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"title": "Any Way You Slice it, Protest Cakes Make Politics a Bit Sweeter",
"headTitle": "Any Way You Slice it, Protest Cakes Make Politics a Bit Sweeter | KQED",
"content": "\u003cp>Two months into Donald J. Trump’s presidency, as new reasons to gather in solidarity and resistance arise almost daily, the sight of people carrying protest signs verges on the status quo. What you see less often on the way to a rally is someone carrying a cake.\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=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The idea for \u003ca href=\"https://www.instagram.com/protestcakes/\" target=\"_blank\" rel=\"noopener\">Protest Cakes\u003c/a> came to Illinois-based \u003ca href=\"https://www.instagram.com/tessmariewilson/\" target=\"_blank\" rel=\"noopener\">Tess Wilson\u003c/a>, a former Blue Bottle pastry chef, in mid-air. En route to San Francisco on Jan. 28, the same weekend crowds of people gathered at airports across the country to protest President Trump’s first travel ban, Wilson wondered if she could bring her particular skills — making inventive thematic desserts — to the protest movement.\u003c/p>\n\u003cp>“It came in a flash,” Wilson says. “We could make cakes to serve at protests and express our displeasure in the best way we know how, while also nourishing the people fighting the good fight.” She just had to convince her old coworker and frequent collaborator, artist \u003ca href=\"http://www.leahrosenberg.com/\" target=\"_blank\" rel=\"noopener\">Leah Rosenberg\u003c/a>, to join her.\u003c/p>\n\u003cp>Rosenberg’s answer was an immediate yes. “There was no time to spare,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12968154\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12968154 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986.jpg\" alt=\"Protest Cakes' "Seven Nations Cake," served at the San Francisco Civic Center "No Ban, No Wall" protest on Feb. 4. \" width=\"1080\" height=\"745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-520x359.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Protest Cakes’ “Seven Nations Cake,” served at the San Francisco Civic Center “No Ban, No Wall” protest on Feb. 4. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Protest Cakes made its debut a week later at the “No Ban, No Wall” rally at San Francisco’s Civic Center with the “Seven Nations Cake,” featuring ingredients from the countries subject to the initial travel ban. In \u003ca href=\"https://www.instagram.com/p/BQHO2lRFy2C/\" target=\"_blank\" rel=\"noopener\">one Instagram post\u003c/a>, the round cake (absent a hefty slice), sits on a table with a pastel-hued City Hall in the background. “Democracy is hungry work!” reads the caption.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wilson and Rosenberg embrace the opportunity to bring comfort and levity to such gatherings. “I feel without cake and puns, what’s the reason to live?” Rosenberg says, pointing to a particularly groan-worthy example, the “I’m Peach Mint [Cake],” which she brought to the Feb. 11 Ocean Beach protest.\u003c/p>\n\u003cp>“Cake lets us do something,” Rosenberg says. “It’s this universal thing that people can access and experience.” But Protest Cakes goes beyond nourishment, incorporating the sober realities of G.O.P. policies — and the effects they have on ordinary Americans’ lives — into the very ingredient list of each cake.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BQYn2uKFF5P/?taken-by=protestcakes\">https://www.instagram.com/p/BQYn2uKFF5P/?taken-by=protestcakes\u003c/a>\u003c/p>\n\u003cp>“There’s so many different ways that we can get information into cake,” says Rosenberg.\u003c/p>\n\u003cp>Case in point: the “Contraception Cake,” a buckwheat cake topped with buttercream frosting and “pills” arranged in the colorful circle of a monthly supply of oral birth control. Rosenberg made the cake with natural ingredients used by women around the world and throughout history before reliable contraceptives became available (a list that includes honey, wild carrot seeds, lemon and blue cohosh).\u003c/p>\n\u003cp>But did it taste good? “It was delicious!” says Rosenberg. She delivered one to the Valencia Street herb shop Scarlet Sage, where she sourced some of the ingredients, and presented the other to her roommate as a birthday cake.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BRtHElUAe_V/?taken-by=protestcakes\">https://www.instagram.com/p/BRtHElUAe_V/?taken-by=protestcakes\u003c/a>\u003c/p>\n\u003cp>Other cakes act as a form of data visualization. In the video for the “\u003ca href=\"https://www.instagram.com/p/BR6NAB-g-f3/?taken-by=protestcakes\" target=\"_blank\" rel=\"noopener\">14 Million Sprinkles Cake\u003c/a>,” ten pounds of rainbow sprinkles rain down on an unassuming white cake. The name references the estimated increase of 14 million uninsured Americans in 2018 under the Republicans’ now-withdrawn American Health Care Act.\u003c/p>\n\u003cp>Cheeky hashtags accompany the post: “#itsactuallyonlyonemillionsprinkles #wehadtosaveourmoneyformedicine #justwatchthisvideofourteentimes.”\u003c/p>\n\u003cp>“The fact that this is only one million puts the numbers in perspective,” says Wilson. “And then you think, each one of those is a person whose health and life is affected.” She says making the cakes helps channel her anger and anxiety into a productive (and tasty) format.\u003c/p>\n\u003cp>“We found this way of expressing our dissent and I’m not sure where I would be without it,” she says.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BR4PbwDgtIs/?taken-by=protestcakes\">https://www.instagram.com/p/BR4PbwDgtIs/?taken-by=protestcakes\u003c/a>\u003c/p>\n\u003cp>For people still trying to find a way to bring their particular skills to the protest movement, Rosenberg and Wilson are encouraging.\u003c/p>\n\u003cp>“Right now is the best time to be vocal and active,” says Rosenberg.\u003c/p>\n\u003cp>“And to not get complacent,” Wilson adds. “What can you do as a citizen based on your resources?”\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>\u003ci>Follow \u003ca href=\"https://www.instagram.com/protestcakes/\" target=\"_blank\" rel=\"noopener\">Protest Cakes on Instagram\u003c/a> and look for them at your next Bay Area protest rally.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Friends and former Blue Bottle pastry chefs Tess Wilson and Leah Rosenberg use their inventive baking skills (and puns) to feed the resistance. ",
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"description": "Friends and former Blue Bottle pastry chefs Tess Wilson and Leah Rosenberg use their inventive baking skills (and puns) to feed the resistance. ",
"title": "Any Way You Slice it, Protest Cakes Make Politics a Bit Sweeter | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two months into Donald J. Trump’s presidency, as new reasons to gather in solidarity and resistance arise almost daily, the sight of people carrying protest signs verges on the status quo. What you see less often on the way to a rally is someone carrying a cake.\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=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The idea for \u003ca href=\"https://www.instagram.com/protestcakes/\" target=\"_blank\" rel=\"noopener\">Protest Cakes\u003c/a> came to Illinois-based \u003ca href=\"https://www.instagram.com/tessmariewilson/\" target=\"_blank\" rel=\"noopener\">Tess Wilson\u003c/a>, a former Blue Bottle pastry chef, in mid-air. En route to San Francisco on Jan. 28, the same weekend crowds of people gathered at airports across the country to protest President Trump’s first travel ban, Wilson wondered if she could bring her particular skills — making inventive thematic desserts — to the protest movement.\u003c/p>\n\u003cp>“It came in a flash,” Wilson says. “We could make cakes to serve at protests and express our displeasure in the best way we know how, while also nourishing the people fighting the good fight.” She just had to convince her old coworker and frequent collaborator, artist \u003ca href=\"http://www.leahrosenberg.com/\" target=\"_blank\" rel=\"noopener\">Leah Rosenberg\u003c/a>, to join her.\u003c/p>\n\u003cp>Rosenberg’s answer was an immediate yes. “There was no time to spare,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12968154\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12968154 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986.jpg\" alt=\"Protest Cakes' "Seven Nations Cake," served at the San Francisco Civic Center "No Ban, No Wall" protest on Feb. 4. \" width=\"1080\" height=\"745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16465551_744030335760834_6884220808936292352_n-e1490731329986-520x359.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Protest Cakes’ “Seven Nations Cake,” served at the San Francisco Civic Center “No Ban, No Wall” protest on Feb. 4. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Protest Cakes made its debut a week later at the “No Ban, No Wall” rally at San Francisco’s Civic Center with the “Seven Nations Cake,” featuring ingredients from the countries subject to the initial travel ban. In \u003ca href=\"https://www.instagram.com/p/BQHO2lRFy2C/\" target=\"_blank\" rel=\"noopener\">one Instagram post\u003c/a>, the round cake (absent a hefty slice), sits on a table with a pastel-hued City Hall in the background. “Democracy is hungry work!” reads the caption.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wilson and Rosenberg embrace the opportunity to bring comfort and levity to such gatherings. “I feel without cake and puns, what’s the reason to live?” Rosenberg says, pointing to a particularly groan-worthy example, the “I’m Peach Mint [Cake],” which she brought to the Feb. 11 Ocean Beach protest.\u003c/p>\n\u003cp>“Cake lets us do something,” Rosenberg says. “It’s this universal thing that people can access and experience.” But Protest Cakes goes beyond nourishment, incorporating the sober realities of G.O.P. policies — and the effects they have on ordinary Americans’ lives — into the very ingredient list of each cake.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BQYn2uKFF5P/?taken-by=protestcakes\">https://www.instagram.com/p/BQYn2uKFF5P/?taken-by=protestcakes\u003c/a>\u003c/p>\n\u003cp>“There’s so many different ways that we can get information into cake,” says Rosenberg.\u003c/p>\n\u003cp>Case in point: the “Contraception Cake,” a buckwheat cake topped with buttercream frosting and “pills” arranged in the colorful circle of a monthly supply of oral birth control. Rosenberg made the cake with natural ingredients used by women around the world and throughout history before reliable contraceptives became available (a list that includes honey, wild carrot seeds, lemon and blue cohosh).