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"title": "Who’s Behind the Colorful Lights at San Francisco City Hall?",
"headTitle": "Who’s Behind the Colorful Lights at San Francisco City Hall? | KQED",
"content": "\u003cp>[dropcap]B[/dropcap]ay Curious listener \u003ca href=\"https://www.fireclaytile.com/our-team/\">Katie Emigh \u003c/a>loves walking by San Francisco’s City Hall after sunset. The building’s ominous granite exterior is lit up dramatically every night. Most nights the lights are white. But there are special days when City Hall takes on a whole new look.\u003c/p>\n\u003cp>For \u003ca href=\"http://www.sfpride.org/\">Pride Week\u003c/a>, it glowed in all the colors of the rainbow. After \u003ca href=\"http://www.rollingstone.com/music/artists/prince\">Prince\u003c/a> died, it was bathed in purple. On St. Paddy’s Day, City Hall turned a radiant shamrock green.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>“It’s such a symbol of San Francisco, and has become more of a symbol as time’s gone on,” Katie says as she stands before City Hall.\u003c/p>\n\u003cp>With her favorite San Francisco building in mind, Katie had a question for \u003ca href=\"https://ww2.kqed.org/news/series/baycurious/\">\u003cem>Bay Curious\u003c/em>\u003c/a>:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was always just curious who decides what the lights are going to be at City Hall — and who does them?”\u003c/p>\n\u003cfigure id=\"attachment_11428739\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11428739\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/DSC_k4956-11-1020x679.jpg\" alt=\"Katie Emigh met up with her best friend Kim Ish for St. Patricks Day -- but first a stop at her favorite landmark.\" width=\"640\" height=\"426\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-1920x1277.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Katie Emigh met up with her best friend, Kim Ish, for St. Patrick’s Day — but first a stop at her favorite landmark. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>City Hall History\u003c/h3>\n\u003cp>Like every great structure in every great city, \u003ca href=\"http://sfgov.org/cityhall/\">San Francisco City Hall\u003c/a> has a story to tell.\u003c/p>\n\u003cp>Most city halls are landmarks, it’s true. But our City Hall is even more iconic than your average civic building — one with a history that makes its special luminous hues even more meaningful.\u003c/p>\n\u003cp>Built in 1915, in the \u003ca href=\"https://www.britannica.com/art/Neoclassical-architecture\">neoclassical style\u003c/a>, it rises more than the length of a football field into the San Francisco sky. At 307 feet, it’s taller than the \u003ca href=\"https://www.nps.gov/nr/travel/wash/dc76.htm\">U.S. Capitol Building\u003c/a> in Washington, D.C., and features 240 windows.\u003c/p>\n\u003cp>Every year, tens of thousands of visitors walk through its ornate bronze doors — like \u003ca href=\"http://www.history.com/this-day-in-history/marilyn-monroe-marries-joe-dimaggio\">Marilyn Monroe & Joe DiMaggio\u003c/a> did in 1954. The American icons were \u003ca href=\"http://www.sfmuseum.org/hist8/jodimag.html\">married here\u003c/a>.\u003c/p>\n\u003cp>For generations of San Franciscans, City Hall has long been a symbol of political and social change.\u003c/p>\n\u003cp>It was here that former San Francisco Mayor \u003ca href=\"http://www.ltg.ca.gov/\">Gavin Newsom\u003c/a> unleashed a watershed legal and political tempest when he issued \u003ca href=\"http://www.nytimes.com/2004/02/12/national/san-francisco-city-officials-perform-gay-marriages.html?_r=0\">marriage licenses to gay couples\u003c/a> in 2004, putting the nation on notice when he said, “As California goes, so goes the nation.”\u003c/p>\n\u003cp>City Hall has also seen its \u003ca href=\"http://www.history.com/this-day-in-history/san-francisco-leaders-george-moscone-and-harvey-milk-are-murdered\">tragic moments\u003c/a>. In 1978, then-Board of Supervisors President \u003ca href=\"https://www.feinstein.senate.gov/public/\">Dianne Feinstein\u003c/a> made a chilling announcement on the front steps that both \u003ca href=\"http://www.latimes.com/opinion/la-oe-getlin23-2008nov23-story.html\">Mayor George Moscone\u003c/a> and \u003ca href=\"http://milkfoundation.org/about/harvey-milk-biography/\">Supervisor Harvey Milk\u003c/a>, the first openly gay person elected to public office, had been shot and killed by former Supervisor \u003ca href=\"http://www.biography.com/people/dan-white-17169664\">Dan White\u003c/a>.\u003c/p>\n\u003cp>And City Hall has had its turn in the Hollywood spotlight, too, including roles in classics like 1971’s \u003ca href=\"http://www.imdb.com/title/tt0066999/\">“Dirty Harry,”\u003c/a> the blockbuster \u003ca href=\"http://www.imdb.com/title/tt0082971/?ref_=fn_al_tt_1\">“Raiders of the Lost Ark”\u003c/a> and the remake of the sci-fi cult standard, \u003ca href=\"http://www.imdb.com/title/tt0077745/?ref_=fn_al_tt_1\">“Invasion of the Body Snatchers.”\u003c/a>\u003c/p>\n\u003cp>By day, City Hall is a monument to this place we call home. And at night, the lights continue to reflect the city’s unique identity.\u003c/p>\n\u003ch3>So, who makes the lighting decisions?\u003c/h3>\n\u003cp>It’s actually a trio of City Hall officials: \u003ca href=\"http://sfgsa.org/about-naomi-kelly\">City Administrator Naomi Kelly\u003c/a>; the mayor’s director of special events, \u003ca href=\"http://variety.com/2000/film/news/s-f-mayor-ups-cohen-to-head-city-film-office-1117787009/\">Martha Cohen\u003c/a>; and the city’s chief of protocol, \u003ca href=\"http://sfmayor.org/mayor-lee-appoints-charlotte-mailliard-shultz-chief-protocol\">Charlotte Shultz\u003c/a>. Together, they decide which civic events get lit up — always keying into what Kelly calls “a local nexus.”\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>They go with red, white and blue for Election Day and rainbow colors for Pride Week. But sometimes the colors that shine are a little less obvious. Blue on an ordinary February evening? Red tones amid a windy September night?\u003c/p>\n\u003cp>Turns out City Hall can be rented for private events, and paying clients get to decide City Hall’s lighting scheme.\u003c/p>\n\u003cp>Our \u003ca href=\"https://ww2.kqed.org/news/series/baycurious/\">\u003cem>Bay Curious\u003c/em>\u003c/a> question-asker, Katie, also noticed something else.\u003c/p>\n\u003cp>“It used to happen less, and now it seems to happen more frequently,” she says.\u003c/p>\n\u003cp>Katie’s right. City Hall goes all-aglow more often now. The older lighting system made changing colors a big challenge.\u003c/p>\n\u003caside class=\"pullquote alignright\">Funding for the $2.5 million project came from a combination of private donations and city funds.\u003c/aside>\n\u003cp>“We would have to send a team of electricians and our station engineers out on the second floor of this building and manually change each of the 220 exterior lights with these gel caps,” says Kelly. “That process could take days. And they were incandescent lights, so they burned a lot of energy.”