burial sites,” she says.\u003c/span>\u003cb> “\u003c/b>It’s how we evaluate their culture. It’s the most concrete voice that we have.”\u003c/p>\n\u003cp>Berman channels her reflections on politics through making jewelry. But she says the responsibility lies not only on the shoulders of artists to create work that responds to and resists the actions of the current administration.\u003c/p>\n\u003cp>“E\u003cb>\u003cspan style=\"font-weight: 400\">verything is in such an upheaval, and our elected representatives need the support of their constituents,” Berman says. “\u003c/span>\u003c/b>W\u003cb>\u003cspan style=\"font-weight: 400\">e can no longer assume that our government is going to run consistently and fairly without our voice. So you must do anything you can do to raise your voice.”\u003c/span>\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "rock-poster-artist-chuck-sperry-turns-focus-to-science-march",
"title": "Rock Poster Artist Chuck Sperry Turns Focus to Science March",
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"content": "\u003cp>\u003ca href=\"http://www.chucksperry.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Chuck Sperry\u003c/a> is best known for his rock concert posters of bands like The Who, Pearl Jam and Black Sabbath. But the San Francisco-based graphic artist is also passionate about street-level politics. His protest posters, available for free, often show up wherever people are protesting.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>“I wanted to find some icon to show that our future is with our support for science,” says Sperry of the poster image featuring a close-up of a human eye he created for the \u003ca href=\"https://www.marchforscience.com/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Science\u003c/a> that’s happening Saturday, April 22 — Earth Day — in Washington D.C as well as elsewhere around the country. Thousands of people are expected to descend on the National Mall in protest against the Trump Administration’s naysaying stance on climate change and bid to cut billions of dollars from science-focused federal agencies and scientific research.\u003c/p>\n\u003cp>“That’s the trick: Take a complex idea and boil it down to one thing,” Sperry says. “This eye gazing into the distance with a galaxy reflected in it; I wanted to show wonder and discovery.”\u003c/p>\n\u003cfigure id=\"attachment_13079117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13079117 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-800x1063.jpg\" alt=\"Poster design for the Apr. 22 March for Science by Chuck Sperry.\" width=\"800\" height=\"1063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-800x1063.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-375x498.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-520x691.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut.jpg 850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poster design for the Apr. 22 March for Science by Chuck Sperry. \u003ccite>(Photo: Courtesy of Chuck Sperry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the backside of the poster, Sperry created an image of an astronaut, along with a list of adjectives like “adventurer,” “explorer,” and “risk-taker.” He says these words “positively express the discovery and the risk-taking” of scientific endeavor. “I’m trying to ignite kids to see themselves as adventurers and explorers,” Sperry says. “I’m also a huge space nut. I’ve got some space memorabilia myself.”\u003c/p>\n\u003cfigure id=\"attachment_13079118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13079118 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-800x1064.jpg\" alt=\"The backside of Chuck Sperry's poster for the March for Science.\" width=\"800\" height=\"1064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-800x1064.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-768x1021.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-375x499.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-520x691.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut.jpg 850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The backside of Chuck Sperry’s poster for the March for Science. \u003ccite>(Photo: Courtesy of Chuck Sperry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sperry, who previously designed a \u003ca href=\"http://www.chucksperry.net/resist-poster-for-womens-march-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">poster for the Women’s March\u003c/a> in January, says he was inspired to make these images by the science education company \u003ca href=\"http://exploreplanet3.com/standwithscience/\" target=\"_blank\" rel=\"noopener noreferrer\">Planet 3\u003c/a>. He says the organization is helping to distribute the images for the march by sharing a downloadable link to the poster via its website and social media channels.\u003c/p>\n\u003cfigure id=\"attachment_13079114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13079114\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-800x1063.jpg\" alt=\"Chuck Sperry designed this free protest poster, called "Resist" for the Women's March in January of 2017.\" width=\"800\" height=\"1063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-375x498.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-520x691.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chuck Sperry designed this free protest poster, called “Resist” for the Women’s March in January of 2017. \u003ccite>(Photo: Courtesy of Chuck Sperry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco-based artist owns his own silk screen print studio in Oakland, so it’s easy for him to make and distribute thousands of copies. Sperry will be distributing posters himself at the \u003ca href=\"https://marchforsciencesf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco March for Science\u003c/a>, an offshoot of the main protest happening in Washington D.C. on Saturday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m on call,” Sperry says. “Waiting to activate.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "With his two bold and freely-downloadable poster designs featuring a human eye and an astronaut, the San Francisco-based graphic artist arms protesters for this weekend's March for Science. ",
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"title": "Rock Poster Artist Chuck Sperry Turns Focus to Science March | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.chucksperry.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Chuck Sperry\u003c/a> is best known for his rock concert posters of bands like The Who, Pearl Jam and Black Sabbath. But the San Francisco-based graphic artist is also passionate about street-level politics. His protest posters, available for free, often show up wherever people are protesting.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>“I wanted to find some icon to show that our future is with our support for science,” says Sperry of the poster image featuring a close-up of a human eye he created for the \u003ca href=\"https://www.marchforscience.com/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Science\u003c/a> that’s happening Saturday, April 22 — Earth Day — in Washington D.C as well as elsewhere around the country. Thousands of people are expected to descend on the National Mall in protest against the Trump Administration’s naysaying stance on climate change and bid to cut billions of dollars from science-focused federal agencies and scientific research.\u003c/p>\n\u003cp>“That’s the trick: Take a complex idea and boil it down to one thing,” Sperry says. “This eye gazing into the distance with a galaxy reflected in it; I wanted to show wonder and discovery.”\u003c/p>\n\u003cfigure id=\"attachment_13079117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13079117 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-800x1063.jpg\" alt=\"Poster design for the Apr. 22 March for Science by Chuck Sperry.\" width=\"800\" height=\"1063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-800x1063.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-375x498.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut-520x691.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24983_MARCH-FOR-SCIENCE-SPERRY-2-WEB-qut.jpg 850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poster design for the Apr. 22 March for Science by Chuck Sperry. \u003ccite>(Photo: Courtesy of Chuck Sperry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the backside of the poster, Sperry created an image of an astronaut, along with a list of adjectives like “adventurer,” “explorer,” and “risk-taker.” He says these words “positively express the discovery and the risk-taking” of scientific endeavor. “I’m trying to ignite kids to see themselves as adventurers and explorers,” Sperry says. “I’m also a huge space nut. I’ve got some space memorabilia myself.”\u003c/p>\n\u003cfigure id=\"attachment_13079118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13079118 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-800x1064.jpg\" alt=\"The backside of Chuck Sperry's poster for the March for Science.\" width=\"800\" height=\"1064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-800x1064.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-768x1021.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-375x499.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut-520x691.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24978_MARCH-FOR-SCIENCE-SPERRY-1-WEB-qut.jpg 850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The backside of Chuck Sperry’s poster for the March for Science. \u003ccite>(Photo: Courtesy of Chuck Sperry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sperry, who previously designed a \u003ca href=\"http://www.chucksperry.net/resist-poster-for-womens-march-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">poster for the Women’s March\u003c/a> in January, says he was inspired to make these images by the science education company \u003ca href=\"http://exploreplanet3.com/standwithscience/\" target=\"_blank\" rel=\"noopener noreferrer\">Planet 3\u003c/a>. He says the organization is helping to distribute the images for the march by sharing a downloadable link to the poster via its website and social media channels.\u003c/p>\n\u003cfigure id=\"attachment_13079114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13079114\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-800x1063.jpg\" alt=\"Chuck Sperry designed this free protest poster, called "Resist" for the Women's March in January of 2017.\" width=\"800\" height=\"1063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-375x498.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24982_WOMENS-MARCH-SPERRY-WOW-WEB-qut-520x691.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chuck Sperry designed this free protest poster, called “Resist” for the Women’s March in January of 2017. \u003ccite>(Photo: Courtesy of Chuck Sperry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco-based artist owns his own silk screen print studio in Oakland, so it’s easy for him to make and distribute thousands of copies. Sperry will be distributing posters himself at the \u003ca href=\"https://marchforsciencesf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco March for Science\u003c/a>, an offshoot of the main protest happening in Washington D.C. on Saturday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m on call,” Sperry says. “Waiting to activate.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-dancing-in-the-streets-bouncing-with-big-freedia-and-silicon-valley-superheroes",