\u003c/p>\n\u003cp>But did it taste good? “It was delicious!” says Rosenberg. She delivered one to the Valencia Street herb shop Scarlet Sage, where she sourced some of the ingredients, and presented the other to her roommate as a birthday cake.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BRtHElUAe_V/?taken-by=protestcakes\">https://www.instagram.com/p/BRtHElUAe_V/?taken-by=protestcakes\u003c/a>\u003c/p>\n\u003cp>Other cakes act as a form of data visualization. In the video for the “\u003ca href=\"https://www.instagram.com/p/BR6NAB-g-f3/?taken-by=protestcakes\" target=\"_blank\" rel=\"noopener\">14 Million Sprinkles Cake\u003c/a>,” ten pounds of rainbow sprinkles rain down on an unassuming white cake. The name references the estimated increase of 14 million uninsured Americans in 2018 under the Republicans’ now-withdrawn American Health Care Act.\u003c/p>\n\u003cp>Cheeky hashtags accompany the post: “#itsactuallyonlyonemillionsprinkles #wehadtosaveourmoneyformedicine #justwatchthisvideofourteentimes.”\u003c/p>\n\u003cp>“The fact that this is only one million puts the numbers in perspective,” says Wilson. “And then you think, each one of those is a person whose health and life is affected.” She says making the cakes helps channel her anger and anxiety into a productive (and tasty) format.\u003c/p>\n\u003cp>“We found this way of expressing our dissent and I’m not sure where I would be without it,” she says.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BR4PbwDgtIs/?taken-by=protestcakes\">https://www.instagram.com/p/BR4PbwDgtIs/?taken-by=protestcakes\u003c/a>\u003c/p>\n\u003cp>For people still trying to find a way to bring their particular skills to the protest movement, Rosenberg and Wilson are encouraging.\u003c/p>\n\u003cp>“Right now is the best time to be vocal and active,” says Rosenberg.\u003c/p>\n\u003cp>“And to not get complacent,” Wilson adds. “What can you do as a citizen based on your resources?”\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>\u003ci>Follow \u003ca href=\"https://www.instagram.com/protestcakes/\" target=\"_blank\" rel=\"noopener\">Protest Cakes on Instagram\u003c/a> and look for them at your next Bay Area protest rally.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "When Everything Feels Backwards, Emily Wick Raises a New Flag",
"headTitle": "When Everything Feels Backwards, Emily Wick Raises a New Flag | KQED",
"content": "\u003cp>I first saw Oakland-based artist \u003ca href=\"http://emilywick.com/\" target=\"_blank\" rel=\"noopener\">Emily Wick\u003c/a>’s jarringly dissonant flag photographs the week after the inauguration, when “nightmare” was fast becoming the most frequently used word in my vocabulary.\u003c/p>\n\u003cp>Wick’s photos depict a color-inverted U.S. flag in the streets of her Oakland neighborhood and in her home. Seen with the naked eyed or in unaltered photos, the flag looks both true to form and quite wrong with its stripes of blue and teal green. Inverted in Photoshop, the flag is corrected back to its proper red, white and blue, while skin tones, familiar streets and trees take on a sulfuric, alien sheen.\u003c/p>\n\u003cp>Nothing has mirrored how this election makes me feel about our country quite like Wick’s flag photos.\u003c/p>\n\u003cfigure id=\"attachment_12933967\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12933967\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Oakland-Neighborhood_Animated.gif\" alt=\"Emily Wick, from the series 'Inverse Universe,' 2017.\" width=\"1200\" height=\"797\">\u003cfigcaption class=\"wp-caption-text\">Emily Wick, from the series ‘Inverse Universe,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Variations on a flag\u003c/h3>\n\u003cp>Wick is hardly the first artist to mess with the American flag. \u003ca href=\"https://www.moma.org/collection/works/78805\" target=\"_blank\" rel=\"noopener\">Jasper Johns\u003c/a> took the flag as his subject to encourage deeper examination of its symbology. More recent and explicitly confrontational treatments come from \u003ca href=\"https://www.moma.org/collection/works/81317\" target=\"_blank\" rel=\"noopener\">David Hammons\u003c/a> and \u003ca href=\"http://www.hankwillisthomas.com/\" target=\"_blank\" rel=\"noopener\">Hank Willis Thomas\u003c/a>, both African-American artists, whose reimagined U.S. and Confederate flags probe the promises of liberty and justice for all.\u003c/p>\n\u003cp>And most of us have by now seen the \u003ca href=\"http://theamplifierfoundation.org/wethepeople/\" target=\"_blank\" rel=\"noopener\">Shepard Fairey poster\u003c/a> depicting a Muslim woman in an American flag hijab, rendered in the style of the Obama “Hope” poster.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fairey’s image answers recent calls from some on the liberal left to take back the flag from far-right extremists. While I respect that call, I can’t join it. To my eye, there’s always been something coercive about the U.S. flag; the national identity it stands for and imposes often looks like a variant of Stockholm Syndrome.\u003c/p>\n\u003cp>And now, the bullying threat that goes hand in hand with the flag — “Love It or Leave It” — is curtailing First Amendment rights, silencing dissent or even questions about the government. It’s becoming codified in U.S. immigration policy requiring proof-of-patriotism entry tests.\u003c/p>\n\u003cp>I find Wick’s inverted flag images comforting in their queerness. There’s a click of recognition.\u003c/p>\n\u003cfigure id=\"attachment_12933980\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12933980\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle.jpg\" alt=\"Emily Wick, from the series 'Inverse Universe,' 2017.\" width=\"1200\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle-520x345.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Emily Wick, from the series ‘Inverse Universe,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>From an innocent time and place\u003c/h3>\n\u003cp>The flag you see in Wick’s photos got its start in a more innocent time and place, seven years ago. She and her partner, also an artist, own \u003ca href=\"http://smokeystangle.com/\" target=\"_blank\" rel=\"noopener\">Smokey’s Tangle\u003c/a>, an Oakland anti-gallery that never takes itself too seriously (Hours: “We May Be Open”).\u003c/p>\n\u003cp>For a Fourth of July event in 2010, they wanted visitors to experience the classic “retinal fatigue” illusion with a color-inverted flag. (When you stare at the “wrong” flag — teal and blue and yellow — then look at a blank wall, your eyes project the afterimage of the flag in its true colors).\u003c/p>\n\u003cp>Wick began sewing with cheap fabric scraps, but felt she wasn’t doing the thing justice. She decided that if she was going to make a flag, she would do it right. So, armed with color theory research, sturdy canvas in just the right tones of teal and green, and extra needles, she took to her Singer.\u003c/p>\n\u003cp>It was slow going: the fabric was stiff and heavy; the needles kept breaking. When it became clear the flag would never be ready by July 4, she used it as a prop in her gallery’s photo booth. She took a series of inverted portraits of visitors at the sewing machine with the flag, each one appearing like some crazed Betsy Ross of the dystopia. Soon after, she finished construction, and the flag transitioned from photographic prop to self-contained object.\u003c/p>\n\u003cfigure id=\"attachment_12933970\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12933970\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Puddle-Jump.jpg\" alt=\"Emily Wick, from the series 'Inverse Universe,' 2017.\" width=\"1200\" height=\"926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Puddle-Jump.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Puddle-Jump-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Puddle-Jump-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Puddle-Jump-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Puddle-Jump-1020x787.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Puddle-Jump-1180x911.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Puddle-Jump-960x741.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Puddle-Jump-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Puddle-Jump-375x289.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Puddle-Jump-520x401.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Emily Wick, from the series ‘Inverse Universe,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>An object of resistance\u003c/h3>\n\u003cp>Fast forward to Jan. 21, 2017, when Wick decided to haul the flag out of storage and carry it in the Oakland Women’s March. On the streets, in the context of protest, it took on a new life; it became a kind of performance art piece. Her exacting but off-color flag aroused attention and curiosity.\u003c/p>\n\u003cp>“People really wanted to know who I was representing,” says Wick. Some bystanders seemed quite agitated and angry. “A small number were concerned that it was a direct assault on America.”\u003c/p>\n\u003cp>She adds, without a trace of coyness, “It can be read that way.”\u003c/p>\n\u003cfigure id=\"attachment_12933972\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12933972\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison.jpg\" alt=\"Emily Wick, from the series 'Inverse Universe,' 2017.\" width=\"1200\" height=\"1257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison-160x168.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison-800x838.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison-768x804.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison-1020x1068.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison-1180x1236.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison-960x1006.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison-240x251.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison-375x393.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison-520x545.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Emily Wick, from the series ‘Inverse Universe,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When she explained to people she encountered on BART and at the march that it was intended as an optical illusion, they seemed relieved.\u003c/p>\n\u003cp>“Everyone had a moment of surprise, then a smile,” Wick says. A few people were really excited about it. Without the aid of seeing it “right” in inverted photos, getting a fix on “what it is” seemed to set people at ease.\u003c/p>\n\u003cp>“I wasn’t just saying f-ck the U.S.,” she says. “To me, it’s more of a game.” The distinction between picking a fight and inviting viewers to play is crucial, a distinction that’s directly tied to Wick’s interest in seeing and knowing differently.\u003c/p>\n\u003cfigure id=\"attachment_12933976\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12933976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Liquor-Store-Animated-1.gif\" alt=\"Emily Wick, from the series 'Inverse Universe,' 2017.