\u003c/p>\n\u003cp>Each time there was a lighting change it cost about $5,000 to create a new color scheme, so it didn’t happen very often.\u003c/p>\n\u003cp>But two years ago, City Hall celebrated a milestone — its 100\u003csup>th\u003c/sup> birthday.\u003c/p>\n\u003cp>“All the \u003ca href=\"http://sfcityhall100.com/projects.html\">exterior lights were replaced with LED bulbs\u003c/a>,” says Kelly.\u003c/p>\n\u003cp>Changing the colors of the lights got a lot easier. Instead of hiring a full work crew to make the alterations by hand, now one man makes it shine — \u003ca href=\"https://www.linkedin.com/in/norman-goldwyn-0b922011\">Norm Goldwyn\u003c/a>, IT Director of the City and County of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11428747\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11428747\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/DSC_b4850-1-1020x679.jpg\" alt=\"Before the new LED lights were installed, it took a crew hours or days to swap out colored gels on the old lights. \" width=\"640\" height=\"426\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-1920x1278.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Before the new LED lights were installed, it took a crew hours or days to swap out colored gels on the old lights. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goldwyn works his magic in a dark, cramped room far below the rattle and hubbub of the San Francisco streets above. Some might call him an artist. Instead of a brush he uses a mouse. His canvas is a piece of granite. And his paint palette – it’s a computer screen.\u003c/p>\n\u003cp>In his windowless lab downstairs, Goldwyn gets to do what he calls “probably one of the funnest parts of my job.”\u003c/p>\n\u003cp>The room is cluttered. Old boxes, a table, some steel machinery, a piece of granite and one of the new LED light fixtures sit amid the mess. He quickly goes to work and explains his process.\u003c/p>\n\u003cfigure id=\"attachment_11428743\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11428743\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/DSC_bb4887-6-1020x679.jpg\" alt=\"For Norm Goldwyn, getting the hue to shine on the granite just right is an art. \" width=\"640\" height=\"426\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-1920x1278.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">For Norm Goldwyn, getting the hue to shine on the granite just right is an art. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I grab a computer and hook it up to a light fixture, and then I can adjust the sliders until I can find the exact color combination that makes sense for that particular special occasion,” he says.\u003c/p>\n\u003cp>But getting the colors right can be tricky, since they look different on a laptop than they do shining on the City Hall facade. For this, he has a real-world solution — that slab of granite on the basement floor.\u003c/p>\n\u003cp>“This is an example of the granite we use on the outside of City Hall,” he says, positioning the stone just right. “So when we finally take a color idea, we can shine it on the sample material here and see what color, with our own eyes, it’s really going to look like.”\u003c/p>\n\u003cp>And with a quick touch on a laptop keyboard, the whole space is suddenly lit up green. A shamrock green to be precise. Other nights, the dark basement radiates in \u003ca href=\"https://www.womensmarch.com/\">Women’s March\u003c/a> pink or \u003ca href=\"http://www.nba.com/warriors/\">Warriors\u003c/a> blue and gold.\u003c/p>\n\u003cfigure id=\"attachment_11428744\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11428744\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/DSC_bb4887-3-1020x679.jpg\" alt=\"A dark room with a sample piece of granite helps Goldwyn find the right hue from his palette of 16 million. \" width=\"640\" height=\"426\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-1920x1278.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A dark room with a sample piece of granite helps Goldwyn find the right hue from his palette of 16 million. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But getting the colors just right isn’t as easy as you might think.\u003c/p>\n\u003cp>“It took us a lot of tries to get Giants orange looking orange, as opposed to red or yellow,” admits Goldwyn. “And most people don’t actually know what they want. They just want blue. But they don’t think about Sky Blue, Carolina Blue, Deep Indigo. They just say, ‘I want blue.’ ”\u003c/p>\n\u003cp>Goldwyn can adjust for 16 million hues. The colors can also be set to change and move. And with the new technology also comes ease of use. The lights are programmed to go off and on with a touch of the hand and simple flip of a switch.\u003c/p>\n\u003cfigure id=\"attachment_11428745\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11428745\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/DSC_k4956-7-1020x679.jpg\" alt=\"Katie Emigh is eager for one particular San Francisco sports team to be honored by the City Hall light scheme. \" width=\"640\" height=\"426\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-1920x1278.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Katie Emigh is eager for one particular San Francisco sports team to be honored by the City Hall light scheme. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside, Katie admires the work of the man in the basement down below.\u003c/p>\n\u003cp>“Norm really did it tonight. He really killed it with the green,” she says. “It’s inspiring, because it’s less bureaucratic than I thought it would be, less people involved than I thought it would be. That this small group of people are able to represent these moments for the city, that really show this beautiful civic monument, is absolutely wonderful.”\u003c/p>\n\u003cp>As she heads off into the San Francisco night, she turns to say one last thing.\u003c/p>\n\u003cp>“Do you want to know the next great moment I’m looking forward to City Hall shining bright for? \u003ca href=\"https://www.mlb.com/giants\">Giants\u003c/a> orange, baby!”\u003c/p>\n\u003cp>It’s a good thing Norm Goldwyn already has the right shade of orange all figured out. Not too red. Not too yellow.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>ay Curious listener \u003ca href=\"https://www.fireclaytile.com/our-team/\">Katie Emigh \u003c/a>loves walking by San Francisco’s City Hall after sunset. The building’s ominous granite exterior is lit up dramatically every night. Most nights the lights are white. But there are special days when City Hall takes on a whole new look.\u003c/p>\n\u003cp>For \u003ca href=\"http://www.sfpride.org/\">Pride Week\u003c/a>, it glowed in all the colors of the rainbow. After \u003ca href=\"http://www.rollingstone.com/music/artists/prince\">Prince\u003c/a> died, it was bathed in purple. On St. Paddy’s Day, City Hall turned a radiant shamrock green.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It’s such a symbol of San Francisco, and has become more of a symbol as time’s gone on,” Katie says as she stands before City Hall.