"title": "Cy and David's Picks: Dancing in the Streets, Bouncing with Big Freedia, and Silicon Valley Superheroes",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>It’s a weekend for science and sorcery in San Jose. On the Do List this week, you’ll find details for the Steve Wozniak’s \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con\u003c/a>, with its weird mix of Trekkies and techies (maybe not so weird). Then a \u003ca href=\"https://www.facebook.com/events/1346516542073825/\" target=\"_blank\" rel=\"noopener\">contingent of scientists will march at 11am on Saturday at San Jose City Hall \u003c/a>as part of a national movement fighting the suppression of science data under President Trump. And just for fun, there’s the \u003ca href=\"https://www.facebook.com/sofastreetfair/\" target=\"_blank\" rel=\"noopener\">SOFA Street Fair\u003c/a>. Now here’s the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZMW28VttcXw\u003c/p>\n\u003cp>\u003cstrong>April 21-23\u003c/strong>: The so-talented \u003ca href=\"http://www.aoifeodonovan.com/shows\" target=\"_blank\" rel=\"noopener\">Aoife O’Donovan\u003c/a> (pronounced \u003cem>EE-fuh\u003c/em>) is often a guest on \u003ca href=\"https://www.prairiehome.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Prairie Home Companion\u003c/em>\u003c/a>, so she’s familiar to NPR listeners. Her voice ranges from ethereal to earthy, with a big dose of Celtic folk tradition. She grew up in suburban Newton, Mass., but used to spend summers playing music in Ireland. No matter where in the Bay Area you live, you have a chance to see O’Donovan. She’s touring with — and opening for — the great guitarists \u003ca href=\"http://www.lageeldridge.com/\" target=\"_blank\" rel=\"noopener\">Julian Lage and Chris Eldridge\u003c/a>. They have two shows at Kuumbwa in Santa Cruz April 21 — \u003ca href=\"http://kuumbwajazz.ticketfly.com/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. Then Lage, Eldridge and O’Donovan play a sold out show April 22 at Freight & Salvage in Berkeley — \u003ca href=\"http://www.freightandsalvage.org/release-the-hounds\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. And Sunday April 23 they’re at the Mondavi Center in Davis — \u003ca href=\"https://mondavi.ucdavis.edu/event/2016-17/release-the-hounds-lage-eldridge\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://vimeo.com/208418262\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 21-30\u003c/strong>: We’ve talked about \u003ca href=\"http://bayareadance.org/kickoff/\" target=\"_blank\" rel=\"noopener\">Bay Dance Week\u003c/a> (really a 10-day event) before. But it’s such a cool festival, a celebration of not just all the amazing professional troupes based in the Bay Area, but also the many tap, ballet, modern, and ethnic dance academies we’re lucky to have. The festivities kick off at noon on Friday, April 21, at San Francisco City Hall, with a dance party and flashmob that anyone can join. (See the instructional video above featuring \u003ca href=\"https://www.rhythmandmotion.com/dudley-flores/\" target=\"_blank\" rel=\"noopener\">Rhythm and Motion’s Dudley Flores\u003c/a>), and check out the 100 or so free dance events — cheap thrill alert! — from San Jose (including the sjDANCEco Festival @ Santana Row) to San Rafael. \u003ca href=\"http://bayareadance.org/events/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://vimeo.com/154412337\u003c/p>\n\u003cp>\u003cstrong>April 21-22\u003c/strong>: The Colorado River is among the most scenic, the most loved and the most abused of American rivers, as it winds\u003ca href=\"https://www.coloradocollege.edu/other/stateoftherockies/expeditions/source-to-sea.html\" target=\"_blank\" rel=\"noopener\"> from the Wind River Range in Wyoming to where it runs dry from overuse as it approaches Mexico’s Sea of Cortez\u003c/a>. (The Colorado supplies 60 percent of the water used in Southern California, so as a state, we’re are part of the problem.) Now, the director Murat Eyuboglu and producer and composer Paola Prestini have collaborated on \u003ca href=\"http://visionintoart.com/projects/the-colorado/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Colorado\u003c/em>\u003c/a>, a documentary screened with live music. It’s what Prestini calls an eco-cantata, “a piece that is in this cantata form in that it has an overarching narrative,” Prestini told me on the phone, “but at the same time it’s equal parts a cautionary tale about the environment, and a profound musical experience that hopefully involves many different kinds of audiences.”\u003c/p>\n\u003cp>For a show at Stanford, \u003ca href=\"http://www.roomfulofteeth.org/\" target=\"_blank\" rel=\"noopener\">Roomful of Teeth\u003c/a>, cellist \u003ca href=\"http://jzcello.com/\" target=\"_blank\" rel=\"noopener\">Jeffrey Zeigler\u003c/a>, and percussionist \u003ca href=\"http://glennkotche.com/\" target=\"_blank\" rel=\"noopener\">Glenn Kotche\u003c/a> (Wilco) provide the live accompaniment, with gorgeous music composed by Prestini, John Luther Adams, William Brittelle, Glenn Kotche, and Shara Nova. Details for the performance April 21 and 22 at Stanford’s Bing Hall are \u003ca href=\"https://live.stanford.edu/calendar/april-2017/colorado\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Roomful of Teeth is also doing a sold out show at the San Francisco Opera Lab April 23. If you’re lucky you might find a friend with an extra ticket to that show. \u003ca href=\"https://sfopera.com/sfoperalab/season-two/roomful-of-teeth/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OY-Yf3wjqRk\u003c/p>\n\u003cp>\u003cstrong>April 21-23\u003c/strong>: I was nerding out on Doctor Strange and Captain Marvel (and \u003ca href=\"http://www.thedrawingsofsteranko.com/aghp.html\" target=\"_blank\" rel=\"noopener\">Jim Steranko\u003c/a>) way before they were cool. So I’m happy to include Silicon Valley Comic Con on our list this week. David and I aren’t sure why actor John Cusack (\u003cem>Say Anything, High Fidelity\u003c/em>) is there, but you’ll find all the familiar comic con tropes: a costume contest, and appearances by Tom Felton (Draco Malfoy), Grant Gustin (The Flash), Billy Boyd (Pippin), and any number of Star Trek actors. But with Apple co-founder Steve Wozniak producing the show, you’ll also find scientists and engineers making presentations, including researchers from the \u003ca href=\"https://www.seti.org/\" target=\"_blank\" rel=\"noopener\">SETI Institute\u003c/a> (Search for Extraterrestrial Life), space scientists from NASA, and astronaut Buzz Aldrin, a real superhero. \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=neJ0ngA-4Fk\u003c/p>\n\u003cp>\u003cstrong>April 27\u003c/strong>: \u003ca href=\"http://www.bigfreedia.com/\" target=\"_blank\" rel=\"noopener\">Big Freedia \u003c/a> is the Queen of Bounce, a style of hip-hop out of New Orleans. Her life has bounced high and low the past few years: She worked with Beyoncé on the “\u003ca href=\"https://www.youtube.com/watch?v=TYcAosqv23Y\" target=\"_blank\" rel=\"noopener\">Formation” video\u003c/a>, but then she nearly went to jail last year over charges she was illegally using federal housing funds. That hasn’t slowed down \u003ca href=\"http://www.fuse.tv/shows/big-freedia\" target=\"_blank\" rel=\"noopener\">her reality TV show\u003c/a> or her touring schedule. Expect a lot of twerking and a great deal of fun. As David said, we need that right now. \u003ca href=\"http://mezzaninesf.com/events/big-freedia-2/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"title": "Cy and David's Picks: Dancing in the Streets, Bouncing with Big Freedia, and Silicon Valley Superheroes | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>It’s a weekend for science and sorcery in San Jose. On the Do List this week, you’ll find details for the Steve Wozniak’s \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con\u003c/a>, with its weird mix of Trekkies and techies (maybe not so weird). Then a \u003ca href=\"https://www.facebook.com/events/1346516542073825/\" target=\"_blank\" rel=\"noopener\">contingent of scientists will march at 11am on Saturday at San Jose City Hall \u003c/a>as part of a national movement fighting the suppression of science data under President Trump. And just for fun, there’s the \u003ca href=\"https://www.facebook.com/sofastreetfair/\" target=\"_blank\" rel=\"noopener\">SOFA Street Fair\u003c/a>. Now here’s the show.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZMW28VttcXw'\n title='//www.youtube.com/embed/ZMW28VttcXw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 21-23\u003c/strong>: The so-talented \u003ca href=\"http://www.aoifeodonovan.com/shows\" target=\"_blank\" rel=\"noopener\">Aoife O’Donovan\u003c/a> (pronounced \u003cem>EE-fuh\u003c/em>) is often a guest on \u003ca href=\"https://www.prairiehome.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Prairie Home Companion\u003c/em>\u003c/a>, so she’s familiar to NPR listeners. Her voice ranges from ethereal to earthy, with a big dose of Celtic folk tradition. She grew up in suburban Newton, Mass., but used to spend summers playing music in Ireland. No matter where in the Bay Area you live, you have a chance to see O’Donovan. She’s touring with — and opening for — the great guitarists \u003ca href=\"http://www.lageeldridge.com/\" target=\"_blank\" rel=\"noopener\">Julian Lage and Chris Eldridge\u003c/a>. They have two shows at Kuumbwa in Santa Cruz April 21 — \u003ca href=\"http://kuumbwajazz.ticketfly.com/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. Then Lage, Eldridge and O’Donovan play a sold out show April 22 at Freight & Salvage in Berkeley — \u003ca href=\"http://www.freightandsalvage.org/release-the-hounds\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. And Sunday April 23 they’re at the Mondavi Center in Davis — \u003ca href=\"https://mondavi.ucdavis.edu/event/2016-17/release-the-hounds-lage-eldridge\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 21-30\u003c/strong>: We’ve talked about \u003ca href=\"http://bayareadance.org/kickoff/\" target=\"_blank\" rel=\"noopener\">Bay Dance Week\u003c/a> (really a 10-day event) before. But it’s such a cool festival, a celebration of not just all the amazing professional troupes based in the Bay Area, but also the many tap, ballet, modern, and ethnic dance academies we’re lucky to have. The festivities kick off at noon on Friday, April 21, at San Francisco City Hall, with a dance party and flashmob that anyone can join. (See the instructional video above featuring \u003ca href=\"https://www.rhythmandmotion.com/dudley-flores/\" target=\"_blank\" rel=\"noopener\">Rhythm and Motion’s Dudley Flores\u003c/a>), and check out the 100 or so free dance events — cheap thrill alert! — from San Jose (including the sjDANCEco Festival @ Santana Row) to San Rafael. \u003ca href=\"http://bayareadance.org/events/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>April 21-22\u003c/strong>: The Colorado River is among the most scenic, the most loved and the most abused of American rivers, as it winds\u003ca href=\"https://www.coloradocollege.edu/other/stateoftherockies/expeditions/source-to-sea.html\" target=\"_blank\" rel=\"noopener\"> from the Wind River Range in Wyoming to where it runs dry from overuse as it approaches Mexico’s Sea of Cortez\u003c/a>. (The Colorado supplies 60 percent of the water used in Southern California, so as a state, we’re are part of the problem.) Now, the director Murat Eyuboglu and producer and composer Paola Prestini have collaborated on \u003ca href=\"http://visionintoart.com/projects/the-colorado/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Colorado\u003c/em>\u003c/a>, a documentary screened with live music. It’s what Prestini calls an eco-cantata, “a piece that is in this cantata form in that it has an overarching narrative,” Prestini told me on the phone, “but at the same time it’s equal parts a cautionary tale about the environment, and a profound musical experience that hopefully involves many different kinds of audiences.”\u003c/p>\n\u003cp>For a show at Stanford, \u003ca href=\"http://www.roomfulofteeth.org/\" target=\"_blank\" rel=\"noopener\">Roomful of Teeth\u003c/a>, cellist \u003ca href=\"http://jzcello.com/\" target=\"_blank\" rel=\"noopener\">Jeffrey Zeigler\u003c/a>, and percussionist \u003ca href=\"http://glennkotche.com/\" target=\"_blank\" rel=\"noopener\">Glenn Kotche\u003c/a> (Wilco) provide the live accompaniment, with gorgeous music composed by Prestini, John Luther Adams, William Brittelle, Glenn Kotche, and Shara Nova. Details for the performance April 21 and 22 at Stanford’s Bing Hall are \u003ca href=\"https://live.stanford.edu/calendar/april-2017/colorado\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Roomful of Teeth is also doing a sold out show at the San Francisco Opera Lab April 23. If you’re lucky you might find a friend with an extra ticket to that show. \u003ca href=\"https://sfopera.com/sfoperalab/season-two/roomful-of-teeth/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OY-Yf3wjqRk'\n title='//www.youtube.com/embed/OY-Yf3wjqRk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 21-23\u003c/strong>: I was nerding out on Doctor Strange and Captain Marvel (and \u003ca href=\"http://www.thedrawingsofsteranko.com/aghp.html\" target=\"_blank\" rel=\"noopener\">Jim Steranko\u003c/a>) way before they were cool. So I’m happy to include Silicon Valley Comic Con on our list this week. David and I aren’t sure why actor John Cusack (\u003cem>Say Anything, High Fidelity\u003c/em>) is there, but you’ll find all the familiar comic con tropes: a costume contest, and appearances by Tom Felton (Draco Malfoy), Grant Gustin (The Flash), Billy Boyd (Pippin), and any number of Star Trek actors. But with Apple co-founder Steve Wozniak producing the show, you’ll also find scientists and engineers making presentations, including researchers from the \u003ca href=\"https://www.seti.org/\" target=\"_blank\" rel=\"noopener\">SETI Institute\u003c/a> (Search for Extraterrestrial Life), space scientists from NASA, and astronaut Buzz Aldrin, a real superhero. \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/neJ0ngA-4Fk'\n title='//www.youtube.com/embed/neJ0ngA-4Fk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 27\u003c/strong>: \u003ca href=\"http://www.bigfreedia.com/\" target=\"_blank\" rel=\"noopener\">Big Freedia \u003c/a> is the Queen of Bounce, a style of hip-hop out of New Orleans. Her life has bounced high and low the past few years: She worked with Beyoncé on the “\u003ca href=\"https://www.youtube.com/watch?v=TYcAosqv23Y\" target=\"_blank\" rel=\"noopener\">Formation” video\u003c/a>, but then she nearly went to jail last year over charges she was illegally using federal housing funds. That hasn’t slowed down \u003ca href=\"http://www.fuse.tv/shows/big-freedia\" target=\"_blank\" rel=\"noopener\">her reality TV show\u003c/a> or her touring schedule. Expect a lot of twerking and a great deal of fun. As David said, we need that right now. \u003ca href=\"http://mezzaninesf.com/events/big-freedia-2/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Black Visibility is Just the Beginning in Exhibition of Early '90s Video Art",
"headTitle": "Black Visibility is Just the Beginning in Exhibition of Early ’90s Video Art | KQED",