\" width=\"1200\" height=\"797\">\u003cfigcaption class=\"wp-caption-text\">Emily Wick, from the series ‘Inverse Universe,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Closer knowing through sustained attention\u003c/h3>\n\u003cp>All of Wick’s works attentively probe ways of seeing and relating to people, places, creatures and ideas — exposing what she calls “unusual layers” beneath surfaces. Most often, the process of getting there requires unusual discipline that can deepen into ritual. It may involve waking every morning before sunrise for months to photograph her familiar neighborhood made “magical” by oblique light. The work is often rough-going, and excruciatingly gradual or iterative.\u003c/p>\n\u003cp>For example: Wick’s partner, a painter, is red-green colorblind. In an attempt to experience how he sees the world, she painstakingly mixed paints to reproduce the palette as he sees it. As with the flag, there was a much easier route to the palette (digital), but then she’d compromise her goal — a deeper, closer knowing through this disciplined, sustained attention. She describes this project just as she describes her commitment to finishing the flag. “Getting myself into a situation where I’m in over my head, and the process of getting the project complete, becomes this journey of insanity,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12933978\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12933978\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag.jpg\" alt=\"Emily Wick, from the series 'Inverse Universe,' 2017.\" width=\"1200\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag-520x345.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Emily Wick, from the series ‘Inverse Universe,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says “insanity” glibly, as it’s commonly used, probably to emphasize how overwhelming it can feel to be putting oneself through the paces as she does. I offer that it seems rather more like a journey of sanity. Some have likened the ardent, focused attention of the artist to a form of devotion, of prayer, and I’m drawn to that notion.\u003c/p>\n\u003cp>Wick decided to use this painstakingly made object — the finishing of which she said transformed her — as an invitation to examine our reflexive ways of understanding identity and belonging, especially at a time when integrating with what’s now “normal” would (and arguably should) make us feel crazy.\u003c/p>\n\u003cfigure id=\"attachment_12963513\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12963513\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/In-Bed-1.jpg\" alt=\"Emily Wick, from the series 'Inverse Universe,' 2017.\" width=\"1200\" height=\"831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/In-Bed-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/In-Bed-1-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/In-Bed-1-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/In-Bed-1-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/In-Bed-1-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/In-Bed-1-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/In-Bed-1-960x665.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/In-Bed-1-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/In-Bed-1-375x260.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/In-Bed-1-520x360.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Emily Wick, from the series ‘Inverse Universe,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The in-between spaces\u003c/h3>\n\u003cp>As Wick’s flag series evolves, the images are getting less cheeky, more somber. She described how the photos were helping her experience difficult emotions and create for herself an everyday space of resistance.\u003c/p>\n\u003cp>“It’s about practical measures to prevent harm, but it’s also emotional and personal,” she says, “and that experience of living in a nightmare is real.” Despite her invitation to play, Wick is far from a Pollyanna. “There’s this nebulous feeling of staring into an abyss, where a nuclear war or something like it is not unthinkable,” she says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Wick’s inverted flag, and the photos, are asking us to engage with the in-between spaces beyond the stark binaries they gracelessly expose. To depict nightmarish inversions might be the most beautiful way now of urging us to know the “unusual layers” beneath the surfaces of everything, and the in-between spaces that — like it or not — connect us all.\u003c/p>\n\n",
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"excerpt": "In a new photo series, the Oakland-based artist uses a color-inverted American flag to illustrate the nightmarish inversions of policy she sees in the current presidency. ",
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"description": "In a new photo series, the Oakland-based artist uses a color-inverted American flag to illustrate the nightmarish inversions of policy she sees in the current presidency. ",
"title": "When Everything Feels Backwards, Emily Wick Raises a New Flag | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I first saw Oakland-based artist \u003ca href=\"http://emilywick.com/\" target=\"_blank\" rel=\"noopener\">Emily Wick\u003c/a>’s jarringly dissonant flag photographs the week after the inauguration, when “nightmare” was fast becoming the most frequently used word in my vocabulary.\u003c/p>\n\u003cp>Wick’s photos depict a color-inverted U.S. flag in the streets of her Oakland neighborhood and in her home. Seen with the naked eyed or in unaltered photos, the flag looks both true to form and quite wrong with its stripes of blue and teal green. Inverted in Photoshop, the flag is corrected back to its proper red, white and blue, while skin tones, familiar streets and trees take on a sulfuric, alien sheen.\u003c/p>\n\u003cp>Nothing has mirrored how this election makes me feel about our country quite like Wick’s flag photos.\u003c/p>\n\u003cfigure id=\"attachment_12933967\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12933967\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Oakland-Neighborhood_Animated.gif\" alt=\"Emily Wick, from the series 'Inverse Universe,' 2017.\" width=\"1200\" height=\"797\">\u003cfigcaption class=\"wp-caption-text\">Emily Wick, from the series ‘Inverse Universe,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Variations on a flag\u003c/h3>\n\u003cp>Wick is hardly the first artist to mess with the American flag. \u003ca href=\"https://www.moma.org/collection/works/78805\" target=\"_blank\" rel=\"noopener\">Jasper Johns\u003c/a> took the flag as his subject to encourage deeper examination of its symbology. More recent and explicitly confrontational treatments come from \u003ca href=\"https://www.moma.org/collection/works/81317\" target=\"_blank\" rel=\"noopener\">David Hammons\u003c/a> and \u003ca href=\"http://www.hankwillisthomas.com/\" target=\"_blank\" rel=\"noopener\">Hank Willis Thomas\u003c/a>, both African-American artists, whose reimagined U.S. and Confederate flags probe the promises of liberty and justice for all.\u003c/p>\n\u003cp>And most of us have by now seen the \u003ca href=\"http://theamplifierfoundation.org/wethepeople/\" target=\"_blank\" rel=\"noopener\">Shepard Fairey poster\u003c/a> depicting a Muslim woman in an American flag hijab, rendered in the style of the Obama “Hope” poster.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fairey’s image answers recent calls from some on the liberal left to take back the flag from far-right extremists. While I respect that call, I can’t join it. To my eye, there’s always been something coercive about the U.S. flag; the national identity it stands for and imposes often looks like a variant of Stockholm Syndrome.\u003c/p>\n\u003cp>And now, the bullying threat that goes hand in hand with the flag — “Love It or Leave It” — is curtailing First Amendment rights, silencing dissent or even questions about the government. It’s becoming codified in U.S. immigration policy requiring proof-of-patriotism entry tests.\u003c/p>\n\u003cp>I find Wick’s inverted flag images comforting in their queerness. There’s a click of recognition.\u003c/p>\n\u003cfigure id=\"attachment_12933980\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12933980\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle.jpg\" alt=\"Emily Wick, from the series 'Inverse Universe,' 2017.\" width=\"1200\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Two-Flags-Smokeys-Tangle-520x345.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Emily Wick, from the series ‘Inverse Universe,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>From an innocent time and place\u003c/h3>\n\u003cp>The flag you see in Wick’s photos got its start in a more innocent time and place, seven years ago. She and her partner, also an artist, own \u003ca href=\"http://smokeystangle.com/\" target=\"_blank\" rel=\"noopener\">Smokey’s Tangle\u003c/a>, an Oakland anti-gallery that never takes itself too seriously (Hours: “We May Be Open”).\u003c/p>\n\u003cp>For a Fourth of July event in 2010, they wanted visitors to experience the classic “retinal fatigue” illusion with a color-inverted flag. (When you stare at the “wrong” flag — teal and blue and yellow — then look at a blank wall, your eyes project the afterimage of the flag in its true colors).\u003c/p>\n\u003cp>Wick began sewing with cheap fabric scraps, but felt she wasn’t doing the thing justice. She decided that if she was going to make a flag, she would do it right. So, armed with color theory research, sturdy canvas in just the right tones of teal and green, and extra needles, she took to her Singer.\u003c/p>\n\u003cp>It was slow going: the fabric was stiff and heavy; the needles kept breaking. When it became clear the flag would never be ready by July 4, she used it as a prop in her gallery’s photo booth. She took a series of inverted portraits of visitors at the sewing machine with the flag, each one appearing like some crazed Betsy Ross of the dystopia. Soon after, she finished construction, and the flag transitioned from photographic prop to self-contained object.\u003c/p>\n\u003cfigure id=\"attachment_12933970\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12933970\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Puddle-Jump.jpg\" alt=\"Emily Wick, from the series 'Inverse Universe,' 2017.\" width=\"1200\" height=\"926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Puddle-Jump.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Puddle-Jump-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Puddle-Jump-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Puddle-Jump-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Puddle-Jump-1020x787.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Puddle-Jump-1180x911.