\u003c/p>\n\u003cp>With her favorite San Francisco building in mind, Katie had a question for \u003ca href=\"https://ww2.kqed.org/news/series/baycurious/\">\u003cem>Bay Curious\u003c/em>\u003c/a>:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was always just curious who decides what the lights are going to be at City Hall — and who does them?”\u003c/p>\n\u003cfigure id=\"attachment_11428739\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11428739\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/DSC_k4956-11-1020x679.jpg\" alt=\"Katie Emigh met up with her best friend Kim Ish for St. Patricks Day -- but first a stop at her favorite landmark.\" width=\"640\" height=\"426\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-1920x1277.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Katie Emigh met up with her best friend, Kim Ish, for St. Patrick’s Day — but first a stop at her favorite landmark. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>City Hall History\u003c/h3>\n\u003cp>Like every great structure in every great city, \u003ca href=\"http://sfgov.org/cityhall/\">San Francisco City Hall\u003c/a> has a story to tell.\u003c/p>\n\u003cp>Most city halls are landmarks, it’s true. But our City Hall is even more iconic than your average civic building — one with a history that makes its special luminous hues even more meaningful.\u003c/p>\n\u003cp>Built in 1915, in the \u003ca href=\"https://www.britannica.com/art/Neoclassical-architecture\">neoclassical style\u003c/a>, it rises more than the length of a football field into the San Francisco sky. At 307 feet, it’s taller than the \u003ca href=\"https://www.nps.gov/nr/travel/wash/dc76.htm\">U.S. Capitol Building\u003c/a> in Washington, D.C., and features 240 windows.\u003c/p>\n\u003cp>Every year, tens of thousands of visitors walk through its ornate bronze doors — like \u003ca href=\"http://www.history.com/this-day-in-history/marilyn-monroe-marries-joe-dimaggio\">Marilyn Monroe & Joe DiMaggio\u003c/a> did in 1954. The American icons were \u003ca href=\"http://www.sfmuseum.org/hist8/jodimag.html\">married here\u003c/a>.\u003c/p>\n\u003cp>For generations of San Franciscans, City Hall has long been a symbol of political and social change.\u003c/p>\n\u003cp>It was here that former San Francisco Mayor \u003ca href=\"http://www.ltg.ca.gov/\">Gavin Newsom\u003c/a> unleashed a watershed legal and political tempest when he issued \u003ca href=\"http://www.nytimes.com/2004/02/12/national/san-francisco-city-officials-perform-gay-marriages.html?_r=0\">marriage licenses to gay couples\u003c/a> in 2004, putting the nation on notice when he said, “As California goes, so goes the nation.”\u003c/p>\n\u003cp>City Hall has also seen its \u003ca href=\"http://www.history.com/this-day-in-history/san-francisco-leaders-george-moscone-and-harvey-milk-are-murdered\">tragic moments\u003c/a>. In 1978, then-Board of Supervisors President \u003ca href=\"https://www.feinstein.senate.gov/public/\">Dianne Feinstein\u003c/a> made a chilling announcement on the front steps that both \u003ca href=\"http://www.latimes.com/opinion/la-oe-getlin23-2008nov23-story.html\">Mayor George Moscone\u003c/a> and \u003ca href=\"http://milkfoundation.org/about/harvey-milk-biography/\">Supervisor Harvey Milk\u003c/a>, the first openly gay person elected to public office, had been shot and killed by former Supervisor \u003ca href=\"http://www.biography.com/people/dan-white-17169664\">Dan White\u003c/a>.\u003c/p>\n\u003cp>And City Hall has had its turn in the Hollywood spotlight, too, including roles in classics like 1971’s \u003ca href=\"http://www.imdb.com/title/tt0066999/\">“Dirty Harry,”\u003c/a> the blockbuster \u003ca href=\"http://www.imdb.com/title/tt0082971/?ref_=fn_al_tt_1\">“Raiders of the Lost Ark”\u003c/a> and the remake of the sci-fi cult standard, \u003ca href=\"http://www.imdb.com/title/tt0077745/?ref_=fn_al_tt_1\">“Invasion of the Body Snatchers.”\u003c/a>\u003c/p>\n\u003cp>By day, City Hall is a monument to this place we call home. And at night, the lights continue to reflect the city’s unique identity.\u003c/p>\n\u003ch3>So, who makes the lighting decisions?\u003c/h3>\n\u003cp>It’s actually a trio of City Hall officials: \u003ca href=\"http://sfgsa.org/about-naomi-kelly\">City Administrator Naomi Kelly\u003c/a>; the mayor’s director of special events, \u003ca href=\"http://variety.com/2000/film/news/s-f-mayor-ups-cohen-to-head-city-film-office-1117787009/\">Martha Cohen\u003c/a>; and the city’s chief of protocol, \u003ca href=\"http://sfmayor.org/mayor-lee-appoints-charlotte-mailliard-shultz-chief-protocol\">Charlotte Shultz\u003c/a>. Together, they decide which civic events get lit up — always keying into what Kelly calls “a local nexus.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>They go with red, white and blue for Election Day and rainbow colors for Pride Week. But sometimes the colors that shine are a little less obvious. Blue on an ordinary February evening? Red tones amid a windy September night?\u003c/p>\n\u003cp>Turns out City Hall can be rented for private events, and paying clients get to decide City Hall’s lighting scheme.\u003c/p>\n\u003cp>Our \u003ca href=\"https://ww2.kqed.org/news/series/baycurious/\">\u003cem>Bay Curious\u003c/em>\u003c/a> question-asker, Katie, also noticed something else.\u003c/p>\n\u003cp>“It used to happen less, and now it seems to happen more frequently,” she says.\u003c/p>\n\u003cp>Katie’s right. City Hall goes all-aglow more often now. The older lighting system made changing colors a big challenge.\u003c/p>\n\u003caside class=\"pullquote alignright\">Funding for the $2.5 million project came from a combination of private donations and city funds.\u003c/aside>\n\u003cp>“We would have to send a team of electricians and our station engineers out on the second floor of this building and manually change each of the 220 exterior lights with these gel caps,” says Kelly. “That process could take days. And they were incandescent lights, so they burned a lot of energy.”\u003c/p>\n\u003cp>Each time there was a lighting change it cost about $5,000 to create a new color scheme, so it didn’t happen very often.\u003c/p>\n\u003cp>But two years ago, City Hall celebrated a milestone — its 100\u003csup>th\u003c/sup> birthday.\u003c/p>\n\u003cp>“All the \u003ca href=\"http://sfcityhall100.com/projects.html\">exterior lights were replaced with LED bulbs\u003c/a>,” says Kelly.\u003c/p>\n\u003cp>Changing the colors of the lights got a lot easier. Instead of hiring a full work crew to make the alterations by hand, now one man makes it shine — \u003ca href=\"https://www.linkedin.com/in/norman-goldwyn-0b922011\">Norm Goldwyn\u003c/a>, IT Director of the City and County of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11428747\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11428747\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/DSC_b4850-1-1020x679.jpg\" alt=\"Before the new LED lights were installed, it took a crew hours or days to swap out colored gels on the old lights. \" width=\"640\" height=\"426\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-1920x1278.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Before the new LED lights were installed, it took a crew hours or days to swap out colored gels on the old lights. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goldwyn works his magic in a dark, cramped room far below the rattle and hubbub of the San Francisco streets above. Some might call him an artist. Instead of a brush he uses a mouse. His canvas is a piece of granite. And his paint palette – it’s a computer screen.\u003c/p>\n\u003cp>In his windowless lab downstairs, Goldwyn gets to do what he calls “probably one of the funnest parts of my job.”\u003c/p>\n\u003cp>The room is cluttered. Old boxes, a table, some steel machinery, a piece of granite and one of the new LED light fixtures sit amid the mess. He quickly goes to work and explains his process.\u003c/p>\n\u003cfigure id=\"attachment_11428743\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11428743\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/DSC_bb4887-6-1020x679.jpg\" alt=\"For Norm Goldwyn, getting the hue to shine on the granite just right is an art. \" width=\"640\" height=\"426\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-1920x1278.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">For Norm Goldwyn, getting the hue to shine on the granite just right is an art. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I grab a computer and hook it up to a light fixture, and then I can adjust the sliders until I can find the exact color combination that makes sense for that particular special occasion,” he says.\u003c/p>\n\u003cp>But getting the colors right can be tricky, since they look different on a laptop than they do shining on the City Hall facade. For this, he has a real-world solution — that slab of granite on the basement floor.\u003c/p>\n\u003cp>“This is an example of the granite we use on the outside of City Hall,” he says, positioning the stone just right. “So when we finally take a color idea, we can shine it on the sample material here and see what color, with our own eyes, it’s really going to look like.”\u003c/p>\n\u003cp>And with a quick touch on a laptop keyboard, the whole space is suddenly lit up green. A shamrock green to be precise. Other nights, the dark basement radiates in \u003ca href=\"https://www.womensmarch.com/\">Women’s March\u003c/a> pink or \u003ca href=\"http://www.nba.com/warriors/\">Warriors\u003c/a> blue and gold.\u003c/p>\n\u003cfigure id=\"attachment_11428744\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11428744\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/DSC_bb4887-3-1020x679.jpg\" alt=\"A dark room with a sample piece of granite helps Goldwyn find the right hue from his palette of 16 million. \" width=\"640\" height=\"426\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-1920x1278.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A dark room with a sample piece of granite helps Goldwyn find the right hue from his palette of 16 million. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But getting the colors just right isn’t as easy as you might think.\u003c/p>\n\u003cp>“It took us a lot of tries to get Giants orange looking orange, as opposed to red or yellow,” admits Goldwyn. “And most people don’t actually know what they want. They just want blue. But they don’t think about Sky Blue, Carolina Blue, Deep Indigo. They just say, ‘I want blue.’ ”\u003c/p>\n\u003cp>Goldwyn can adjust for 16 million hues. The colors can also be set to change and move. And with the new technology also comes ease of use. The lights are programmed to go off and on with a touch of the hand and simple flip of a switch.\u003c/p>\n\u003cfigure id=\"attachment_11428745\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11428745\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/DSC_k4956-7-1020x679.jpg\" alt=\"Katie Emigh is eager for one particular San Francisco sports team to be honored by the City Hall light scheme. \" width=\"640\" height=\"426\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-1920x1278.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Katie Emigh is eager for one particular San Francisco sports team to be honored by the City Hall light scheme. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside, Katie admires the work of the man in the basement down below.\u003c/p>\n\u003cp>“Norm really did it tonight. He really killed it with the green,” she says. “It’s inspiring, because it’s less bureaucratic than I thought it would be, less people involved than I thought it would be. That this small group of people are able to represent these moments for the city, that really show this beautiful civic monument, is absolutely wonderful.”\u003c/p>\n\u003cp>As she heads off into the San Francisco night, she turns to say one last thing.\u003c/p>\n\u003cp>“Do you want to know the next great moment I’m looking forward to City Hall shining bright for? \u003ca href=\"https://www.mlb.com/giants\">Giants\u003c/a> orange, baby!”\u003c/p>\n\u003cp>It’s a good thing Norm Goldwyn already has the right shade of orange all figured out. Not too red. Not too yellow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "We, the People, in a Middle-School Classroom in San Francisco",
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"content": "\u003cp>Inspired by the wide variety of \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"\" rel=\"noopener\">artistic responses\u003c/a> to the Trump administration in the Bay Area and beyond, visual arts instructor Caren Andrews this year challenged her middle school students at \u003ca href=\"http://www.sffriendsschool.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Friends School\u003c/a> to add their own voices to the nationwide conversation.\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>“Our kids had an intuitive understanding of why we create art, whether it’s to add beauty to the world or reflect ourselves,” Andrews says. “But we found that they struggled with their connection to art and action.”\u003c/p>\n\u003cp>Andrews hoped to forge that connection by asking her students to interpret the U.S. Constitution. The teacher saw the 228-year-old document governing the law of the land and its people as being particularly vital in an era where civil rights are constantly up for debate.\u003c/p>\n\u003cp>Inspired by a 1960s Bill of Rights poster published by the American Civil Liberties Union (ACLU), Andrews’ students created their own set of posters examining constitutional amendments. Andrews also encouraged her students to respond through visual art to other political issues, such as the gender pay gap and abortion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Responses included a giant mouth representing the U.S.’s excessive consumption of global resources, and a person flailing off a treadmill as a way to represent the right to a speedy trial. But all are rooted in a deep reflection of the tangible relationship between this country’s laws and the students’ own lives.\u003c/p>\n\u003cfigure id=\"attachment_13103191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13103191\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/billie-lgbt-800x531.png\" alt='\"Raising the Flag on America\" by Billie Breskin.' width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-960x637.