"content": "\u003cp>Visiting \u003ca href=\"http://etaletc.com/#/\" target=\"_blank\" rel=\"noopener\">Et al.\u003c/a>’s Chinatown gallery feels a bit like entering a secret contemporary art clubhouse. Without any street-level signage, you have to know there’s an exhibition waiting for you through the door of Union Cleaners, down a narrow hallway and a set of wooden stairs.\u003c/p>\n\u003cp>Visiting \u003ci>\u003ca href=\"http://etaletc.com/#/galleries/1/shows/62\" target=\"_blank\" rel=\"noopener\">sisters and brothers\u003c/a>\u003c/i>, the current show of videos by Cauleen Smith, Jaguar Mary/Jocelyn Taylor and Ayanna U’Dongo, adds to the clubhouse feel a sensation of traveling back in time, specifically to the early ’90s. It’s a sensation both jarring and familiar; artists don’t make videos quite like this anymore, in terms of either aesthetics or tone. Bound by common explorations of desire, black femininity and masculinity, queer identity politics and the possibility of communicating through the medium itself, the works in \u003ci>sisters and brothers\u003c/i> are revelatory. They pointed to gaping holes in my knowledge of recent art history I didn’t even know I had. \u003c/p>\n\u003cp>Curated by Jackie Clay, who was recently appointed director of \u003ca href=\"http://colemanarts.org/\" target=\"_blank\" rel=\"noopener\">Coleman Center for the Arts\u003c/a> in York, Alabama, the show is anchored by Mary’s 1994 video \u003ci>\u003ca href=\"https://vimeo.com/213601051\" target=\"_blank\" rel=\"noopener\">Frankie & Jocie\u003c/a>\u003c/i>. A conversation between a black lesbian and her straight brother about their relationship, the objectification of women and socially accepted homophobia frames the mesmerizing 18-minute video. Intermingled with audio of their phone call are interviews with other black lesbians, speaking to shared experiences of discrimination, familial love or condemnation, street harassment and ultimately violence. \u003c/p>\n\u003cfigure id=\"attachment_13073910\" class=\"wp-caption aligncenter\" style=\"max-width: 885px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1.jpg\" alt=\"Jaguar Mary/Jocelyn Taylor, Still from 'Frankie & Jocie,' 1994.\" width=\"885\" height=\"566\" class=\"size-full wp-image-13073910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-520x333.jpg 520w\" sizes=\"(max-width: 885px) 100vw, 885px\">\u003cfigcaption class=\"wp-caption-text\">Jaguar Mary/Jocelyn Taylor, Still from ‘Frankie & Jocie,’ 1994. \u003ccite>(Courtesy of the artist and Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mary’s second piece in the show, part of a bank of four monitors with accompanying headphones, takes the conversation about black female visibility into a surreal, performative space — like a \u003ca href=\"https://www.youtube.com/watch?v=dtkDV30Gkcw\" target=\"_blank\" rel=\"noopener\">Mika Rottenberg video\u003c/a>, but years earlier. The seven-minute \u003ci>\u003ca href=\"https://vimeo.com/213599354\" target=\"_blank\" rel=\"noopener\">Armide 2000\u003c/a>\u003c/i> depicts black female bodybuilders, busy working out, as objects of swooning desire for waifish young white men wearing housekeeper dresses. The piece echoes, almost shot-for-shot, \u003ca href=\"https://www.youtube.com/watch?v=ut7cB_Mo1uo\" target=\"_blank\" rel=\"noopener\">a 1987 short film by Jean-Luc Godard\u003c/a> — with gender roles reversed. In both shorts, the admirers’ ardent attention to the bodies pumping iron around them makes their invisibility completely pathetic and strangely affecting.\u003c/p>\n\u003cp>Cauleen Smith’s three-minute 1993 piece \u003ci>\u003ca href=\"https://vimeo.com/213600219\" target=\"_blank\" rel=\"noopener\">The Message (Sapphire Tapes 1)\u003c/a>\u003c/i> is similarly “a tape about lust and consumption,” the narrator says. She directs a black man through various poses for the camera, noting his discomfort with being gazed upon and admired.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And two videos by Ayanna U’Dongo collage multiple sources and now-retro video effects to address love, sexuality, cultural identity and expressions of frustration, all in the span of four minutes each. Which is to say — \u003ci>sisters and brothers\u003c/i> will not overly occupy your Friday or Saturday (gallery hours are 1-5pm). \u003c/p>\n\u003cfigure id=\"attachment_13073912\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Install1200-1020x680.jpg\" alt=\"Installation view of videos by Cauleen Smith, Ayanna U'Dongo and Jaguar Mary/Jocelyn Taylor in 'sisters and brothers.'\" width=\"640\" height=\"427\" class=\"size-large wp-image-13073912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of videos by Cauleen Smith, Ayanna U’Dongo and Jaguar Mary/Jocelyn Taylor in ‘sisters and brothers.’ \u003ccite>(Courtesy of Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here, once again, I will extol the virtues of \u003ca href=\"https://ww2.kqed.org/arts/2017/01/03/a-new-years-resolution-for-the-bay-area-art-scene/\" target=\"_blank\" rel=\"noopener\">showing up in person for your Bay Area art experiences\u003c/a>. Of the three artists included in \u003ci>sisters and brothers\u003c/i>, only Mary’s videos live on the internet in their entirety. It’s easy to forget, 12 years into YouTube, how much important work exists in avant garde film catalogs, just waiting for a well-curated exhibition to pull it back into public consciousness — and public conversation.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘sisters and brothers’ is on view at Et al. in San Francisco through April 22 (gallery hours Friday and Saturday, 1-5pm and by appointment). For more information, \u003ca href=\"http://etaletc.com/#/galleries/1\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "At San Francisco's Et al., the exhibition 'sisters and brothers' presents the early works of three video artists and their complex depictions of gender, sexuality and race.",
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"description": "At San Francisco's Et al., the exhibition 'sisters and brothers' presents the early works of three video artists and their complex depictions of gender, sexuality and race.",
"title": "Black Visibility is Just the Beginning in Exhibition of Early '90s Video Art | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Visiting \u003ca href=\"http://etaletc.com/#/\" target=\"_blank\" rel=\"noopener\">Et al.\u003c/a>’s Chinatown gallery feels a bit like entering a secret contemporary art clubhouse. Without any street-level signage, you have to know there’s an exhibition waiting for you through the door of Union Cleaners, down a narrow hallway and a set of wooden stairs.\u003c/p>\n\u003cp>Visiting \u003ci>\u003ca href=\"http://etaletc.com/#/galleries/1/shows/62\" target=\"_blank\" rel=\"noopener\">sisters and brothers\u003c/a>\u003c/i>, the current show of videos by Cauleen Smith, Jaguar Mary/Jocelyn Taylor and Ayanna U’Dongo, adds to the clubhouse feel a sensation of traveling back in time, specifically to the early ’90s. It’s a sensation both jarring and familiar; artists don’t make videos quite like this anymore, in terms of either aesthetics or tone. Bound by common explorations of desire, black femininity and masculinity, queer identity politics and the possibility of communicating through the medium itself, the works in \u003ci>sisters and brothers\u003c/i> are revelatory. They pointed to gaping holes in my knowledge of recent art history I didn’t even know I had. \u003c/p>\n\u003cp>Curated by Jackie Clay, who was recently appointed director of \u003ca href=\"http://colemanarts.org/\" target=\"_blank\" rel=\"noopener\">Coleman Center for the Arts\u003c/a> in York, Alabama, the show is anchored by Mary’s 1994 video \u003ci>\u003ca href=\"https://vimeo.com/213601051\" target=\"_blank\" rel=\"noopener\">Frankie & Jocie\u003c/a>\u003c/i>. A conversation between a black lesbian and her straight brother about their relationship, the objectification of women and socially accepted homophobia frames the mesmerizing 18-minute video. Intermingled with audio of their phone call are interviews with other black lesbians, speaking to shared experiences of discrimination, familial love or condemnation, street harassment and ultimately violence. \u003c/p>\n\u003cfigure id=\"attachment_13073910\" class=\"wp-caption aligncenter\" style=\"max-width: 885px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1.jpg\" alt=\"Jaguar Mary/Jocelyn Taylor, Still from 'Frankie & Jocie,' 1994.\" width=\"885\" height=\"566\" class=\"size-full wp-image-13073910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Frankie_Jocie1-520x333.jpg 520w\" sizes=\"(max-width: 885px) 100vw, 885px\">\u003cfigcaption class=\"wp-caption-text\">Jaguar Mary/Jocelyn Taylor, Still from ‘Frankie & Jocie,’ 1994. \u003ccite>(Courtesy of the artist and Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mary’s second piece in the show, part of a bank of four monitors with accompanying headphones, takes the conversation about black female visibility into a surreal, performative space — like a \u003ca href=\"https://www.youtube.com/watch?v=dtkDV30Gkcw\" target=\"_blank\" rel=\"noopener\">Mika Rottenberg video\u003c/a>, but years earlier. The seven-minute \u003ci>\u003ca href=\"https://vimeo.com/213599354\" target=\"_blank\" rel=\"noopener\">Armide 2000\u003c/a>\u003c/i> depicts black female bodybuilders, busy working out, as objects of swooning desire for waifish young white men wearing housekeeper dresses. The piece echoes, almost shot-for-shot, \u003ca href=\"https://www.youtube.com/watch?v=ut7cB_Mo1uo\" target=\"_blank\" rel=\"noopener\">a 1987 short film by Jean-Luc Godard\u003c/a> — with gender roles reversed. In both shorts, the admirers’ ardent attention to the bodies pumping iron around them makes their invisibility completely pathetic and strangely affecting.\u003c/p>\n\u003cp>Cauleen Smith’s three-minute 1993 piece \u003ci>\u003ca href=\"https://vimeo.com/213600219\" target=\"_blank\" rel=\"noopener\">The Message (Sapphire Tapes 1)\u003c/a>\u003c/i> is similarly “a tape about lust and consumption,” the narrator says. She directs a black man through various poses for the camera, noting his discomfort with being gazed upon and admired.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And two videos by Ayanna U’Dongo collage multiple sources and now-retro video effects to address love, sexuality, cultural identity and expressions of frustration, all in the span of four minutes each. Which is to say — \u003ci>sisters and brothers\u003c/i> will not overly occupy your Friday or Saturday (gallery hours are 1-5pm). \u003c/p>\n\u003cfigure id=\"attachment_13073912\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Install1200-1020x680.jpg\" alt=\"Installation view of videos by Cauleen Smith, Ayanna U'Dongo and Jaguar Mary/Jocelyn Taylor in 'sisters and brothers.'\" width=\"640\" height=\"427\" class=\"size-large wp-image-13073912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Install1200.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of videos by Cauleen Smith, Ayanna U’Dongo and Jaguar Mary/Jocelyn Taylor in ‘sisters and brothers.’ \u003ccite>(Courtesy of Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here, once again, I will extol the virtues of \u003ca href=\"https://ww2.kqed.org/arts/2017/01/03/a-new-years-resolution-for-the-bay-area-art-scene/\" target=\"_blank\" rel=\"noopener\">showing up in person for your Bay Area art experiences\u003c/a>. Of the three artists included in \u003ci>sisters and brothers\u003c/i>, only Mary’s videos live on the internet in their entirety. It’s easy to forget, 12 years into YouTube, how much important work exists in avant garde film catalogs, just waiting for a well-curated exhibition to pull it back into public consciousness — and public conversation.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘sisters and brothers’ is on view at Et al. in San Francisco through April 22 (gallery hours Friday and Saturday, 1-5pm and by appointment). For more information, \u003ca href=\"http://etaletc.com/#/galleries/1\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "fake-newsroom-reimagines-1983-photo-project-about-truth-and-media",
"title": "'Fake Newsroom' Reimagines 1983 Photo Project About Truth and Media",
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"headTitle": "‘Fake Newsroom’ Reimagines 1983 Photo Project About Truth and Media | KQED",