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Puddle-Jump-960x741.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Puddle-Jump-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Puddle-Jump-375x289.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Puddle-Jump-520x401.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Emily Wick, from the series ‘Inverse Universe,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>An object of resistance\u003c/h3>\n\u003cp>Fast forward to Jan. 21, 2017, when Wick decided to haul the flag out of storage and carry it in the Oakland Women’s March. On the streets, in the context of protest, it took on a new life; it became a kind of performance art piece. Her exacting but off-color flag aroused attention and curiosity.\u003c/p>\n\u003cp>“People really wanted to know who I was representing,” says Wick. Some bystanders seemed quite agitated and angry. “A small number were concerned that it was a direct assault on America.”\u003c/p>\n\u003cp>She adds, without a trace of coyness, “It can be read that way.”\u003c/p>\n\u003cfigure id=\"attachment_12933972\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12933972\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison.jpg\" alt=\"Emily Wick, from the series 'Inverse Universe,' 2017.\" width=\"1200\" height=\"1257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison-160x168.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison-800x838.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison-768x804.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison-1020x1068.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison-1180x1236.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison-960x1006.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison-240x251.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison-375x393.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/En-Route-to-Womens-March-Oakland-comparison-520x545.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Emily Wick, from the series ‘Inverse Universe,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When she explained to people she encountered on BART and at the march that it was intended as an optical illusion, they seemed relieved.\u003c/p>\n\u003cp>“Everyone had a moment of surprise, then a smile,” Wick says. A few people were really excited about it. Without the aid of seeing it “right” in inverted photos, getting a fix on “what it is” seemed to set people at ease.\u003c/p>\n\u003cp>“I wasn’t just saying f-ck the U.S.,” she says. “To me, it’s more of a game.” The distinction between picking a fight and inviting viewers to play is crucial, a distinction that’s directly tied to Wick’s interest in seeing and knowing differently.\u003c/p>\n\u003cfigure id=\"attachment_12933976\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12933976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Liquor-Store-Animated-1.gif\" alt=\"Emily Wick, from the series 'Inverse Universe,' 2017.\" width=\"1200\" height=\"797\">\u003cfigcaption class=\"wp-caption-text\">Emily Wick, from the series ‘Inverse Universe,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Closer knowing through sustained attention\u003c/h3>\n\u003cp>All of Wick’s works attentively probe ways of seeing and relating to people, places, creatures and ideas — exposing what she calls “unusual layers” beneath surfaces. Most often, the process of getting there requires unusual discipline that can deepen into ritual. It may involve waking every morning before sunrise for months to photograph her familiar neighborhood made “magical” by oblique light. The work is often rough-going, and excruciatingly gradual or iterative.\u003c/p>\n\u003cp>For example: Wick’s partner, a painter, is red-green colorblind. In an attempt to experience how he sees the world, she painstakingly mixed paints to reproduce the palette as he sees it. As with the flag, there was a much easier route to the palette (digital), but then she’d compromise her goal — a deeper, closer knowing through this disciplined, sustained attention. She describes this project just as she describes her commitment to finishing the flag. “Getting myself into a situation where I’m in over my head, and the process of getting the project complete, becomes this journey of insanity,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12933978\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12933978\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag.jpg\" alt=\"Emily Wick, from the series 'Inverse Universe,' 2017.\" width=\"1200\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Inverse-Flag-Reuglar-Flag-520x345.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Emily Wick, from the series ‘Inverse Universe,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says “insanity” glibly, as it’s commonly used, probably to emphasize how overwhelming it can feel to be putting oneself through the paces as she does. I offer that it seems rather more like a journey of sanity. Some have likened the ardent, focused attention of the artist to a form of devotion, of prayer, and I’m drawn to that notion.\u003c/p>\n\u003cp>Wick decided to use this painstakingly made object — the finishing of which she said transformed her — as an invitation to examine our reflexive ways of understanding identity and belonging, especially at a time when integrating with what’s now “normal” would (and arguably should) make us feel crazy.\u003c/p>\n\u003cfigure id=\"attachment_12963513\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12963513\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/In-Bed-1.jpg\" alt=\"Emily Wick, from the series 'Inverse Universe,' 2017.\" width=\"1200\" height=\"831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/In-Bed-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/In-Bed-1-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/In-Bed-1-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/In-Bed-1-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/In-Bed-1-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/In-Bed-1-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/In-Bed-1-960x665.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/In-Bed-1-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/In-Bed-1-375x260.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/In-Bed-1-520x360.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Emily Wick, from the series ‘Inverse Universe,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The in-between spaces\u003c/h3>\n\u003cp>As Wick’s flag series evolves, the images are getting less cheeky, more somber. She described how the photos were helping her experience difficult emotions and create for herself an everyday space of resistance.\u003c/p>\n\u003cp>“It’s about practical measures to prevent harm, but it’s also emotional and personal,” she says, “and that experience of living in a nightmare is real.” Despite her invitation to play, Wick is far from a Pollyanna. “There’s this nebulous feeling of staring into an abyss, where a nuclear war or something like it is not unthinkable,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wick’s inverted flag, and the photos, are asking us to engage with the in-between spaces beyond the stark binaries they gracelessly expose. To depict nightmarish inversions might be the most beautiful way now of urging us to know the “unusual layers” beneath the surfaces of everything, and the in-between spaces that — like it or not — connect us all.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-jose-artist-persists-with-viral-protest-meme-shepersisted",
"title": "San Jose Artist Persists With Viral Protest Meme #ShePersisted",
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"content": "\u003cp>It started on February 7, after Elizabeth Warren was \u003ca href=\"http://www.cnn.com/2017/02/07/politics/elizabeth-warren-mitch-mcconnell/index.html\" target=\"_blank\" rel=\"noopener\">pretty much told to shut up\u003c/a> as she tried to read a 1986 letter from Coretta Scott King, the widow of Martin Luther King Jr., on the Senate floor. Warren had raised the letter in objection to Sessions’ nomination to attorney general.\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>In the letter, written when Sessions was a nominee for a federal judgeship, Coretta King accused Sessions of trying to stop black people from voting. Interrupting her time on the floor, Warren’s GOP colleagues barred her from speaking for the rest of the debate (although she managed to read the letter later \u003ca href=\"https://www.facebook.com/senatorelizabethwarren/videos/724337794395383/\" target=\"_blank\" rel=\"noopener\">on Facebook\u003c/a>).\u003c/p>\n\u003cp>“Sen. Warren was giving a lengthy speech,” Sen. Mitch McConnell said later. “She had appeared to violate the rule. She was warned. She was given an explanation. Nevertheless, she persisted.”\u003c/p>\n\u003cp>It didn’t take long for those final two words to \u003ca href=\"https://twitter.com/hashtag/ShePersisted?src=hash\" target=\"_blank\" rel=\"noopener\">gain traction around the internet\u003c/a>, becoming a rallying cry for women warned, like Warren, or otherwise condescended to, ignored, silenced, even attacked. Women who, nevertheless, persisted. \u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">We can and we will! Let’s start this week off strong! \u003ca href=\"https://twitter.com/hashtag/StrongerTogether?src=hash\">#StrongerTogether\u003c/a> \u003ca href=\"https://twitter.com/hashtag/ShePersisted?src=hash\">#ShePersisted\u003c/a> \u003ca href=\"https://twitter.com/hashtag/MondayMotivation?src=hash\">#MondayMotivation\u003c/a> \u003ca href=\"https://twitter.com/hashtag/TheResistance?src=hash\">#TheResistance\u003c/a> \u003ca href=\"https://twitter.com/hashtag/MayaAngelou?src=hash\">#MayaAngelou\u003c/a> ✊???? \u003ca href=\"https://t.co/6Hsm0XzyTs\">pic.twitter.com/6Hsm0XzyTs\u003c/a>\u003c/p>\n\u003cp>— Mockingjay2017 ???? (@txmockingjay) \u003ca href=\"https://twitter.com/txmockingjay/status/843732357140140032\">March 20, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>San Jose author and artist \u003ca href=\"https://www.facebook.com/cmprivett\" target=\"_blank\" rel=\"noopener\">Courtney Privett\u003c/a> felt moved to post a work she called \u003cem>Nevertheless, She Persisted\u003c/em>, which depicts a woman facing a wall of words and phrases that women begin hearing in childhood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Calm down,” reads one speech bubble in the artwork. “Smile,” says another. “Bitchy.”\u003c/p>\n\u003cp>Within hours, the image went viral. 92,000 shared it on \u003ca href=\"https://www.facebook.com/photo.php?fbid=10210875558338733&l=8b9ef99876\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a>. “Once people started reposting it, I lost track of where it went,” she says. At last count, almost 11,000 people have liked the post on \u003ca href=\"https://www.instagram.com/p/BQQu6xphKim/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>. “My goal is to reveal the sexism and micro-aggressions we all face in our daily life and to promote empathy,” she says.