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-240x159.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-375x249.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-520x345.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt.png 1011w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Raising the Flag on America” by Billie Breskin. \u003ccite>(Courtesy of Caren Andrews)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eighth grader Billie Breskin re-purposed the iconic photograph “Raising the Flag on Iwo Jima” by replacing the stars and stripes in the famous wartime image with the rainbow colors of Gay Pride. Breskin hopes her poster will open up a discussion about gay marriage legislation in the U.S.\u003c/p>\n\u003cp>“Part of being American is protecting what’s back home,” Breskin says. “I wanted to do something truly patriotic, but present it in a way that includes the LGBT community.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BR_4YRpBAkn/\u003c/p>\n\u003cp>The poster project is part of a class Andrews teaches at the school, titled \u003cem>The Space Between: Art, Justice, and Action\u003c/em>. The class is aimed at finding active ways for students to question their roles both as artists and cultural consumers, especially in the era of fake news and the potential \u003ca href=\"http://www.npr.org/2017/03/16/520401246/trumps-budget-plan-cuts-funding-for-arts-humanities-and-public-media\" target=\"_blank\" rel=\"noopener\">de-funding of public arts programs\u003c/a>.\u003c/p>\n\u003cp>“I want them to be critical thinkers, to understand when they’re being pandered to and be discerning consumers,” Andrews says of the goals of the class. “In working with these young people, I feel like I’m developing the young artists-activists of tomorrow and today.”\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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inspired by the wide variety of \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"\" rel=\"noopener\">artistic responses\u003c/a> to the Trump administration in the Bay Area and beyond, visual arts instructor Caren Andrews this year challenged her middle school students at \u003ca href=\"http://www.sffriendsschool.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Friends School\u003c/a> to add their own voices to the nationwide conversation.\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>“Our kids had an intuitive understanding of why we create art, whether it’s to add beauty to the world or reflect ourselves,” Andrews says. “But we found that they struggled with their connection to art and action.”\u003c/p>\n\u003cp>Andrews hoped to forge that connection by asking her students to interpret the U.S. Constitution. The teacher saw the 228-year-old document governing the law of the land and its people as being particularly vital in an era where civil rights are constantly up for debate.\u003c/p>\n\u003cp>Inspired by a 1960s Bill of Rights poster published by the American Civil Liberties Union (ACLU), Andrews’ students created their own set of posters examining constitutional amendments. Andrews also encouraged her students to respond through visual art to other political issues, such as the gender pay gap and abortion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Responses included a giant mouth representing the U.S.’s excessive consumption of global resources, and a person flailing off a treadmill as a way to represent the right to a speedy trial. But all are rooted in a deep reflection of the tangible relationship between this country’s laws and the students’ own lives.\u003c/p>\n\u003cfigure id=\"attachment_13103191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13103191\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/billie-lgbt-800x531.png\" alt='\"Raising the Flag on America\" by Billie Breskin.' width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-960x637.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-240x159.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-375x249.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-520x345.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt.png 1011w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Raising the Flag on America” by Billie Breskin. \u003ccite>(Courtesy of Caren Andrews)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eighth grader Billie Breskin re-purposed the iconic photograph “Raising the Flag on Iwo Jima” by replacing the stars and stripes in the famous wartime image with the rainbow colors of Gay Pride. Breskin hopes her poster will open up a discussion about gay marriage legislation in the U.S.\u003c/p>\n\u003cp>“Part of being American is protecting what’s back home,” Breskin says. “I wanted to do something truly patriotic, but present it in a way that includes the LGBT community.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The poster project is part of a class Andrews teaches at the school, titled \u003cem>The Space Between: Art, Justice, and Action\u003c/em>. The class is aimed at finding active ways for students to question their roles both as artists and cultural consumers, especially in the era of fake news and the potential \u003ca href=\"http://www.npr.org/2017/03/16/520401246/trumps-budget-plan-cuts-funding-for-arts-humanities-and-public-media\" target=\"_blank\" rel=\"noopener\">de-funding of public arts programs\u003c/a>.\u003c/p>\n\u003cp>“I want them to be critical thinkers, to understand when they’re being pandered to and be discerning consumers,” Andrews says of the goals of the class. “In working with these young people, I feel like I’m developing the young artists-activists of tomorrow and today.”\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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"content": "\u003cp>At first glance, the Cantor Arts Center’s newest exhibition, \u003ci>\u003ca href=\"http://museum.stanford.edu/news_room/Creativity.html\" target=\"_blank\" rel=\"noopener\">Creativity on the Line: Design for the Corporate World 1950-1975\u003c/a>\u003c/i> looks like a showcase of the hottest mid-century designers and the objects they spawned: Charles and Ray Eames’ pumpkin-colored fiberglass chair, Henry Dreyfuss’ Polaroid SLR camera, Dieter Rams’ 1956 Braun radio (so sleek it was known as “Snow White’s Coffin”). But the exhibition, as curator Wim de Wit says, is “more complex.” Digging deep into the relationship between designers and the companies they labored under, \u003ci>Creativity on the Line\u003c/i> reveals the uneasy balance between visionary product design and corporate expectations, a tactic that simultaneously tempers the glamour of the objects on view and humanizes the people behind their sleek surfaces.\u003c/p>\n\u003cfigure id=\"attachment_13113825\" 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/Eames_chair_1200.jpg\" alt=\"Charles and Ray Eames, Molded Fiberglass chair with table arm, for Herman Miller, Inc., 1960–61.\" width=\"1200\" height=\"1346\" class=\"size-full wp-image-13113825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Eames_chair_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Eames_chair_1200-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Eames_chair_1200-800x897.