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"content": "\u003cp>In a second floor gallery at San Francisco’s Minnesota Street Project, the trappings of a newspaper’s photo department spread themselves across the polished concrete floor in a strange mix of outmoded and modern-day technologies. Heavy wooden desks supporting laptops sit alongside a filing cabinet labelled “MORGUE.” Printed images crowd for floor space next to a paper shredder, while three clocks set to different locations (one always set to the central San Fernando Valley city of Van Nuys) oversee the room’s activity.\u003c/p>\n\u003cp>This is \u003ci>\u003ca href=\"http://fakenewsroom.org/\" target=\"_blank\" rel=\"noopener\">Fake Newsroom\u003c/a>\u003c/i>, an ever-evolving installation of photographs culled from the Associated Press, organized into categories, and published daily both online and in good old paper form.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>\u003ci>Fake Newsroom\u003c/i> is a re-enactment of and elaboration on \u003ci>\u003ca href=\"http://archive.bampfa.berkeley.edu/exhibition/61\" target=\"_blank\" rel=\"noopener\">Newsroom\u003c/a>\u003c/i>, a 1983 exhibition at the Berkeley Art Museum by photographers and frequent collaborators Mike Mandel and Larry Sultan, who died in 2009. In the BAM gallery space, they installed electronic news and wirephoto machines from AP and United Press International, and, playing the parts of news editors, selected material for new installations twice a week.\u003c/p>\n\u003cp>A floor-to-ceiling wall vinyl currently installed at Minnesota Street Project shows Sultan behind a desk, Mandel perched on the edge of one in the midst of their \u003ci>Newsroom\u003c/i> installation. Both look serious while holding sheets of paper. To their right hangs one of their selections: a giant silver gelatin print of John Glenn at a podium, the eyes of the man behind him glowing eerily in the camera’s flash.\u003c/p>\n\u003cfigure id=\"attachment_13068579\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13068579\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-1020x849.jpg\" alt=\"'Fake Newsroom' editors Jason Fulford, Dru Donovan and Jim Goldberg confer in front of an image of the 1983 installation 'Newsroom.'\" width=\"640\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-1020x849.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-800x666.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-768x639.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-1180x982.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-960x799.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-240x200.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-375x312.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-520x433.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200.jpg 1200w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Fake Newsroom’ editors Jason Fulford, Dru Donovan and Jim Goldberg confer in front of an image of the 1983 installation ‘Newsroom.’ \u003ccite>(Courtesy of Minnesota Street Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Sultan and Mandel’s names sound familiar, it could be because of the recently opened \u003ca href=\"https://www.sfmoma.org/exhibition/larry-sultan-here-and-home/\" target=\"_blank\" rel=\"noopener\">Larry Sultan retrospective\u003c/a> or the \u003ca href=\"https://www.sfmoma.org/exhibition/mike-mandel-good-70s/\" target=\"_blank\" rel=\"noopener\">forthcoming Mike Mandel one\u003c/a> (both at SFMOMA). Perhaps it’s Casemore Kirkeby’s exhibition of \u003ca href=\"http://casemorekirkeby.com/exhibition/larry-sultan-editorial-work/\" target=\"_blank\" rel=\"noopener\">Sultan’s editorial photographs\u003c/a>, or the display of the \u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/billboards-larry-sultan-and-mike-mandel\" target=\"_blank\" rel=\"noopener\">pair’s billboard projects\u003c/a> in the gallery adjacent to \u003ci>Fake Newsroom\u003c/i>. Take your pick; some have dubbed this “Sultan Spring.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But \u003ci>Fake Newsroom\u003c/i> is more than a timely capitalization on major museum shows. The impetus behind the original staging still feels relevant 34 years later (and perhaps even more so): to examine, through selection, juxtaposition and categorization, the hidden biases of the media. But in 2017, instead of over 200 photographs coming daily down the wire, the \u003ci>Fake Newsroom\u003c/i> team gets to choose from thousands of images in the AP database.\u003c/p>\n\u003cfigure id=\"attachment_13068580\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13068580\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Science_1200-1020x373.jpg\" alt=\"AP images selected for the "Science" page in the April 11 issue of 'Fake Newsroom.'\" width=\"640\" height=\"234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-1020x373.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-160x59.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-800x293.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-768x281.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-1180x432.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-960x351.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-240x88.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-375x137.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-520x190.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200.jpg 1200w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">AP images selected for the “Science” page in the April 11 of ‘Fake Newsroom.’ \u003ccite>(Courtesy of 'Fake Newsroom.')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Photographers \u003ca href=\"http://www.drudonovan.com/\" target=\"_blank\" rel=\"noopener\">Dru Donovan\u003c/a>, \u003ca href=\"http://www.jasonfulford.com/\" target=\"_blank\" rel=\"noopener\">Jason Fulford\u003c/a> and \u003ca href=\"http://jimgoldberg.com/\" target=\"_blank\" rel=\"noopener\">Jim Goldberg\u003c/a> head the operation, shifting responsibility as editors-in-chief over the course of the project’s three-week run. The first changing of the guard was announced playfully on April 18 with the headline “\u003ca href=\"http://fakenewsroom.org/aalksdf\" target=\"_blank\" rel=\"noopener\">Fulford Fired Goldberg Promoted\u003c/a>.” Goldberg is ready, he says, “to generate some fake news with an open heart and open mind.”\u003c/p>\n\u003cp>Both Goldberg and Donovan studied under Sultan and later worked as his assistants — Goldberg was there for the original 1983 \u003ci>Newsroom\u003c/i>, the man responsible for the giant John Glenn print. They’re aided by a small army of volunteers, many of them current students or recent grads of the San Francisco Art Institute’s photography program, where Sultan and Mandel met as M.F.A. candidates in the early ’70s.\u003c/p>\n\u003cfigure id=\"attachment_13068578\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13068578\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-1020x765.jpg\" alt=\"The working 'Fake Newsroom' in Gallery 200.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200.jpg 1200w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The working ‘Fake Newsroom’ in Gallery 200. \u003ccite>(Courtesy of Minnesota Street Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both the physical and digital versions of \u003ci>Fake Newsroom\u003c/i> are full of hidden treats for the curious observer. In the gallery, the “Van Nuys” clock is an homage to Sultan and Mandel’s shared hometown; they liked to call themselves “two guys from Van Nuys.” On the website, a click on the triangular symbol in the page’s upper right hand corner flips the entire site into a mirror image of itself, backwards text and all.\u003c/p>\n\u003cp>And in the corner of \u003ci>Fake Newsroom\u003c/i>, the shredder serves just one purpose: to destroy images of President Donald Trump. Visitors are welcome to select their favorite (or least favorite) candid from a small stack and run it through the machine. As Fulford says, “There are no pictures of him in our newspaper.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BSzfv43hY-R/?taken-by=fake_newsroom\">https://www.instagram.com/p/BSzfv43hY-R/?taken-by=fake_newsroom\u003c/a>\u003c/p>\n\u003cp>What does appear in the paper is a wry blend of image and text. For April 17, in the “\u003ca href=\"http://fakenewsroom.org/hlmfgbhj/vows\" target=\"_blank\" rel=\"noopener\">Vows\u003c/a>” section (the first appearance of a “Vows” section seven days into \u003ci>Fake Newsroom\u003c/i>), one photo shows a child high-fiving an adult in a bee costume, while another shows someone in a goldenrod zentai suit giving the camera a thumbs up. For April 11, the “\u003ca href=\"http://fakenewsroom.org/hsdvjm/science\" target=\"_blank\" rel=\"noopener\">Science\u003c/a>” section contains two separate pictures of golfers bending backwards, their faces turned toward the sky.\u003c/p>\n\u003cp>\u003ci>Fake Newsroom\u003c/i> is fake in the sense that it isn’t the \u003ci>Newsroom\u003c/i> of 1983, let alone a real newsroom. But at a time when “fake news” casts a shadow of doubt over the veracity of any juxtaposition of image and text, \u003ci>Fake Newsroom\u003c/i> separates its images from politics, culture, publication, editorial concern and even the original photographer’s intent. It’s a process too rarely undertaken in our consumption of media, and as the scattered print-outs and carefully assembled compositions of \u003ci>Fake Newsroom\u003c/i> prove, it’s also a process that cannot be a passive one.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Fake Newsroom’ is on view in Gallery 200 at San Francisco’s Minnesota Street Project through April 29, 2017, with new events added to the programming almost daily. For more information, \u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/fake-newsroom\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a second floor gallery at San Francisco’s Minnesota Street Project, the trappings of a newspaper’s photo department spread themselves across the polished concrete floor in a strange mix of outmoded and modern-day technologies. Heavy wooden desks supporting laptops sit alongside a filing cabinet labelled “MORGUE.” Printed images crowd for floor space next to a paper shredder, while three clocks set to different locations (one always set to the central San Fernando Valley city of Van Nuys) oversee the room’s activity.\u003c/p>\n\u003cp>This is \u003ci>\u003ca href=\"http://fakenewsroom.org/\" target=\"_blank\" rel=\"noopener\">Fake Newsroom\u003c/a>\u003c/i>, an ever-evolving installation of photographs culled from the Associated Press, organized into categories, and published daily both online and in good old paper form.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>\u003ci>Fake Newsroom\u003c/i> is a re-enactment of and elaboration on \u003ci>\u003ca href=\"http://archive.bampfa.berkeley.edu/exhibition/61\" target=\"_blank\" rel=\"noopener\">Newsroom\u003c/a>\u003c/i>, a 1983 exhibition at the Berkeley Art Museum by photographers and frequent collaborators Mike Mandel and Larry Sultan, who died in 2009. In the BAM gallery space, they installed electronic news and wirephoto machines from AP and United Press International, and, playing the parts of news editors, selected material for new installations twice a week.\u003c/p>\n\u003cp>A floor-to-ceiling wall vinyl currently installed at Minnesota Street Project shows Sultan behind a desk, Mandel perched on the edge of one in the midst of their \u003ci>Newsroom\u003c/i> installation. Both look serious while holding sheets of paper. To their right hangs one of their selections: a giant silver gelatin print of John Glenn at a podium, the eyes of the man behind him glowing eerily in the camera’s flash.\u003c/p>\n\u003cfigure id=\"attachment_13068579\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13068579\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-1020x849.jpg\" alt=\"'Fake Newsroom' editors Jason Fulford, Dru Donovan and Jim Goldberg confer in front of an image of the 1983 installation 'Newsroom.'\" width=\"640\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-1020x849.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-800x666.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-768x639.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-1180x982.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-960x799.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-240x200.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-375x312.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200-520x433.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom2_1200.jpg 1200w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Fake Newsroom’ editors Jason Fulford, Dru Donovan and Jim Goldberg confer in front of an image of the 1983 installation ‘Newsroom.’ \u003ccite>(Courtesy of Minnesota Street Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Sultan and Mandel’s names sound familiar, it could be because of the recently opened \u003ca href=\"https://www.sfmoma.org/exhibition/larry-sultan-here-and-home/\" target=\"_blank\" rel=\"noopener\">Larry Sultan retrospective\u003c/a> or the \u003ca href=\"https://www.sfmoma.org/exhibition/mike-mandel-good-70s/\" target=\"_blank\" rel=\"noopener\">forthcoming Mike Mandel one\u003c/a> (both at SFMOMA). Perhaps it’s Casemore Kirkeby’s exhibition of \u003ca href=\"http://casemorekirkeby.com/exhibition/larry-sultan-editorial-work/\" target=\"_blank\" rel=\"noopener\">Sultan’s editorial photographs\u003c/a>, or the display of the \u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/billboards-larry-sultan-and-mike-mandel\" target=\"_blank\" rel=\"noopener\">pair’s billboard projects\u003c/a> in the gallery adjacent to \u003ci>Fake Newsroom\u003c/i>. Take your pick; some have dubbed this “Sultan Spring.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But \u003ci>Fake Newsroom\u003c/i> is more than a timely capitalization on major museum shows. The impetus behind the original staging still feels relevant 34 years later (and perhaps even more so): to examine, through selection, juxtaposition and categorization, the hidden biases of the media. But in 2017, instead of over 200 photographs coming daily down the wire, the \u003ci>Fake Newsroom\u003c/i> team gets to choose from thousands of images in the AP database.\u003c/p>\n\u003cfigure id=\"attachment_13068580\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13068580\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Science_1200-1020x373.jpg\" alt=\"AP images selected for the "Science" page in the April 11 issue of 'Fake Newsroom.'\" width=\"640\" height=\"234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-1020x373.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-160x59.