\u003c/p>\n\u003cp>Privett has since added to what is now the “Keep Persisting” series, including versions to address the way people of all genders and races feel silenced or dismissed — as well as people who experience sexual violence, homelessness, depression, and more. There are still other versions to come. “People keep requesting,” she says, “so I have a list I’ve been going off of.”\u003c/p>\n\u003cp>Privett says she wants to help people “think more about the language we use toward others. These words and phrases come from both males and females, strangers and friends, and we’re likely all guilty of speaking some of them at some point.”\u003c/p>\n\u003cp>Privett has since set up a \u003ca href=\"https://www.zazzle.com/keep_persisting\" target=\"_blank\" rel=\"noopener\">web page\u003c/a> where all the proceeds from any art purchased benefit two charitable non-profits, the \u003ca href=\"http://www.midnightmission.org/\" target=\"_blank\" rel=\"noopener\">Midnight Mission\u003c/a> and the \u003ca href=\"http://www.thetrevorproject.org/\" target=\"_blank\" rel=\"noopener\">Trevor Project\u003c/a>. “I don’t make a whole lot of profit,” she adds, “but whatever I’m getting, it’s going to those organizations.”\u003c/p>\n\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It started on February 7, after Elizabeth Warren was \u003ca href=\"http://www.cnn.com/2017/02/07/politics/elizabeth-warren-mitch-mcconnell/index.html\" target=\"_blank\" rel=\"noopener\">pretty much told to shut up\u003c/a> as she tried to read a 1986 letter from Coretta Scott King, the widow of Martin Luther King Jr., on the Senate floor. Warren had raised the letter in objection to Sessions’ nomination to attorney general.\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>In the letter, written when Sessions was a nominee for a federal judgeship, Coretta King accused Sessions of trying to stop black people from voting. Interrupting her time on the floor, Warren’s GOP colleagues barred her from speaking for the rest of the debate (although she managed to read the letter later \u003ca href=\"https://www.facebook.com/senatorelizabethwarren/videos/724337794395383/\" target=\"_blank\" rel=\"noopener\">on Facebook\u003c/a>).\u003c/p>\n\u003cp>“Sen. Warren was giving a lengthy speech,” Sen. Mitch McConnell said later. “She had appeared to violate the rule. She was warned. She was given an explanation. Nevertheless, she persisted.”\u003c/p>\n\u003cp>It didn’t take long for those final two words to \u003ca href=\"https://twitter.com/hashtag/ShePersisted?src=hash\" target=\"_blank\" rel=\"noopener\">gain traction around the internet\u003c/a>, becoming a rallying cry for women warned, like Warren, or otherwise condescended to, ignored, silenced, even attacked. Women who, nevertheless, persisted. \u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">We can and we will! Let’s start this week off strong! \u003ca href=\"https://twitter.com/hashtag/StrongerTogether?src=hash\">#StrongerTogether\u003c/a> \u003ca href=\"https://twitter.com/hashtag/ShePersisted?src=hash\">#ShePersisted\u003c/a> \u003ca href=\"https://twitter.com/hashtag/MondayMotivation?src=hash\">#MondayMotivation\u003c/a> \u003ca href=\"https://twitter.com/hashtag/TheResistance?src=hash\">#TheResistance\u003c/a> \u003ca href=\"https://twitter.com/hashtag/MayaAngelou?src=hash\">#MayaAngelou\u003c/a> ✊???? \u003ca href=\"https://t.co/6Hsm0XzyTs\">pic.twitter.com/6Hsm0XzyTs\u003c/a>\u003c/p>\n\u003cp>— Mockingjay2017 ???? (@txmockingjay) \u003ca href=\"https://twitter.com/txmockingjay/status/843732357140140032\">March 20, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>San Jose author and artist \u003ca href=\"https://www.facebook.com/cmprivett\" target=\"_blank\" rel=\"noopener\">Courtney Privett\u003c/a> felt moved to post a work she called \u003cem>Nevertheless, She Persisted\u003c/em>, which depicts a woman facing a wall of words and phrases that women begin hearing in childhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Calm down,” reads one speech bubble in the artwork. “Smile,” says another. “Bitchy.”\u003c/p>\n\u003cp>Within hours, the image went viral. 92,000 shared it on \u003ca href=\"https://www.facebook.com/photo.php?fbid=10210875558338733&l=8b9ef99876\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a>. “Once people started reposting it, I lost track of where it went,” she says. At last count, almost 11,000 people have liked the post on \u003ca href=\"https://www.instagram.com/p/BQQu6xphKim/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>. “My goal is to reveal the sexism and micro-aggressions we all face in our daily life and to promote empathy,” she says.\u003c/p>\n\u003cp>Privett has since added to what is now the “Keep Persisting” series, including versions to address the way people of all genders and races feel silenced or dismissed — as well as people who experience sexual violence, homelessness, depression, and more. There are still other versions to come. “People keep requesting,” she says, “so I have a list I’ve been going off of.”\u003c/p>\n\u003cp>Privett says she wants to help people “think more about the language we use toward others. These words and phrases come from both males and females, strangers and friends, and we’re likely all guilty of speaking some of them at some point.”\u003c/p>\n\u003cp>Privett has since set up a \u003ca href=\"https://www.zazzle.com/keep_persisting\" target=\"_blank\" rel=\"noopener\">web page\u003c/a> where all the proceeds from any art purchased benefit two charitable non-profits, the \u003ca href=\"http://www.midnightmission.org/\" target=\"_blank\" rel=\"noopener\">Midnight Mission\u003c/a> and the \u003ca href=\"http://www.thetrevorproject.org/\" target=\"_blank\" rel=\"noopener\">Trevor Project\u003c/a>. “I don’t make a whole lot of profit,” she adds, “but whatever I’m getting, it’s going to those organizations.”\u003c/p>\n\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Carlos Gonzalez, a San Francisco Mission native and muralist, first heard that a man named Dick Evans wanted to make a photography book about murals in the Mission, he wasn’t immediately on board.\u003c/p>\n\u003cp>“I’ve been through experiences before where people come, pick our brains, and then kind of use and abuse us and misrepresent what we say,” says Gonzalez, “so I was a little skeptical.”\u003c/p>\n\u003cp>Four years later, though, Gonzalez couldn’t be happier with \u003ca href=\"https://heydaybooks.com/book/the-mission/\">\u003cem>Mission\u003c/em>,\u003c/a> Evans’ finished product recently released by Heyday Books.\u003c/p>\n\u003cp>“Many people from the neighborhood would be really proud to have that book on their coffee table and brag about it, because that’s the essence of the neighborhood in the book,” says Gonzalez. “I mean, not only did he cover the murals, but he captured the culture. You can actually smell the \u003cem>carnitas\u003c/em> and the fresh \u003cem>pan dulce\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_12928942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12928942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mission-2-800x533.jpg\" alt='\"Santana\" by Mel Waters and David Cho, photographed by Dick Evans. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Santana’ by Mel Waters and David Cho, photographed by Dick Evans. \u003ccite>(Courtesy Dick Evans and Heyday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Community murals in general — but especially murals in San Francisco’s Mission District — occupy complicated and slippery cultural terrain. Initially a community-led method of beautification for a neighborhood neglected by local government, the Mission District’s fantastically rich display of murals has also become one of the characteristics drawing newcomers — and, in turn, contributing to the ongoing displacement of primarily Latino families who have resided in the area for decades. (Gonzalez himself was priced out and now lives in San Bruno.) The vibrant visibility of the murals makes them simultaneously empowering and co-optable. Capturing them in a coffee table book only adds another layer of vulnerability.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Mission\u003c/em>, however, isn’t some anthropological catalogue. The brightly saturated hardcover book offers close-ups of artistry in the murals as well as more contextual shots of the paintings’ true use as backdrop to urban life. In many, pedestrians walk through the frame, their sneakers and jackets adding pops of color that juxtapose the palettes of the walls. Meanwhile, fruit markets, restaurant signs, and events such as Carnivale offer their own kind of color.\u003c/p>\n\u003cfigure id=\"attachment_12928946\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12928946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mission-7.jpg\" alt='\"Puebla Mexico Takeout\" sign photographed by Dick Evans. ' width=\"720\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-7.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-7-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-7-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-7-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-7-520x780.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">‘Puebla Mexico Takeout’ sign photographed by Dick Evans. \u003ccite>(Courtesy Dick Evans and Heyday Books. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Mission\u003c/em> is not Evans’ first photography book. In 2011, he published \u003cem>San Francisco and the Bay Area: The Haight-Ashbury Edition\u003c/em>, which focused on murals along San Francisco’s famous Haight Street. But, as soon as he began \u003cem>Mission\u003c/em>, he realized this book would be much more complicated. “The murals in the Mission are inherently much more political,” he says.\u003c/p>\n\u003cp>He also decided early on that he wanted to use the project to raise funds for a local institution. The obvious choice was Precita Eyes, a long-running community-based mural organization that’s key to the area’s heart and soul. Profits from the book will support the organization.\u003c/p>\n\u003cp>A close look at the murals of the Mission also offers a visualized social history of the area. Evans’ book begins with a portrait of Ohlone descendant and writer Vincent Medina in front of “Mission Dolores Mural,” a public recreation of the mural that sits behind the altar in the famous Mission Dolores, originally painted by Ohlone artists during the late 18th century. In the time since Evans took the photo, the mural was torn down due to fire damage on the building.