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Eames_chair_1200-768x861.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Eames_chair_1200-1020x1144.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Eames_chair_1200-1180x1324.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Eames_chair_1200-960x1077.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Eames_chair_1200-240x269.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Eames_chair_1200-375x421.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Eames_chair_1200-520x583.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Charles and Ray Eames, Molded Fiberglass chair with table arm, for Herman Miller, Inc., 1960–61. \u003ccite>(Courtesy of the Cantor Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition design, borrowing from the time period it presents, presents consumer electronics, spiral-bound style guides and architectural models under plexiglas vitrines arranged exposition-like in an orderly grid. Tracing the history of designers’ involvement in corporate branding, product design and advertising, the arrangement of objects and wall text encourages a ping-pong movement between the walls, starting with Bauhaus influence on 1920s German design and ending, chronologically, with the first commercially successful personal computer, 1974’s Altair 8800.\u003c/p>\n\u003cp>Above the neat rows of vitrines, ambivalent and sometimes outright cynical quotes from prominent designers fill the far wall of the gallery. “We believed that once all business embraced the notion of design as a function of management, all of us would be employed to produce beautiful products,” says a quote from Saul Bass. “But it didn’t turn out the way we thought. Sure enough, Big Business embraced design, and promptly turned it into a commodity.”\u003c/p>\n\u003cfigure id=\"attachment_13113828\" 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/Style_book_1200.jpg\" alt=\"Lester Beall, Connecticut General Style Book, 1958.\" width=\"1200\" height=\"1177\" class=\"size-full wp-image-13113828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-800x785.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-768x753.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-1020x1000.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-1180x1157.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-960x942.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-240x235.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-375x368.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-520x510.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-64x64.jpg 64w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lester Beall, Connecticut General Style Book, 1958. \u003ccite>(Courtesy of the Cantor Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This path from idealism to mistrust plays out similarly in the exhibition’s retelling of the history of the International Design Conference in Aspen. Inspired by his own company’s successful collaborations with designers and artists, Walter P. Paepcke, founder of the Container Corporation of America, launched the IDCA in 1951 to “promote better understanding and partnership between modern designers and representatives of the corporate world.”\u003c/p>\n\u003cp>But designers had other concerns over the years — in 1970 the conference almost ground to a halt when the counterculture (mainly environmentalists and architecture students from Berkeley and San Francisco, with a few French New Left activists thrown in the mix) showed up to protest the theme of “Environment by Design.” In a film documenting the conference, captured by Eli Noyes and Claudia Weill, speakers rail against consumer goods, question the legitimacy of a movement organized by white middle-class values, and point to the false dichotomy between humanity and the environment. Despite arguments that the conference was no longer relevant, the IDCA continued until 2004.\u003c/p>\n\u003cfigure id=\"attachment_13113831\" 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/Valentine_portable_1200b.jpg\" alt=\"Ettore Sotsass and Perry A. King , Valentine Portable Typewriter and case for Olivetti, 1969.\" width=\"1200\" height=\"1214\" class=\"size-full wp-image-13113831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-800x809.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-768x777.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-1020x1032.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-1180x1194.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-960x971.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-240x243.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-375x379.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-520x526.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-128x128.jpg 128w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ettore Sotsass and Perry A. King , Valentine Portable Typewriter and case for Olivetti, 1969. \u003ccite>(Courtesy of the Cantor Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The insider view into a field rife with internal conflict continues in a section called “Most Advanced, Yet Acceptable” (MAYA for short), a phrase coined by American industrial designer Raymond Lowey. While companies hired designers to create aesthetically pleasing products — status objects and objects of desire — they didn’t want the products to surpass the limits of consumer taste. \u003c/p>\n\u003cfigure id=\"attachment_13113830\" 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/Telephone_1200.jpg\" alt=\"Henry Dreyfuss, Telephone model 500, for Bell Telephone Laboratories, 1953.\" width=\"1200\" height=\"869\" class=\"size-full wp-image-13113830\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Telephone_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Telephone_1200-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Telephone_1200-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Telephone_1200-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Telephone_1200-1020x739.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Telephone_1200-1180x855.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Telephone_1200-960x695.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Telephone_1200-240x174.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Telephone_1200-375x272.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Telephone_1200-520x377.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Henry Dreyfuss, Telephone model 500, for Bell Telephone Laboratories, 1953. \u003ccite>(Courtesy of the Cantor Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, the 1961 IBM Selectric Typewriter on view in \u003ci>Creativity on the Line\u003c/i> is a loan from the San Francisco Museum of Modern Art. There’s no question it’s a work of great design, a revolutionary product both more efficient and more compact than its predecessors. But one wonders what shape this and other objects presented within the exhibition — and as a result, every product descended from them — might have assumed had the designers behind them been free of the imaginary concerns of a skittish consumer.