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-800x293.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-768x281.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-1180x432.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-960x351.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-240x88.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-375x137.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200-520x190.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Science_1200.jpg 1200w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">AP images selected for the “Science” page in the April 11 of ‘Fake Newsroom.’ \u003ccite>(Courtesy of 'Fake Newsroom.')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Photographers \u003ca href=\"http://www.drudonovan.com/\" target=\"_blank\" rel=\"noopener\">Dru Donovan\u003c/a>, \u003ca href=\"http://www.jasonfulford.com/\" target=\"_blank\" rel=\"noopener\">Jason Fulford\u003c/a> and \u003ca href=\"http://jimgoldberg.com/\" target=\"_blank\" rel=\"noopener\">Jim Goldberg\u003c/a> head the operation, shifting responsibility as editors-in-chief over the course of the project’s three-week run. The first changing of the guard was announced playfully on April 18 with the headline “\u003ca href=\"http://fakenewsroom.org/aalksdf\" target=\"_blank\" rel=\"noopener\">Fulford Fired Goldberg Promoted\u003c/a>.” Goldberg is ready, he says, “to generate some fake news with an open heart and open mind.”\u003c/p>\n\u003cp>Both Goldberg and Donovan studied under Sultan and later worked as his assistants — Goldberg was there for the original 1983 \u003ci>Newsroom\u003c/i>, the man responsible for the giant John Glenn print. They’re aided by a small army of volunteers, many of them current students or recent grads of the San Francisco Art Institute’s photography program, where Sultan and Mandel met as M.F.A. candidates in the early ’70s.\u003c/p>\n\u003cfigure id=\"attachment_13068578\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13068578\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-1020x765.jpg\" alt=\"The working 'Fake Newsroom' in Gallery 200.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/fnewsroom_1200.jpg 1200w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The working ‘Fake Newsroom’ in Gallery 200. \u003ccite>(Courtesy of Minnesota Street Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both the physical and digital versions of \u003ci>Fake Newsroom\u003c/i> are full of hidden treats for the curious observer. In the gallery, the “Van Nuys” clock is an homage to Sultan and Mandel’s shared hometown; they liked to call themselves “two guys from Van Nuys.” On the website, a click on the triangular symbol in the page’s upper right hand corner flips the entire site into a mirror image of itself, backwards text and all.\u003c/p>\n\u003cp>And in the corner of \u003ci>Fake Newsroom\u003c/i>, the shredder serves just one purpose: to destroy images of President Donald Trump. Visitors are welcome to select their favorite (or least favorite) candid from a small stack and run it through the machine. As Fulford says, “There are no pictures of him in our newspaper.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BSzfv43hY-R/?taken-by=fake_newsroom\">https://www.instagram.com/p/BSzfv43hY-R/?taken-by=fake_newsroom\u003c/a>\u003c/p>\n\u003cp>What does appear in the paper is a wry blend of image and text. For April 17, in the “\u003ca href=\"http://fakenewsroom.org/hlmfgbhj/vows\" target=\"_blank\" rel=\"noopener\">Vows\u003c/a>” section (the first appearance of a “Vows” section seven days into \u003ci>Fake Newsroom\u003c/i>), one photo shows a child high-fiving an adult in a bee costume, while another shows someone in a goldenrod zentai suit giving the camera a thumbs up. For April 11, the “\u003ca href=\"http://fakenewsroom.org/hsdvjm/science\" target=\"_blank\" rel=\"noopener\">Science\u003c/a>” section contains two separate pictures of golfers bending backwards, their faces turned toward the sky.\u003c/p>\n\u003cp>\u003ci>Fake Newsroom\u003c/i> is fake in the sense that it isn’t the \u003ci>Newsroom\u003c/i> of 1983, let alone a real newsroom. But at a time when “fake news” casts a shadow of doubt over the veracity of any juxtaposition of image and text, \u003ci>Fake Newsroom\u003c/i> separates its images from politics, culture, publication, editorial concern and even the original photographer’s intent. It’s a process too rarely undertaken in our consumption of media, and as the scattered print-outs and carefully assembled compositions of \u003ci>Fake Newsroom\u003c/i> prove, it’s also a process that cannot be a passive one.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Fake Newsroom’ is on view in Gallery 200 at San Francisco’s Minnesota Street Project through April 29, 2017, with new events added to the programming almost daily. For more information, \u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/fake-newsroom\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "mad-max-meets-trumps-america-images-spark-controversy",
"title": "'Mad Max Meets Trump's America' Images Spark Controversy",
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"headTitle": "‘Mad Max Meets Trump’s America’ Images Spark Controversy | KQED",
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"content": "\u003cp>Mining engineer-turned-photographer \u003ca href=\"http://www.vonwong.com\" target=\"_blank\" rel=\"noopener\">Benjamin Von Wong\u003c/a>’s recent dystopian fantasy photoshoot, set in a world crippled by pollution, has provoked strong reactions from both admirers and critics.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>While most salute the brilliant photography, some audience members are protesting the message implicit in \u003cem>Mad Max meets Trump’s America\u003c/em> on social media, saying the series “doesn’t target the real polluters” or that it’s a distraction from the true challenge of “making America work again.”\u003c/p>\n\u003cp>The San Francisco-based, Canadian-born artist shot the series in May 2016 at \u003ca href=\"http://www.ferropolis.de/\" target=\"_blank\" rel=\"noopener\">Ferropolis \u003c/a>– a vast outdoor industrial museum on the site of a decommissioned strip mine in Germany.\u003c/p>\n\u003cfigure id=\"attachment_12997693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12997693 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-800x450.jpg\" alt=\"A scene from ‘Mad Max Meets Trump’s America’\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Mad Max Meets Trump’s America.’ \u003ccite>(Photo: Benjamin Von Wong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wong’s background as a mining engineer proved critical in the creation of the pyrotechnic effects. And the \u003ca href=\"https://www.facebook.com/wasteland.warriors.net/\" target=\"_blank\" rel=\"noopener\">Wasteland Warriors\u003c/a> — an art collective that specializes in making costumes and scenery using mainly recycled material and army surplus equipment — also helped to give the work a post-apocalyptic vibe. You can get behind-the-scenes views of the shoot on Wong’s blog \u003ca href=\"http://blog.vonwong.com/2017/01/30/mad_max_trump/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wong wrapped the project last November. Even though it was conceived before President Donald Trump came to office, the powerful anti-pollution theme of \u003cem>Mad Max meets Trump’s America\u003c/em> inescapably serves as a strong critique of the U.S. administration’s pandering to the coal industry, and overall stance on environmental issues.\u003c/p>\n\u003cfigure id=\"attachment_12997694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12997694 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-800x451.jpg\" alt=\"A scene from ‘Mad Max Meets Trump’s America’\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683.jpg 2022w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Mad Max Meets Trump’s America.’ \u003ccite>(Photo: Benjamin Von Wong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>KQED caught up with Wong to find out more about the project.\u003c/p>\n\u003cp>\u003cstrong>Why the haters?\u003c/strong>\u003c/p>\n\u003cp>When I was designing the project, I wasn’t particularly focused on coal. I was focused on the broader idea that nobody likes pollution. But the people who are fighting for coal jobs to come back don’t care. They’re looking at what they need in the short term, and I get that. Unfortunately it’s not forward-thinking. There’s been a lot of knee-jerk reaction. “Instead of complaining about what we’re doing here in the U.S.,” I’ve been asked, “why don’t you go talk to India and China?” But India and \u003ca href=\"https://www.ft.com/content/c2639518-1498-11e7-b0c1-37e417ee6c76\" target=\"_blank\" rel=\"noopener\">China\u003c/a> are putting new environmental regulations in place; they’re actually going in the right direction. The only country going \u003ca href=\"http://www.reuters.com/article/us-climatechange-accord-usa-idUSKBN13900L\" target=\"_blank\" rel=\"noopener\">backward\u003c/a> is the United States.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How to create a complex post-apocalyptic photoshoot - Mad Max meets Trump's America\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/5IbPtwVV29Q?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>You’ve worked on a wide range of projects, and are now focused solely on conservation efforts. How do you feel you can make a difference?\u003c/strong>\u003c/p>\n\u003cp>By convincing corporations to start taking social responsibility, and helping them talk about it in a way that will bring the subject top of mind with consumers. I’m trying to prove that you can communicate these complex issues in a catchy way so that people will want to know more. And that you can sell a product not through what the product actually does but through what you stand for.\u003c/p>\n\u003cfigure id=\"attachment_12997695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12997695 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-800x451.jpg\" alt=\"Behind the scenes with Benjamin Von Wong at Ferropolis\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251.jpg 1580w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Behind the scenes with Benjamin Von Wong at Ferropolis. \u003ccite>(Photo: Benjamin Von Wong )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next stage in consumer behavior is that consumers will make choices built around the values of manufacturers. And if large corporations start talking about their social initiatives, then the smaller companies will start doing it. We’re starting to see that. Look at the Super Bowl ads this year. Many of them took a political stance. Companies realize it’s extremely effective marketing for them to stand for something.\u003c/p>\n\u003cfigure id=\"attachment_12997696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12997696 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-800x450.jpg\" alt=\"Behind the scenes with Benjamin Von Wong at Ferropolis.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769.jpg 1464w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Behind the scenes with Benjamin Von Wong at Ferropolis \u003ccite>(Photo: Benjamin Von Wong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>This work taps into a collective feeling of despair and anxiety. Where is the silver lining, if there is one? \u003c/strong>\u003c/p>\n\u003cp>There’s been a resurgence in resistance. There are more people now than ever speaking up in defense of the environment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Mining engineer-turned-photographer Benjamin Von Wong’s recent dystopian fantasy photoshoot, set in a world crippled by pollution, has provoked strong reactions from both admirers and critics.",
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"title": "'Mad Max Meets Trump's America' Images Spark Controversy | KQED",