\u003c/p>\n\u003cp>\u003cem>Mission\u003c/em> goes on to include murals painted in protest of U.S. involvement in Central American civil wars in the 1970s, murals demanding justice for laborers and all people of color, Black Panther murals, LGBTQ-centric murals, anti-police brutality murals, and murals about gentrification.\u003c/p>\n\u003cfigure id=\"attachment_12928945\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12928945\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mission-6-800x533.jpg\" alt='\"St Francis: Past, Present, and Future\" by Daniel P. Doherty, photographed by Dick Evans. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘St Francis: Past, Present, and Future’ by Daniel P. Doherty, photographed by Dick Evans. \u003ccite>(Courtesy Dick Evans and Heyday Books. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But rather than offering historical background for the paintings, \u003cem>Mission\u003c/em> is instead punctuated with poems, statements, and interview excerpts from artists, activists, and residents who call the neighborhood home. These were collected by muralist and tenant’s rights activist Carla Wojczuk, whom Precita Eyes co-founder Susan Cervantes asked to act as a community liaison for the project. Wojczuk says the inclusions are important because they ensure the book is not only “for the community, but also by the community.”\u003c/p>\n\u003cfigure id=\"attachment_12928941\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12928941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mission-4.jpg\" alt=\""La Llorona's Sacred Waters" by Juana Alicia Araiza photographed by Dick Evans. \" width=\"720\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-4.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-4-520x347.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">‘La Llorona’s Sacred Waters’ by Juana Alicia Araiza, photographed by Dick Evans. \u003ccite>(Courtesy Dick Evans and Heyday Books. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those elongated captions are many statements by artist Juana Alicia, who painted \u003cem>La Llorona’s Sacred Waters\u003c/em> on York and 24th Streets — a dynamic narrative rendered in blue and red that’s one of the most admired murals in the Mission today. “Every time I emerge from the guts of the 24th Street BART Station, with its tamale vendors, sidewalk musicians, drunks, junkies, bible-thumpers, hipsters on their way to Noe Valley or their new Mission condos, and political organizers, I feel reborn, like I have arrived,” reads one of Alicia’s contributions. “It’s the same way I feel in the Zócalo in Mexico City, where 500 years of history are on decade-by-decade display. I am mesmerized and absorbed, and could draw there for days at a time.”\u003c/p>\n\u003cp>In his photographer’s statement, Evans writes that he intentionally aimed not to politicize any of the content in the book or the cultural shifts in the area. Simply, the goal was to document and let the images speak for themselves. That decision is largely what makes the collection interesting — because it leaves room for all the slippery and chaotic cultural collisions that make the Mission what it is today.\u003c/p>\n\u003cfigure id=\"attachment_12928944\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12928944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mission-5-800x979.jpg\" alt='\"La Flor de la Vida\" by Elaine Chu and Marina Perez-Wong photographed by Dick Evans. ' width=\"800\" height=\"979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-800x979.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-768x940.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-1020x1248.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-1180x1444.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-960x1174.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-240x294.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-375x459.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-520x636.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘La Flor de la Vida’ by Elaine Chu and Marina Perez-Wong, photographed by Dick Evans. \u003ccite>(Courtesy Dick Evans and Heyday Books. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than the typical dry opener one might expect, \u003cem>Mission\u003c/em> begins with a gorgeous poem by U.S. poet laureate Juan Felipe Herrera — who is Mission-raised. Then comes the introduction, a personal essay by Wojczuk that ultimately does offer some radically upfront political positioning that one might only find in a coffee table book published by Berkeley’s conscientious Heyday Books.\u003c/p>\n\u003cp>“The Mission is tangled in myriad strands of history, but the purpose of this book is not to offer up an archeological or architectural scavenger hunt,” writes Wojczuk. “The demographics of the Mission are changing rapidly and often traumatically, but we are not here to fetishize a settler/colonial mentality, nor do we attempt to satisfy progressive dying-culture savior mentalities.\u003c/p>\n\u003cp>“This is a record of a history that lies in the present: contested, dynamic, and made by many forces.”\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A launch event for ‘Mission’ takes place at Gray Area (2665 Mission St., San Francisco) on Thursday, April 13, at 6pm. See \u003ca href=\"https://missionbooksf.com/\">here\u003c/a> for more details. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Carlos Gonzalez, a San Francisco Mission native and muralist, first heard that a man named Dick Evans wanted to make a photography book about murals in the Mission, he wasn’t immediately on board.\u003c/p>\n\u003cp>“I’ve been through experiences before where people come, pick our brains, and then kind of use and abuse us and misrepresent what we say,” says Gonzalez, “so I was a little skeptical.”\u003c/p>\n\u003cp>Four years later, though, Gonzalez couldn’t be happier with \u003ca href=\"https://heydaybooks.com/book/the-mission/\">\u003cem>Mission\u003c/em>,\u003c/a> Evans’ finished product recently released by Heyday Books.\u003c/p>\n\u003cp>“Many people from the neighborhood would be really proud to have that book on their coffee table and brag about it, because that’s the essence of the neighborhood in the book,” says Gonzalez. “I mean, not only did he cover the murals, but he captured the culture. You can actually smell the \u003cem>carnitas\u003c/em> and the fresh \u003cem>pan dulce\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_12928942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12928942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mission-2-800x533.jpg\" alt='\"Santana\" by Mel Waters and David Cho, photographed by Dick Evans. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-2.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Santana’ by Mel Waters and David Cho, photographed by Dick Evans. \u003ccite>(Courtesy Dick Evans and Heyday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Community murals in general — but especially murals in San Francisco’s Mission District — occupy complicated and slippery cultural terrain. Initially a community-led method of beautification for a neighborhood neglected by local government, the Mission District’s fantastically rich display of murals has also become one of the characteristics drawing newcomers — and, in turn, contributing to the ongoing displacement of primarily Latino families who have resided in the area for decades. (Gonzalez himself was priced out and now lives in San Bruno.) The vibrant visibility of the murals makes them simultaneously empowering and co-optable. Capturing them in a coffee table book only adds another layer of vulnerability.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Mission\u003c/em>, however, isn’t some anthropological catalogue. The brightly saturated hardcover book offers close-ups of artistry in the murals as well as more contextual shots of the paintings’ true use as backdrop to urban life. In many, pedestrians walk through the frame, their sneakers and jackets adding pops of color that juxtapose the palettes of the walls. Meanwhile, fruit markets, restaurant signs, and events such as Carnivale offer their own kind of color.\u003c/p>\n\u003cfigure id=\"attachment_12928946\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12928946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mission-7.jpg\" alt='\"Puebla Mexico Takeout\" sign photographed by Dick Evans. ' width=\"720\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-7.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-7-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-7-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-7-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-7-520x780.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">‘Puebla Mexico Takeout’ sign photographed by Dick Evans. \u003ccite>(Courtesy Dick Evans and Heyday Books. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Mission\u003c/em> is not Evans’ first photography book. In 2011, he published \u003cem>San Francisco and the Bay Area: The Haight-Ashbury Edition\u003c/em>, which focused on murals along San Francisco’s famous Haight Street. But, as soon as he began \u003cem>Mission\u003c/em>, he realized this book would be much more complicated. “The murals in the Mission are inherently much more political,” he says.\u003c/p>\n\u003cp>He also decided early on that he wanted to use the project to raise funds for a local institution. The obvious choice was Precita Eyes, a long-running community-based mural organization that’s key to the area’s heart and soul. Profits from the book will support the organization.\u003c/p>\n\u003cp>A close look at the murals of the Mission also offers a visualized social history of the area. Evans’ book begins with a portrait of Ohlone descendant and writer Vincent Medina in front of “Mission Dolores Mural,” a public recreation of the mural that sits behind the altar in the famous Mission Dolores, originally painted by Ohlone artists during the late 18th century. In the time since Evans took the photo, the mural was torn down due to fire damage on the building.\u003c/p>\n\u003cp>\u003cem>Mission\u003c/em> goes on to include murals painted in protest of U.S. involvement in Central American civil wars in the 1970s, murals demanding justice for laborers and all people of color, Black Panther murals, LGBTQ-centric murals, anti-police brutality murals, and murals about gentrification.\u003c/p>\n\u003cfigure id=\"attachment_12928945\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12928945\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mission-6-800x533.jpg\" alt='\"St Francis: Past, Present, and Future\" by Daniel P. Doherty, photographed by Dick Evans. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-6.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘St Francis: Past, Present, and Future’ by Daniel P. Doherty, photographed by Dick Evans. \u003ccite>(Courtesy Dick Evans and Heyday Books. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But rather than offering historical background for the paintings, \u003cem>Mission\u003c/em> is instead punctuated with poems, statements, and interview excerpts from artists, activists, and residents who call the neighborhood home. These were collected by muralist and tenant’s rights activist Carla Wojczuk, whom Precita Eyes co-founder Susan Cervantes asked to act as a community liaison for the project. Wojczuk says the inclusions are important because they ensure the book is not only “for the community, but also by the community.”\u003c/p>\n\u003cfigure id=\"attachment_12928941\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12928941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mission-4.jpg\" alt=\""La Llorona's Sacred Waters" by Juana Alicia Araiza photographed by Dick Evans. \" width=\"720\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-4.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-4-520x347.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">‘La Llorona’s Sacred Waters’ by Juana Alicia Araiza, photographed by Dick Evans. \u003ccite>(Courtesy Dick Evans and Heyday Books. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those elongated captions are many statements by artist Juana Alicia, who painted \u003cem>La Llorona’s Sacred Waters\u003c/em> on York and 24th Streets — a dynamic narrative rendered in blue and red that’s one of the most admired murals in the Mission today. “Every time I emerge from the guts of the 24th Street BART Station, with its tamale vendors, sidewalk musicians, drunks, junkies, bible-thumpers, hipsters on their way to Noe Valley or their new Mission condos, and political organizers, I feel reborn, like I have arrived,” reads one of Alicia’s contributions. “It’s the same way I feel in the Zócalo in Mexico City, where 500 years of history are on decade-by-decade display. I am mesmerized and absorbed, and could draw there for days at a time.”\u003c/p>\n\u003cp>In his photographer’s statement, Evans writes that he intentionally aimed not to politicize any of the content in the book or the cultural shifts in the area. Simply, the goal was to document and let the images speak for themselves. That decision is largely what makes the collection interesting — because it leaves room for all the slippery and chaotic cultural collisions that make the Mission what it is today.\u003c/p>\n\u003cfigure id=\"attachment_12928944\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12928944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mission-5-800x979.jpg\" alt='\"La Flor de la Vida\" by Elaine Chu and Marina Perez-Wong photographed by Dick Evans. ' width=\"800\" height=\"979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-800x979.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-768x940.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-1020x1248.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-1180x1444.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-960x1174.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-240x294.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-375x459.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5-520x636.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mission-5.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘La Flor de la Vida’ by Elaine Chu and Marina Perez-Wong, photographed by Dick Evans. \u003ccite>(Courtesy Dick Evans and Heyday Books. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than the typical dry opener one might expect, \u003cem>Mission\u003c/em> begins with a gorgeous poem by U.S. poet laureate Juan Felipe Herrera — who is Mission-raised. Then comes the introduction, a personal essay by Wojczuk that ultimately does offer some radically upfront political positioning that one might only find in a coffee table book published by Berkeley’s conscientious Heyday Books.\u003c/p>\n\u003cp>“The Mission is tangled in myriad strands of history, but the purpose of this book is not to offer up an archeological or architectural scavenger hunt,” writes Wojczuk. “The demographics of the Mission are changing rapidly and often traumatically, but we are not here to fetishize a settler/colonial mentality, nor do we attempt to satisfy progressive dying-culture savior mentalities.\u003c/p>\n\u003cp>“This is a record of a history that lies in the present: contested, dynamic, and made by many forces.”\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A launch event for ‘Mission’ takes place at Gray Area (2665 Mission St., San Francisco) on Thursday, April 13, at 6pm. See \u003ca href=\"https://missionbooksf.com/\">here\u003c/a> for more details. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "political-prints-pull-no-punches-at-juan-r-fuentes-gallery",
"title": "Political Prints Pull No Punches at Juan R. Fuentes Gallery",
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"headTitle": "Political Prints Pull No Punches at Juan R. Fuentes Gallery | KQED",
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"content": "\u003cp>The presidency of Donald Trump has motivated artists like never before. Some have responded with nuanced images that probe the divisions of our age, others with more sharply satiric caricature.\u003c/p>\n\u003cp>That’s especially true for printmakers, whose art is often a tool for political activism.\u003c/p>\n\u003cp>“The graphic quality of printmaking tends to make a statement more quickly than a lot of other media,” said artist, teacher and self-described “instigator” \u003ca href=\"http://arthazelwood.com/\" target=\"_blank\" rel=\"noopener\">Art Hazelwood\u003c/a>, standing the other day in the tiny Juan R. Fuentes gallery at \u003ca href=\"http://accionlatina.org/en/\" target=\"_blank\" rel=\"noopener\">Acción Latina\u003c/a> in San Francisco’s Mission District.\u003c/p>\n\u003cfigure id=\"attachment_12930019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12930019\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-800x347.jpg\" alt=\"Fernando Marti's etching "This Machine Kills Fascists" is a critique of President Trump and a tribute to folksinger Woody Guthrie, who famously displayed those words on his guitar in the 1930s.\" width=\"800\" height=\"347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-800x347.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-768x333.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-1020x442.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-1920x833.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-1180x512.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-960x416.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-240x104.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-375x163.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-520x226.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fernando Marti’s etching ‘This Machine Kills Fascists’ is both a critique of President Trump and a tribute to folksinger Woody Guthrie, who famously displayed those words on his guitar in the 1930s. \u003ccite>(Photo: Courtesy of Acción Latina )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit Hazelwood co-curated with Fuentes, \u003ca href=\"http://accionlatina.org/en/creation-resistance-printmaking-dark-times/\" target=\"_blank\" rel=\"noopener\">\u003cem>Creation and Resistance: Printmaking in Dark Times\u003c/em>,\u003c/a> is on display through April 7. Hazelwood and Fuentes began contacting artists for the exhibit a year ago, although many of them are showing work created just in the past few months, as a response to the election.\u003c/p>\n\u003cfigure id=\"attachment_12930018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12930018 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/001-e1490063023878-800x461.jpg\" alt=\"David Avery did four etchings for the show 'Creation and Resistance' at Acción Latina\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-768x443.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-1020x588.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-1920x1107.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-1180x681.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-960x554.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-520x300.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878.jpg 2032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Avery made four etchings for the show ‘Creation and Resistance’ at Acción Latina. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Take \u003ca href=\"http://davidavery.net/apropos/\" target=\"_blank\" rel=\"noopener\">David Avery\u003c/a>’s hand-colored etching, \u003cem>The Year of the Rooster. The World Wants to be Deceived.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s an image of a limp penis sporting a fan of peacock feathers. Avery said it’s meant to symbolize the President, and satirize his self-aggrandizing style and history of harassing women.\u003c/p>\n\u003cfigure id=\"attachment_12930024\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12930024 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-800x1228.jpg\" alt=\"Fernando Marti -"American Flag Color" is part of the show 'Creation and Resistance'\" width=\"800\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-800x1228.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-768x1179.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-1020x1566.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-960x1474.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-240x369.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-375x576.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-520x798.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fernando Marti’s ‘American Flag Color,’ part of the show ‘Creation and Resistance.’ \u003ccite>(Photo: Courtesy of Acción Latina )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was my reaction, as quick as I could do it,” said Avery, “It’s another way of looking at the emperor with no clothes.”\u003c/p>\n\u003cp>Avery is one of 11 printmakers in the show, all of whom take a left-leaning perspective on current events.\u003c/p>\n\u003cp>“I’m 65 and I don’t think, ever in my lifetime, I’ve seen anything as bad as things are with President Trump in office,” Avery said. “We have fascism in America. You can’t sit by and just make art, unless it addresses what’s going on.”\u003c/p>\n\u003cp>Active and even bloody resistance to President Trump is represented by \u003ca href=\"http://www.josart.net/\" target=\"_blank\" rel=\"noopener\">Jos Sances\u003c/a>’ screenprint with watercolor, \u003cem>Judith Slaying Holofernes\u003c/em>, a take on a baroque masterpiece by the female artist \u003ca href=\"http://www.arthistoryarchive.com/arthistory/baroque/Artemisia-Gentileschi.html\" target=\"_blank\" rel=\"noopener\">Artemisia Gentileschi\u003c/a>.