\u003c/p>\n\u003cp>[ad fullwidth]\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>‘Creativity on the Line: Design for the Corporate World 1950-1975’ is on view at Stanford’s Cantor Center for the Arts through Aug. 21, 2017. For more information, \u003ca href=\"http://museum.stanford.edu/news_room/Creativity.html\" 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>At first glance, the Cantor Arts Center’s newest exhibition, \u003ci>\u003ca href=\"http://museum.stanford.edu/news_room/Creativity.html\" target=\"_blank\" rel=\"noopener\">Creativity on the Line: Design for the Corporate World 1950-1975\u003c/a>\u003c/i> looks like a showcase of the hottest mid-century designers and the objects they spawned: Charles and Ray Eames’ pumpkin-colored fiberglass chair, Henry Dreyfuss’ Polaroid SLR camera, Dieter Rams’ 1956 Braun radio (so sleek it was known as “Snow White’s Coffin”). But the exhibition, as curator Wim de Wit says, is “more complex.” Digging deep into the relationship between designers and the companies they labored under, \u003ci>Creativity on the Line\u003c/i> reveals the uneasy balance between visionary product design and corporate expectations, a tactic that simultaneously tempers the glamour of the objects on view and humanizes the people behind their sleek surfaces.\u003c/p>\n\u003cfigure id=\"attachment_13113825\" 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/Eames_chair_1200.jpg\" alt=\"Charles and Ray Eames, Molded Fiberglass chair with table arm, for Herman Miller, Inc., 1960–61.\" width=\"1200\" height=\"1346\" class=\"size-full wp-image-13113825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Eames_chair_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Eames_chair_1200-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Eames_chair_1200-800x897.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Eames_chair_1200-768x861.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Eames_chair_1200-1020x1144.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Eames_chair_1200-1180x1324.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Eames_chair_1200-960x1077.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Eames_chair_1200-240x269.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Eames_chair_1200-375x421.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Eames_chair_1200-520x583.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Charles and Ray Eames, Molded Fiberglass chair with table arm, for Herman Miller, Inc., 1960–61. \u003ccite>(Courtesy of the Cantor Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition design, borrowing from the time period it presents, presents consumer electronics, spiral-bound style guides and architectural models under plexiglas vitrines arranged exposition-like in an orderly grid. Tracing the history of designers’ involvement in corporate branding, product design and advertising, the arrangement of objects and wall text encourages a ping-pong movement between the walls, starting with Bauhaus influence on 1920s German design and ending, chronologically, with the first commercially successful personal computer, 1974’s Altair 8800.\u003c/p>\n\u003cp>Above the neat rows of vitrines, ambivalent and sometimes outright cynical quotes from prominent designers fill the far wall of the gallery. “We believed that once all business embraced the notion of design as a function of management, all of us would be employed to produce beautiful products,” says a quote from Saul Bass. “But it didn’t turn out the way we thought. Sure enough, Big Business embraced design, and promptly turned it into a commodity.”\u003c/p>\n\u003cfigure id=\"attachment_13113828\" 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/Style_book_1200.jpg\" alt=\"Lester Beall, Connecticut General Style Book, 1958.\" width=\"1200\" height=\"1177\" class=\"size-full wp-image-13113828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-800x785.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-768x753.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-1020x1000.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-1180x1157.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-960x942.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-240x235.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-375x368.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-520x510.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Style_book_1200-64x64.jpg 64w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lester Beall, Connecticut General Style Book, 1958. \u003ccite>(Courtesy of the Cantor Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This path from idealism to mistrust plays out similarly in the exhibition’s retelling of the history of the International Design Conference in Aspen. Inspired by his own company’s successful collaborations with designers and artists, Walter P. Paepcke, founder of the Container Corporation of America, launched the IDCA in 1951 to “promote better understanding and partnership between modern designers and representatives of the corporate world.”\u003c/p>\n\u003cp>But designers had other concerns over the years — in 1970 the conference almost ground to a halt when the counterculture (mainly environmentalists and architecture students from Berkeley and San Francisco, with a few French New Left activists thrown in the mix) showed up to protest the theme of “Environment by Design.” In a film documenting the conference, captured by Eli Noyes and Claudia Weill, speakers rail against consumer goods, question the legitimacy of a movement organized by white middle-class values, and point to the false dichotomy between humanity and the environment. Despite arguments that the conference was no longer relevant, the IDCA continued until 2004.\u003c/p>\n\u003cfigure id=\"attachment_13113831\" 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/Valentine_portable_1200b.jpg\" alt=\"Ettore Sotsass and Perry A. King , Valentine Portable Typewriter and case for Olivetti, 1969.\" width=\"1200\" height=\"1214\" class=\"size-full wp-image-13113831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-800x809.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-768x777.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-1020x1032.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-1180x1194.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-960x971.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-240x243.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-375x379.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-520x526.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Valentine_portable_1200b-128x128.jpg 128w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ettore Sotsass and Perry A. King , Valentine Portable Typewriter and case for Olivetti, 1969. \u003ccite>(Courtesy of the Cantor Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The insider view into a field rife with internal conflict continues in a section called “Most Advanced, Yet Acceptable” (MAYA for short), a phrase coined by American industrial designer Raymond Lowey. While companies hired designers to create aesthetically pleasing products — status objects and objects of desire — they didn’t want the products to surpass the limits of consumer taste. \u003c/p>\n\u003cfigure id=\"attachment_13113830\" 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/Telephone_1200.jpg\" alt=\"Henry Dreyfuss, Telephone model 500, for Bell Telephone Laboratories, 1953.