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"headline": "'Mad Max Meets Trump's America' Images Spark Controversy",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mining engineer-turned-photographer \u003ca href=\"http://www.vonwong.com\" target=\"_blank\" rel=\"noopener\">Benjamin Von Wong\u003c/a>’s recent dystopian fantasy photoshoot, set in a world crippled by pollution, has provoked strong reactions from both admirers and critics.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>While most salute the brilliant photography, some audience members are protesting the message implicit in \u003cem>Mad Max meets Trump’s America\u003c/em> on social media, saying the series “doesn’t target the real polluters” or that it’s a distraction from the true challenge of “making America work again.”\u003c/p>\n\u003cp>The San Francisco-based, Canadian-born artist shot the series in May 2016 at \u003ca href=\"http://www.ferropolis.de/\" target=\"_blank\" rel=\"noopener\">Ferropolis \u003c/a>– a vast outdoor industrial museum on the site of a decommissioned strip mine in Germany.\u003c/p>\n\u003cfigure id=\"attachment_12997693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12997693 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-800x450.jpg\" alt=\"A scene from ‘Mad Max Meets Trump’s America’\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_1-e1491418936341.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Mad Max Meets Trump’s America.’ \u003ccite>(Photo: Benjamin Von Wong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wong’s background as a mining engineer proved critical in the creation of the pyrotechnic effects. And the \u003ca href=\"https://www.facebook.com/wasteland.warriors.net/\" target=\"_blank\" rel=\"noopener\">Wasteland Warriors\u003c/a> — an art collective that specializes in making costumes and scenery using mainly recycled material and army surplus equipment — also helped to give the work a post-apocalyptic vibe. You can get behind-the-scenes views of the shoot on Wong’s blog \u003ca href=\"http://blog.vonwong.com/2017/01/30/mad_max_trump/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wong wrapped the project last November. Even though it was conceived before President Donald Trump came to office, the powerful anti-pollution theme of \u003cem>Mad Max meets Trump’s America\u003c/em> inescapably serves as a strong critique of the U.S. administration’s pandering to the coal industry, and overall stance on environmental issues.\u003c/p>\n\u003cfigure id=\"attachment_12997694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12997694 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-800x451.jpg\" alt=\"A scene from ‘Mad Max Meets Trump’s America’\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TrumpMadMax_VonWong_2-e1491419055683.jpg 2022w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Mad Max Meets Trump’s America.’ \u003ccite>(Photo: Benjamin Von Wong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>KQED caught up with Wong to find out more about the project.\u003c/p>\n\u003cp>\u003cstrong>Why the haters?\u003c/strong>\u003c/p>\n\u003cp>When I was designing the project, I wasn’t particularly focused on coal. I was focused on the broader idea that nobody likes pollution. But the people who are fighting for coal jobs to come back don’t care. They’re looking at what they need in the short term, and I get that. Unfortunately it’s not forward-thinking. There’s been a lot of knee-jerk reaction. “Instead of complaining about what we’re doing here in the U.S.,” I’ve been asked, “why don’t you go talk to India and China?” But India and \u003ca href=\"https://www.ft.com/content/c2639518-1498-11e7-b0c1-37e417ee6c76\" target=\"_blank\" rel=\"noopener\">China\u003c/a> are putting new environmental regulations in place; they’re actually going in the right direction. The only country going \u003ca href=\"http://www.reuters.com/article/us-climatechange-accord-usa-idUSKBN13900L\" target=\"_blank\" rel=\"noopener\">backward\u003c/a> is the United States.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How to create a complex post-apocalyptic photoshoot - Mad Max meets Trump's America\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/5IbPtwVV29Q?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>You’ve worked on a wide range of projects, and are now focused solely on conservation efforts. How do you feel you can make a difference?\u003c/strong>\u003c/p>\n\u003cp>By convincing corporations to start taking social responsibility, and helping them talk about it in a way that will bring the subject top of mind with consumers. I’m trying to prove that you can communicate these complex issues in a catchy way so that people will want to know more. And that you can sell a product not through what the product actually does but through what you stand for.\u003c/p>\n\u003cfigure id=\"attachment_12997695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12997695 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-800x451.jpg\" alt=\"Behind the scenes with Benjamin Von Wong at Ferropolis\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_5-e1491419118251.jpg 1580w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Behind the scenes with Benjamin Von Wong at Ferropolis. \u003ccite>(Photo: Benjamin Von Wong )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next stage in consumer behavior is that consumers will make choices built around the values of manufacturers. And if large corporations start talking about their social initiatives, then the smaller companies will start doing it. We’re starting to see that. Look at the Super Bowl ads this year. Many of them took a political stance. Companies realize it’s extremely effective marketing for them to stand for something.\u003c/p>\n\u003cfigure id=\"attachment_12997696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12997696 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-800x450.jpg\" alt=\"Behind the scenes with Benjamin Von Wong at Ferropolis.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/BTS_TrumpMadMax_VonWong_9-e1491419207769.jpg 1464w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Behind the scenes with Benjamin Von Wong at Ferropolis \u003ccite>(Photo: Benjamin Von Wong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>This work taps into a collective feeling of despair and anxiety. Where is the silver lining, if there is one? \u003c/strong>\u003c/p>\n\u003cp>There’s been a resurgence in resistance. There are more people now than ever speaking up in defense of the environment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: Tenting in London with Occupy, Prison Pen Pals, and Broken Hearts in Paris",
"headTitle": "Cy and David’s Picks: Tenting in London with Occupy, Prison Pen Pals, and Broken Hearts in Paris | KQED",
"content": "\u003ch4>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/h4>\n\u003cp>The arts seem \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">more socially conscious and relevant than ever\u003c/a> under President Donald Trump. This week we feature a play about Occupy protests in London, as well as an art show about the prison-industrial complex. For a shout-out, we’ve added Rupa and the April Fishes doing a fundraiser for Indian tribes working to restore threatened salmon runs in California — a timely issue as the President works to \u003ca href=\"https://www.nytimes.com/2017/04/10/climate/trump-epa-budget-cuts.html?rref=collection%2Ftimestopic%2FEnvironmental%20Protection%20Agency&action=click&contentCollection=timestopics®ion=stream&module=stream_unit&version=latest&contentPlacement=4&pgtype=collection\" target=\"_blank\" rel=\"noopener\">cripple the Environmental Protection Agency\u003c/a>. Details for \u003ca href=\"https://lapena.org/event/2nd-annual-run-4-salmon-panel-benefit-show/\" target=\"_blank\" rel=\"noopener\">Rupa’s show at La Peña in Berkeley on April 14 are here\u003c/a>. Now on with rest of the show.\u003c/p>\n\u003cfigure id=\"attachment_13047327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13047327\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-800x892.jpg\" alt=\"Mario Ayala‘s painting "Bitch, I'm a Dog" is in his show Pen Pal at Ever Gold at the Minnesota Street Galleries\" width=\"800\" height=\"892\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-800x892.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-768x857.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-1020x1138.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-1180x1316.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-960x1071.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-240x268.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-375x418.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-520x580.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729.jpg 1638w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mario Ayala’s painting ‘Bitch, I’m a Dog’ is in his show ‘Pen Pal,’ at Ever Gold at the Minnesota Street Galleries. \u003ccite>(Photo: Courtesy of Mario Ayala)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 13–May 13\u003c/strong>: Mario Ayala is a young painter from Los Angeles with a small but very worthy exhibit called \u003cem>Pen Pal\u003c/em>, about the American penal system. It features three paintings and stationery designed by Ayala, so that gallery goers can become pen pals with prisoners at San Quentin. Ayala was a student at the pricey San Francisco Art Institute, and he told me about how he and his dog were homeless part of the time he was studying art. “It was tough,” he told me by phone from Los Angeles. “I was always working when I was there. But I think it was great, I had a lot of support from friends and the school as well to continue my education and to finish and get a degree. And friends that fed me and housed me when they could.” Details \u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/mario-ayala-pen-pal\" target=\"_blank\" rel=\"noopener\">are here\u003c/a> for Mario Ayala’s show \u003cem>Pen Pal \u003c/em>at Ever Gold at the Minnesota Street Galleries in San Francisco’s Dogpatch through May 13.\u003c/p>\n\u003cfigure id=\"attachment_13047320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13047320\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-800x492.jpg\" alt=\"Kirk Dougherty (Rodolfo) and Sylvia Lee (Mimi) star in San Jose Operas new production of La bohème\" width=\"800\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-1920x1180.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-1180x725.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-960x590.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-520x320.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kirk Dougherty (Rodolfo) and Sylvia Lee (Mimi) star in San Jose Operas new production of ‘La Bohème.’ \u003ccite>(Photo: )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 15–30\u003c/strong>: Mimi and Rodolfo first met on stage 121 years ago, at the premiere of \u003ca href=\"https://en.wikipedia.org/wiki/La_boh%C3%A8me\" target=\"_blank\" rel=\"noopener\">Puccini’s \u003cem>La Bohème\u003c/em>\u003c/a>. The story of a penniless but beautiful seamstress who meets an equally penniless but handsome poet seems very contemporary, considering how many in the Bay Area are trying to survive in the gig economy. \u003ca href=\"https://www.operasj.org/\" target=\"_blank\" rel=\"noopener\">Opera San Jose\u003c/a>’s Sylvie Lee and Julie Adams alternate as Mimi, and Kirk Dougherty plays Rodolfo, in this new version set just after World War I in a Paris that is also home to Nijinsky, Igor Stravinsky, Pablo Picasso and Coco Chanel. This is a perfect opera for first-timers and buffs alike, because the songs are dazzling, and the story will make you laugh — and then break your heart. Details for \u003ca href=\"https://www.operasj.org/production/la-boheme/\" target=\"_blank\" rel=\"noopener\">San Jose Opera’s La Bohème are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LSnL5g4LSSc\u003c/p>\n\u003cp>\u003cstrong>April 20–23\u003c/strong>: Joe Henderson was born 80 years ago, so SFJAZZ has a terrific reason to offer a series of shows honoring Henderson — who died in San Francisco in 2001 — by recreating four of his classic albums. All the better that four of the Bay Area’s best saxophonists are doing these fresh takes. Dayna Stephens opens the fest with a recreation of Henderson’s \u003cem>Power to the People \u003c/em>\u003ca href=\"https://sfjazz.org/events/2016-17/0420/hotplate\" target=\"_blank\" rel=\"noopener\">on Thursday, April 20\u003c/a>, then Patrick Wolff does \u003cem>Our Thing\u003c/em> on Friday, \u003ca href=\"https://sfjazz.org/events/2016-17/0421/hotplate\" target=\"_blank\" rel=\"noopener\">April 21\u003c/a>. The great Howard Wiley recreates \u003cem>Lush Life\u003c/em> on Saturday, \u003ca href=\"https://sfjazz.org/events/2016-17/0422/hotplate\" target=\"_blank\" rel=\"noopener\">April 22\u003c/a>, and then Mad Duran performs tunes from Henderson’s 1966 Blue Note session \u003cem>Inner Urge on Sunday, \u003c/em>on \u003ca href=\"https://sfjazz.org/events/2016-17/0423/hotplate\" target=\"_blank\" rel=\"noopener\">April 23\u003c/a>. You can’t go wrong no matter what night you go. More details \u003ca href=\"https://sfjazz.org/events/2016-17/0420/hotplate\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PoE86LE8NUo\u003c/p>\n\u003cp>\u003cstrong>April 14–May 14\u003c/strong>: The ideals of the \u003ca href=\"http://www.occupy.com/\" target=\"_blank\" rel=\"noopener\">Occupy movement\u003c/a>, with its central thesis of standing up for the 99 percent, are alive and well in today’s anti-President Trump resistance. So this seems a good time for the play \u003cem>Temple\u003c/em> by Steve Waters, which examines the legal and ethical issues Occupy raised for city and religious leaders when protesters camped out in front of the beloved St. Paul’s Cathedral in London. \u003cem>Temple\u003c/em>, a recent hit at \u003ca href=\"https://www.theguardian.com/stage/2015/may/28/the-temple-review-simon-russell-beale-donmar-warehouse-st-pauls\" target=\"_blank\" rel=\"noopener\">London’s Donmar Warehouse\u003c/a>, features a terrific cast with Paul Whitworth, a longtime leader at Shakespeare Santa Cruz; the promethean Sharon Lockwood; and Lontyne Mbele-Mbong, who was excellent last year at the Aurora in \u003cem>Breakfast with Mugabe\u003c/em>. Details for the show at Berkeley’s Aurora Theatre are \u003ca href=\"https://www.auroratheatre.org/index.php?option=com_theatre&view=show&id=133\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CGKN6qiDqnk\u003c/p>\n\u003cp>\u003cstrong>April 14 & 17–19\u003c/strong>: \u003ca href=\"http://www.whitneytheband.com/\" target=\"_blank\" rel=\"noopener\">Whitney\u003c/a> is a band from Chicago, but their laid-back, country-soul sound (credit partly due to drummer Julien Erlich’s falsetto) sounds entirely Californian. Band leaders Max Kakacek (Smith Westerns) and Erlich (Unknown Mortal Orchestra) formed the band when they found they could write beautiful music together. They’re so hot that they’re playing Coachella, but they’re stopping first at Gundlach-Bundschu Winery on Friday, April 14, in Sonoma (a great, intimate venue), and they’re back in the Bay Area at the Independent in San Francisco for three nights, April 17–19. Details for the Gundlach-Bundschu show are\u003ca href=\"http://here\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>. And you’ll find details for the Independent show\u003ca href=\"http://www.theindependentsf.com/event/1415791-whitney-san-francisco/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X4Q7d0CtYyk\u003c/p>\n\u003cp>\u003cstrong>April 14\u003c/strong>: One more shoutout from David. He’s intrigued by the music of electronic music artist Victor Fenton, also known as \u003ca href=\"https://www.facebook.com/frenchkiwijuice/\" target=\"_blank\" rel=\"noopener\">FKJ\u003c/a>. The acronym means French Kiwi Juice (of course), a reference to Fenton’s French and New Zealand heritage. The music is just as eclectic. Details for FKJ’s show at the Warfield on Friday are \u003ca href=\"http://www.axs.com/events/331665/fkj-tickets?skin=warfield&src=AEGLIVE_WWRFLSFO022715VEN001\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"Q.Logo_.Break_-400x39\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"excerpt": "The Do List's picks this week include a play about Occupy in London, paintings to inspire prison pen pals, and seeing Whitney without flying to Coachella.",