\" width=\"1200\" height=\"869\" class=\"size-full wp-image-13113830\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Telephone_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Telephone_1200-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Telephone_1200-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Telephone_1200-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Telephone_1200-1020x739.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Telephone_1200-1180x855.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Telephone_1200-960x695.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Telephone_1200-240x174.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Telephone_1200-375x272.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Telephone_1200-520x377.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Henry Dreyfuss, Telephone model 500, for Bell Telephone Laboratories, 1953. \u003ccite>(Courtesy of the Cantor Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, the 1961 IBM Selectric Typewriter on view in \u003ci>Creativity on the Line\u003c/i> is a loan from the San Francisco Museum of Modern Art. There’s no question it’s a work of great design, a revolutionary product both more efficient and more compact than its predecessors. But one wonders what shape this and other objects presented within the exhibition — and as a result, every product descended from them — might have assumed had the designers behind them been free of the imaginary concerns of a skittish consumer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>‘Creativity on the Line: Design for the Corporate World 1950-1975’ is on view at Stanford’s Cantor Center for the Arts through Aug. 21, 2017. For more information, \u003ca href=\"http://museum.stanford.edu/news_room/Creativity.html\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Anyone wondering if DIY publishing was still alive and well would look no further than February’s inaugural San Jose ZineCon, where visitors perused copies of locally made zines with names like \u003ci>Forget it Fatty: Confessions with Pictures\u003c/i>, \u003ci>Crocodile Girl\u003c/i>, \u003ci>Crush N Stuff\u003c/i> and \u003ci>Men are Disposable\u003c/i>, in all their self-published glory.\u003c/p>\n\u003cp>Zines are having something of a revival; at a time when writing on the internet can feel like a digital void, there’s nothing like a photocopied, stapled statement of purpose passed around among friends. Though the form has roots in early punk, zines today are radical, personal, political — and often, all of the above.\u003c/p>\n\u003cp>At one table in San Jose, \u003ci>Dear Hometown\u003c/i> — a zine in a manila envelope produced by the people behind the online publication \u003ca href=\"http://www.cheersfromthewasteland.com/\" target=\"_blank\" rel=\"noopener\">Cheers from the Wasteland\u003c/a> — took on the San Jose housing and rental market, the encroachment of Silicon Valley and the pressure to exist as DIY artists within an aggressively commercial society.\u003c/p>\n\u003cp>Inside, said editor Leslie Patron, were “21 unique love letters from different writers and artists in San Jose in response to people saying San Jose is a creative wasteland.”\u003c/p>\n\u003cp>Zinester Maryela Perez tabled the event with a zine in the form of an illustrated playlist, evoking the rush of crushing on someone, as well as the disappointment when it doesn’t work out. “It’s super inspirational to be around people who are, by any means necessary, creating things,” she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>ZineCon co-organizer Ivy Atoms, who has toured the West Coast attending and tabling similar events, wanted to bring that energy back to San Jose, in a supportive, inclusive way. “Illustrators, writers, poets,” she lists, “we just wanted to give people a place to share their voices.” \u003cem>— Text by Sarah Hotchkiss; Video by Kelly Whalen\u003c/em>\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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anyone wondering if DIY publishing was still alive and well would look no further than February’s inaugural San Jose ZineCon, where visitors perused copies of locally made zines with names like \u003ci>Forget it Fatty: Confessions with Pictures\u003c/i>, \u003ci>Crocodile Girl\u003c/i>, \u003ci>Crush N Stuff\u003c/i> and \u003ci>Men are Disposable\u003c/i>, in all their self-published glory.\u003c/p>\n\u003cp>Zines are having something of a revival; at a time when writing on the internet can feel like a digital void, there’s nothing like a photocopied, stapled statement of purpose passed around among friends. Though the form has roots in early punk, zines today are radical, personal, political — and often, all of the above.\u003c/p>\n\u003cp>At one table in San Jose, \u003ci>Dear Hometown\u003c/i> — a zine in a manila envelope produced by the people behind the online publication \u003ca href=\"http://www.cheersfromthewasteland.com/\" target=\"_blank\" rel=\"noopener\">Cheers from the Wasteland\u003c/a> — took on the San Jose housing and rental market, the encroachment of Silicon Valley and the pressure to exist as DIY artists within an aggressively commercial society.\u003c/p>\n\u003cp>Inside, said editor Leslie Patron, were “21 unique love letters from different writers and artists in San Jose in response to people saying San Jose is a creative wasteland.”\u003c/p>\n\u003cp>Zinester Maryela Perez tabled the event with a zine in the form of an illustrated playlist, evoking the rush of crushing on someone, as well as the disappointment when it doesn’t work out. “It’s super inspirational to be around people who are, by any means necessary, creating things,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>ZineCon co-organizer Ivy Atoms, who has toured the West Coast attending and tabling similar events, wanted to bring that energy back to San Jose, in a supportive, inclusive way. “Illustrators, writers, poets,” she lists, “we just wanted to give people a place to share their voices.” \u003cem>— Text by Sarah Hotchkiss; Video by Kelly Whalen\u003c/em>\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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"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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"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. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"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.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "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",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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