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"description": "The Do List's picks this week include a play about Occupy in London, paintings to inspire prison pen pals, and seeing Whitney without flying to Coachella.",
"title": "Cy and David's Picks: Tenting in London with Occupy, Prison Pen Pals, and Broken Hearts in Paris | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/h4>\n\u003cp>The arts seem \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">more socially conscious and relevant than ever\u003c/a> under President Donald Trump. This week we feature a play about Occupy protests in London, as well as an art show about the prison-industrial complex. For a shout-out, we’ve added Rupa and the April Fishes doing a fundraiser for Indian tribes working to restore threatened salmon runs in California — a timely issue as the President works to \u003ca href=\"https://www.nytimes.com/2017/04/10/climate/trump-epa-budget-cuts.html?rref=collection%2Ftimestopic%2FEnvironmental%20Protection%20Agency&action=click&contentCollection=timestopics®ion=stream&module=stream_unit&version=latest&contentPlacement=4&pgtype=collection\" target=\"_blank\" rel=\"noopener\">cripple the Environmental Protection Agency\u003c/a>. Details for \u003ca href=\"https://lapena.org/event/2nd-annual-run-4-salmon-panel-benefit-show/\" target=\"_blank\" rel=\"noopener\">Rupa’s show at La Peña in Berkeley on April 14 are here\u003c/a>. Now on with rest of the show.\u003c/p>\n\u003cfigure id=\"attachment_13047327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13047327\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-800x892.jpg\" alt=\"Mario Ayala‘s painting "Bitch, I'm a Dog" is in his show Pen Pal at Ever Gold at the Minnesota Street Galleries\" width=\"800\" height=\"892\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-800x892.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-768x857.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-1020x1138.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-1180x1316.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-960x1071.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-240x268.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-375x418.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729-520x580.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Mario-Ayala-Bitch-Im-a-Dog-e1492109751729.jpg 1638w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mario Ayala’s painting ‘Bitch, I’m a Dog’ is in his show ‘Pen Pal,’ at Ever Gold at the Minnesota Street Galleries. \u003ccite>(Photo: Courtesy of Mario Ayala)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 13–May 13\u003c/strong>: Mario Ayala is a young painter from Los Angeles with a small but very worthy exhibit called \u003cem>Pen Pal\u003c/em>, about the American penal system. It features three paintings and stationery designed by Ayala, so that gallery goers can become pen pals with prisoners at San Quentin. Ayala was a student at the pricey San Francisco Art Institute, and he told me about how he and his dog were homeless part of the time he was studying art. “It was tough,” he told me by phone from Los Angeles. “I was always working when I was there. But I think it was great, I had a lot of support from friends and the school as well to continue my education and to finish and get a degree. And friends that fed me and housed me when they could.” Details \u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/mario-ayala-pen-pal\" target=\"_blank\" rel=\"noopener\">are here\u003c/a> for Mario Ayala’s show \u003cem>Pen Pal \u003c/em>at Ever Gold at the Minnesota Street Galleries in San Francisco’s Dogpatch through May 13.\u003c/p>\n\u003cfigure id=\"attachment_13047320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13047320\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-800x492.jpg\" alt=\"Kirk Dougherty (Rodolfo) and Sylvia Lee (Mimi) star in San Jose Operas new production of La bohème\" width=\"800\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-1920x1180.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-1180x725.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-960x590.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734-520x320.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/San-Joses-La-Boheme-04-2017-e1492108528734.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kirk Dougherty (Rodolfo) and Sylvia Lee (Mimi) star in San Jose Operas new production of ‘La Bohème.’ \u003ccite>(Photo: )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 15–30\u003c/strong>: Mimi and Rodolfo first met on stage 121 years ago, at the premiere of \u003ca href=\"https://en.wikipedia.org/wiki/La_boh%C3%A8me\" target=\"_blank\" rel=\"noopener\">Puccini’s \u003cem>La Bohème\u003c/em>\u003c/a>. The story of a penniless but beautiful seamstress who meets an equally penniless but handsome poet seems very contemporary, considering how many in the Bay Area are trying to survive in the gig economy. \u003ca href=\"https://www.operasj.org/\" target=\"_blank\" rel=\"noopener\">Opera San Jose\u003c/a>’s Sylvie Lee and Julie Adams alternate as Mimi, and Kirk Dougherty plays Rodolfo, in this new version set just after World War I in a Paris that is also home to Nijinsky, Igor Stravinsky, Pablo Picasso and Coco Chanel. This is a perfect opera for first-timers and buffs alike, because the songs are dazzling, and the story will make you laugh — and then break your heart. Details for \u003ca href=\"https://www.operasj.org/production/la-boheme/\" target=\"_blank\" rel=\"noopener\">San Jose Opera’s La Bohème are here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LSnL5g4LSSc'\n title='//www.youtube.com/embed/LSnL5g4LSSc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 20–23\u003c/strong>: Joe Henderson was born 80 years ago, so SFJAZZ has a terrific reason to offer a series of shows honoring Henderson — who died in San Francisco in 2001 — by recreating four of his classic albums. All the better that four of the Bay Area’s best saxophonists are doing these fresh takes. Dayna Stephens opens the fest with a recreation of Henderson’s \u003cem>Power to the People \u003c/em>\u003ca href=\"https://sfjazz.org/events/2016-17/0420/hotplate\" target=\"_blank\" rel=\"noopener\">on Thursday, April 20\u003c/a>, then Patrick Wolff does \u003cem>Our Thing\u003c/em> on Friday, \u003ca href=\"https://sfjazz.org/events/2016-17/0421/hotplate\" target=\"_blank\" rel=\"noopener\">April 21\u003c/a>. The great Howard Wiley recreates \u003cem>Lush Life\u003c/em> on Saturday, \u003ca href=\"https://sfjazz.org/events/2016-17/0422/hotplate\" target=\"_blank\" rel=\"noopener\">April 22\u003c/a>, and then Mad Duran performs tunes from Henderson’s 1966 Blue Note session \u003cem>Inner Urge on Sunday, \u003c/em>on \u003ca href=\"https://sfjazz.org/events/2016-17/0423/hotplate\" target=\"_blank\" rel=\"noopener\">April 23\u003c/a>. You can’t go wrong no matter what night you go. More details \u003ca href=\"https://sfjazz.org/events/2016-17/0420/hotplate\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PoE86LE8NUo'\n title='//www.youtube.com/embed/PoE86LE8NUo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 14–May 14\u003c/strong>: The ideals of the \u003ca href=\"http://www.occupy.com/\" target=\"_blank\" rel=\"noopener\">Occupy movement\u003c/a>, with its central thesis of standing up for the 99 percent, are alive and well in today’s anti-President Trump resistance. So this seems a good time for the play \u003cem>Temple\u003c/em> by Steve Waters, which examines the legal and ethical issues Occupy raised for city and religious leaders when protesters camped out in front of the beloved St. Paul’s Cathedral in London. \u003cem>Temple\u003c/em>, a recent hit at \u003ca href=\"https://www.theguardian.com/stage/2015/may/28/the-temple-review-simon-russell-beale-donmar-warehouse-st-pauls\" target=\"_blank\" rel=\"noopener\">London’s Donmar Warehouse\u003c/a>, features a terrific cast with Paul Whitworth, a longtime leader at Shakespeare Santa Cruz; the promethean Sharon Lockwood; and Lontyne Mbele-Mbong, who was excellent last year at the Aurora in \u003cem>Breakfast with Mugabe\u003c/em>. Details for the show at Berkeley’s Aurora Theatre are \u003ca href=\"https://www.auroratheatre.org/index.php?option=com_theatre&view=show&id=133\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CGKN6qiDqnk'\n title='//www.youtube.com/embed/CGKN6qiDqnk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 14 & 17–19\u003c/strong>: \u003ca href=\"http://www.whitneytheband.com/\" target=\"_blank\" rel=\"noopener\">Whitney\u003c/a> is a band from Chicago, but their laid-back, country-soul sound (credit partly due to drummer Julien Erlich’s falsetto) sounds entirely Californian. Band leaders Max Kakacek (Smith Westerns) and Erlich (Unknown Mortal Orchestra) formed the band when they found they could write beautiful music together. They’re so hot that they’re playing Coachella, but they’re stopping first at Gundlach-Bundschu Winery on Friday, April 14, in Sonoma (a great, intimate venue), and they’re back in the Bay Area at the Independent in San Francisco for three nights, April 17–19. Details for the Gundlach-Bundschu show are\u003ca href=\"http://here\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>. And you’ll find details for the Independent show\u003ca href=\"http://www.theindependentsf.com/event/1415791-whitney-san-francisco/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/X4Q7d0CtYyk'\n title='//www.youtube.com/embed/X4Q7d0CtYyk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 14\u003c/strong>: One more shoutout from David. He’s intrigued by the music of electronic music artist Victor Fenton, also known as \u003ca href=\"https://www.facebook.com/frenchkiwijuice/\" target=\"_blank\" rel=\"noopener\">FKJ\u003c/a>. The acronym means French Kiwi Juice (of course), a reference to Fenton’s French and New Zealand heritage. The music is just as eclectic. Details for FKJ’s show at the Warfield on Friday are \u003ca href=\"http://www.axs.com/events/331665/fkj-tickets?skin=warfield&src=AEGLIVE_WWRFLSFO022715VEN001\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"Q.Logo_.Break_-400x39\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "No Point of View Overlooked in Park McArthur’s ‘New Work’",
"headTitle": "No Point of View Overlooked in Park McArthur’s ‘New Work’ | KQED",
"content": "\u003cp>The San Francisco Museum of Modern Art recently sent out a survey. On one page, it asked, “Please select any artist whose work you would be interested in seeing in a special exhibition.”\u003c/p>\n\u003cp>Ignoring the woeful number of female and non-Western artists among the 18 options, only four living artists were included as practitioners whose work the public would theoretically like to see. Don’t get me wrong — like most, some my favorite artists are dead artists — but sometimes you want your visual culture to reflect the here and now, to come from a time and place that affects your own perception of the everyday, and challenges you to alter your view of the world.\u003c/p>\n\u003cp>Thankfully, SFMOMA’s ongoing \u003ci>New Work\u003c/i> series exists to show new bodies of work by contemporary artists in a dedicated gallery space on the museum’s fourth floor. The latest comes from New York-based artist \u003ca href=\"https://www.sfmoma.org/exhibition/new-work-park-mcarthur/\" target=\"_blank\" rel=\"noopener\">Park McArthur\u003c/a>: a group of photographs and wall-mounted sculptures that question the use and accessibility of public spaces — from highways to parks to campfires — and how language, through its presence or absence, creates social conditions in those spaces.\u003c/p>\n\u003cfigure id=\"attachment_13047970\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200.jpg\" alt=\"Installation view of 'New Work: Park McArthur,' at SFMOMA.\" width=\"1200\" height=\"901\" class=\"size-full wp-image-13047970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘New Work: Park McArthur,’ at SFMOMA. \u003ccite>(Photo: Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Twelve blank aluminum signs of varying shapes, the likes of which tell California drivers about areas of interest, recreation or cultural import, dominate the walls of the exhibition. Mounted back to back, half of the signs sit flush against the gallery walls. Up close and viewed from a stationary position, the anodized metal shapes become minimalist monuments stripped of their welcome messages, physically overwhelming next to McArthur’s small framed works. \u003c/p>\n\u003cp>The series’ title, \u003ci>Softly, effectively\u003c/i>, references a statement from the \u003ci>\u003ca href=\"https://mutcd.fhwa.dot.gov/\" target=\"_blank\" rel=\"noopener\">Manual on Uniform Traffic Control Devices\u003c/a>\u003c/i> that imparts to roadside signs a sense of agency and civic pride: “As the direct means of communication with the traveler, traffic control devices speak to us softly, yet effectively and authoritatively.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout the exhibition, McArthur’s works allow inanimate objects to speak, asking the viewer to evaluate how different points of view affect our understanding of that language.\u003c/p>\n\u003cp>This analysis is most pointed in McArthur’s reflection on the museum’s own spaces and materials. With \u003ci>Designation\u003c/i>, she mounts surplus maple floorboards against the wall with their underside facing out, showing how they would fit together to expand the museum’s square footage. \u003c/p>\n\u003cfigure id=\"attachment_13047971\" class=\"wp-caption aligncenter\" style=\"max-width: 1152px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/05.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_COVER.jpg\" alt=\"Park McArthur, 'Bohetta (for Beverly),' 2017.\" width=\"1152\" height=\"648\" class=\"size-full wp-image-13047971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/05.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_COVER.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/05.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/05.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/05.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/05.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/05.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/05.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/05.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/05.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_COVER-520x293.jpg 520w\" sizes=\"(max-width: 1152px) 100vw, 1152px\">\u003cfigcaption class=\"wp-caption-text\">Park McArthur, ‘Bohetta (for Beverly),’ 2017. \u003ccite>(Photo: Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>Bohetta (for Beverly)\u003c/i>, she isolates two bricks of black granite removed from SFMOMA’s original atrium. Again, the artwork title contains layers of meaning. “Bohetta” is a catchy portmanteau of Mario Botta, architect behind the building’s 1995 design, and Snøhetta, the firm responsible for its 2016 expansion. “Beverly” is the late sculptor and earthworks artist \u003ca href=\"https://www.brooklynmuseum.org/exhibitions/beverly_buchanan_ruins_rituals\" target=\"_blank\" rel=\"noopener\">Beverly Buchanan\u003c/a>, who marked sites of loss and violence in the American South with pieces she often titled “ruins.” \u003c/p>\n\u003cp>One brick, mounted on the exhibition’s title wall, bears an inscription meant for SFMOMA employees who stuck with the museum during its years of closure and construction. “Thank you for stepping up and building our future,” it says, optimistically.\u003c/p>\n\u003cp>What would be a casual figure of speech to the able-bodied takes on new meaning in the context of McArthur’s exhibition, which contains her 2013 photograph \u003ci>How to get a wheelchair over sand\u003c/i> and \u003ci>Ramp Scheme 160 Main Street\u003c/i>, a detailed drawing made by her grandfather. In both pieces, McArthur’s wheelchair is the absent subject. The ad-hoc and permanent pathways created to facilitate her entry into social spaces (a residency campfire and a family friend’s home, respectively) document both the obstacles to participation and the materials that smooth those obstacles into spaces of transition. \u003c/p>\n\u003cfigure id=\"attachment_13047969\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200.jpg\" alt=\"Park McArthur, 'Overlook Park 2,' 2017.q\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13047969\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Park McArthur, ‘Overlook Park 2,’ 2017. \u003ccite>(Courtesy the artist, ESSEX STREET, New York and Lars Friedrich, Berlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Overlook Park 1-5\u003c/i>, the last group of works in the show, revels in the double-meaning of the word “overlook.” McArthur’s camera circles a non-ADA-compliant picnic table, taking in the boundaries between grass, concrete and wood from a slight distance — a documentary evaluation that doesn’t fit the square, level, dispassionate framing one might expect from conceptual photography.\u003c/p>\n\u003cp>Everything speaks — whether through its naming or its materials or its construction. The trick, as McArthur’s work guides us to understand, is to move beyond a one-on-one conversation with a given object, monument or space to imagine alternate points of view, larger, more inclusive conversations, and new modes of gathering — goals all more easily accomplished with the living instead of the dead.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘New Work: Park McArthur’ is on view at the San Francisco Museum of Modern Art through Aug. 27, 2017. For more information, \u003ca href=\"https://www.sfmoma.org/exhibition/new-work-park-mcarthur/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The latest in the museum's 'New Work' series encourages viewers to reevaluate inanimate objects and the stories they tell. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Museum of Modern Art recently sent out a survey. On one page, it asked, “Please select any artist whose work you would be interested in seeing in a special exhibition.”\u003c/p>\n\u003cp>Ignoring the woeful number of female and non-Western artists among the 18 options, only four living artists were included as practitioners whose work the public would theoretically like to see. Don’t get me wrong — like most, some my favorite artists are dead artists — but sometimes you want your visual culture to reflect the here and now, to come from a time and place that affects your own perception of the everyday, and challenges you to alter your view of the world.\u003c/p>\n\u003cp>Thankfully, SFMOMA’s ongoing \u003ci>New Work\u003c/i> series exists to show new bodies of work by contemporary artists in a dedicated gallery space on the museum’s fourth floor. The latest comes from New York-based artist \u003ca href=\"https://www.sfmoma.org/exhibition/new-work-park-mcarthur/\" target=\"_blank\" rel=\"noopener\">Park McArthur\u003c/a>: a group of photographs and wall-mounted sculptures that question the use and accessibility of public spaces — from highways to parks to campfires — and how language, through its presence or absence, creates social conditions in those spaces.\u003c/p>\n\u003cfigure id=\"attachment_13047970\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200.jpg\" alt=\"Installation view of 'New Work: Park McArthur,' at SFMOMA.\" width=\"1200\" height=\"901\" class=\"size-full wp-image-13047970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/02.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘New Work: Park McArthur,’ at SFMOMA. \u003ccite>(Photo: Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Twelve blank aluminum signs of varying shapes, the likes of which tell California drivers about areas of interest, recreation or cultural import, dominate the walls of the exhibition. Mounted back to back, half of the signs sit flush against the gallery walls. Up close and viewed from a stationary position, the anodized metal shapes become minimalist monuments stripped of their welcome messages, physically overwhelming next to McArthur’s small framed works. \u003c/p>\n\u003cp>The series’ title, \u003ci>Softly, effectively\u003c/i>, references a statement from the \u003ci>\u003ca href=\"https://mutcd.fhwa.dot.gov/\" target=\"_blank\" rel=\"noopener\">Manual on Uniform Traffic Control Devices\u003c/a>\u003c/i> that imparts to roadside signs a sense of agency and civic pride: “As the direct means of communication with the traveler, traffic control devices speak to us softly, yet effectively and authoritatively.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout the exhibition, McArthur’s works allow inanimate objects to speak, asking the viewer to evaluate how different points of view affect our understanding of that language.\u003c/p>\n\u003cp>This analysis is most pointed in McArthur’s reflection on the museum’s own spaces and materials. With \u003ci>Designation\u003c/i>, she mounts surplus maple floorboards against the wall with their underside facing out, showing how they would fit together to expand the museum’s square footage. \u003c/p>\n\u003cfigure id=\"attachment_13047971\" class=\"wp-caption aligncenter\" style=\"max-width: 1152px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/05.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_COVER.jpg\" alt=\"Park McArthur, 'Bohetta (for Beverly),' 2017.\" width=\"1152\" height=\"648\" class=\"size-full wp-image-13047971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/05.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_COVER.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/05.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/05.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/05.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/05.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/05.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/05.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/05.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/05.-New-Work-Park-McArthur-2017-installation-view-SFMOMA-photo-Robert-Herrick_COVER-520x293.jpg 520w\" sizes=\"(max-width: 1152px) 100vw, 1152px\">\u003cfigcaption class=\"wp-caption-text\">Park McArthur, ‘Bohetta (for Beverly),’ 2017. \u003ccite>(Photo: Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>Bohetta (for Beverly)\u003c/i>, she isolates two bricks of black granite removed from SFMOMA’s original atrium. Again, the artwork title contains layers of meaning. “Bohetta” is a catchy portmanteau of Mario Botta, architect behind the building’s 1995 design, and Snøhetta, the firm responsible for its 2016 expansion. “Beverly” is the late sculptor and earthworks artist \u003ca href=\"https://www.brooklynmuseum.org/exhibitions/beverly_buchanan_ruins_rituals\" target=\"_blank\" rel=\"noopener\">Beverly Buchanan\u003c/a>, who marked sites of loss and violence in the American South with pieces she often titled “ruins.” \u003c/p>\n\u003cp>One brick, mounted on the exhibition’s title wall, bears an inscription meant for SFMOMA employees who stuck with the museum during its years of closure and construction. “Thank you for stepping up and building our future,” it says, optimistically.\u003c/p>\n\u003cp>What would be a casual figure of speech to the able-bodied takes on new meaning in the context of McArthur’s exhibition, which contains her 2013 photograph \u003ci>How to get a wheelchair over sand\u003c/i> and \u003ci>Ramp Scheme 160 Main Street\u003c/i>, a detailed drawing made by her grandfather. In both pieces, McArthur’s wheelchair is the absent subject. The ad-hoc and permanent pathways created to facilitate her entry into social spaces (a residency campfire and a family friend’s home, respectively) document both the obstacles to participation and the materials that smooth those obstacles into spaces of transition. \u003c/p>\n\u003cfigure id=\"attachment_13047969\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200.jpg\" alt=\"Park McArthur, 'Overlook Park 2,' 2017.q\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13047969\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/McArthur_Overlook-Park-2_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Park McArthur, ‘Overlook Park 2,’ 2017. \u003ccite>(Courtesy the artist, ESSEX STREET, New York and Lars Friedrich, Berlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Overlook Park 1-5\u003c/i>, the last group of works in the show, revels in the double-meaning of the word “overlook.” McArthur’s camera circles a non-ADA-compliant picnic table, taking in the boundaries between grass, concrete and wood from a slight distance — a documentary evaluation that doesn’t fit the square, level, dispassionate framing one might expect from conceptual photography.\u003c/p>\n\u003cp>Everything speaks — whether through its naming or its materials or its construction. The trick, as McArthur’s work guides us to understand, is to move beyond a one-on-one conversation with a given object, monument or space to imagine alternate points of view, larger, more inclusive conversations, and new modes of gathering — goals all more easily accomplished with the living instead of the dead.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘New Work: Park McArthur’ is on view at the San Francisco Museum of Modern Art through Aug. 27, 2017. For more information, \u003ca href=\"https://www.sfmoma.org/exhibition/new-work-park-mcarthur/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
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"order": 1
},
"link": "/podcasts/closealltabs",
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
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