\u003c/p>\n\u003cp>In Sances’ version, Trump takes the role of an Assyrian general whose head was cut off by the biblical hero \u003ca href=\"https://en.wikipedia.org/wiki/Book_of_Judith\" target=\"_blank\" rel=\"noopener\">Judith\u003c/a>, the woman he lusted for. The print bears the tongue-in-cheek caption, “Any resemblance to persons living or dead is completely accidental.”\u003c/p>\n\u003cfigure id=\"attachment_12929807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12929807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FullSizeRender-800x524.jpg\" alt=\"Jos Sances' Screenprint with watercolor "Judith Slaying Holofernes"\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1920x1259.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1180x774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-520x341.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jos Sances’ screenprint with watercolor, ‘Judith Slaying Holofernes.'” \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sances’ politics and those of \u003ca href=\"http://www.malaquiasmontoya.com/\" target=\"_blank\" rel=\"noopener\">Malaquias Montoya \u003c/a>(his work \u003cem>Mein Trumpf\u003c/em> is pictured above) are anything but subtle, but \u003cem>Newsfeed\u003c/em>, a relief print by San Francisco Art Institute student \u003ca href=\"http://howlingmoondog.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Kate Laster\u003c/a>, is a study in ambiguity.\u003c/p>\n\u003cp>“This is the preamble on my mind, a way of untangling emotional baggage,” Laster said of her work, which shows a woman desperately embracing a figure made out of newsprint. “I keep thinking about doublespeak. There are all of these lies from Trump, these horrible things he’s saying that are affecting every part of our lives.”\u003c/p>\n\u003cfigure id=\"attachment_12930020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12930020 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/002-e1490062111292-800x1416.jpg\" alt='Kate Lasker standing in front of her relief print \"Newsfeed\" part of the show ‘Creation and Resistance' width=\"800\" height=\"1416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-800x1416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-160x283.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-768x1359.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-1020x1805.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-960x1699.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-240x425.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-375x664.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-520x920.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292.jpg 1157w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kate Lasker standing in front of her relief print ‘Newsfeed,’ part of the show ‘Creation and Resistance.’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other prints in the show were inspired by the \u003ca href=\"http://www.npr.org/tags/492631446/dakota-access-pipeline\" target=\"_blank\" rel=\"noopener\">Dakota Access Pipeline protests\u003c/a>, and President Trump’s decision to authorize construction by the Army Corps of Engineers. “The Standing Rock Sioux are fighting a government that is still not respecting its treaties,” said Veronica Solis, who made the linocut \u003cem>Winter Count\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12930022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12930022\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/005-e1490062524999-800x484.jpg\" alt=\"Veronica Solis' linocut "Winter Count" is part of the show 'Creation and Resistance'\" width=\"800\" height=\"484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-800x484.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-1020x617.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-1920x1162.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-1180x714.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-960x581.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-520x315.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Veronica Solis’ linocut ‘Winter Count,’ part of the show ‘Creation and Resistance.’ \u003ccite>(Photo: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Solis, a Mexican immigrant, was deeply offended by Trump’s derogatory comments about people like her. “We have to remember,” she said, perhaps speaking for all the artists in the show, “that reality is not what he says it is. Immigrants are a big part of what makes this country so great. So we need to be loud. And these prints are our way to speak.”\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\u003cem>The exhibit \u003cem>Creation and Resistance: Printmaking in Dark Times\u003c/em> continues through Friday, April 7, when \u003ca href=\"http://accionlatina.org/en/\" target=\"_blank\" rel=\"noopener\">Acción Latina\u003c/a> hosts a closing reception from 6-9pm featuring an artist panel including Chamuco Cortez, Kate Laster, Fernando Marti, Veronica Solis and David Avery.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Printmakers respond to the presidency of Donald Trump with a mix of thoughtful and bitterly caustic art.",
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"title": "Political Prints Pull No Punches at Juan R. Fuentes Gallery | KQED",
"description": "Printmakers respond to the presidency of Donald Trump with a mix of thoughtful and bitterly caustic art.",
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"headline": "Political Prints Pull No Punches at Juan R. Fuentes Gallery",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The presidency of Donald Trump has motivated artists like never before. Some have responded with nuanced images that probe the divisions of our age, others with more sharply satiric caricature.\u003c/p>\n\u003cp>That’s especially true for printmakers, whose art is often a tool for political activism.\u003c/p>\n\u003cp>“The graphic quality of printmaking tends to make a statement more quickly than a lot of other media,” said artist, teacher and self-described “instigator” \u003ca href=\"http://arthazelwood.com/\" target=\"_blank\" rel=\"noopener\">Art Hazelwood\u003c/a>, standing the other day in the tiny Juan R. Fuentes gallery at \u003ca href=\"http://accionlatina.org/en/\" target=\"_blank\" rel=\"noopener\">Acción Latina\u003c/a> in San Francisco’s Mission District.\u003c/p>\n\u003cfigure id=\"attachment_12930019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12930019\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-800x347.jpg\" alt=\"Fernando Marti's etching "This Machine Kills Fascists" is a critique of President Trump and a tribute to folksinger Woody Guthrie, who famously displayed those words on his guitar in the 1930s.\" width=\"800\" height=\"347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-800x347.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-768x333.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-1020x442.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-1920x833.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-1180x512.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-960x416.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-240x104.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-375x163.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1-520x226.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-This-Machine-Kills-Fascists-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fernando Marti’s etching ‘This Machine Kills Fascists’ is both a critique of President Trump and a tribute to folksinger Woody Guthrie, who famously displayed those words on his guitar in the 1930s. \u003ccite>(Photo: Courtesy of Acción Latina )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit Hazelwood co-curated with Fuentes, \u003ca href=\"http://accionlatina.org/en/creation-resistance-printmaking-dark-times/\" target=\"_blank\" rel=\"noopener\">\u003cem>Creation and Resistance: Printmaking in Dark Times\u003c/em>,\u003c/a> is on display through April 7. Hazelwood and Fuentes began contacting artists for the exhibit a year ago, although many of them are showing work created just in the past few months, as a response to the election.\u003c/p>\n\u003cfigure id=\"attachment_12930018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12930018 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/001-e1490063023878-800x461.jpg\" alt=\"David Avery did four etchings for the show 'Creation and Resistance' at Acción Latina\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-768x443.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-1020x588.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-1920x1107.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-1180x681.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-960x554.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878-520x300.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/001-e1490063023878.jpg 2032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Avery made four etchings for the show ‘Creation and Resistance’ at Acción Latina. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Take \u003ca href=\"http://davidavery.net/apropos/\" target=\"_blank\" rel=\"noopener\">David Avery\u003c/a>’s hand-colored etching, \u003cem>The Year of the Rooster. The World Wants to be Deceived.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s an image of a limp penis sporting a fan of peacock feathers. Avery said it’s meant to symbolize the President, and satirize his self-aggrandizing style and history of harassing women.\u003c/p>\n\u003cfigure id=\"attachment_12930024\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12930024 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-800x1228.jpg\" alt=\"Fernando Marti -"American Flag Color" is part of the show 'Creation and Resistance'\" width=\"800\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-800x1228.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-768x1179.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-1020x1566.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-960x1474.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-240x369.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-375x576.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793-520x798.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Fernando-Marti-American-Flag-Color-1-e1490062951793.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fernando Marti’s ‘American Flag Color,’ part of the show ‘Creation and Resistance.’ \u003ccite>(Photo: Courtesy of Acción Latina )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was my reaction, as quick as I could do it,” said Avery, “It’s another way of looking at the emperor with no clothes.”\u003c/p>\n\u003cp>Avery is one of 11 printmakers in the show, all of whom take a left-leaning perspective on current events.\u003c/p>\n\u003cp>“I’m 65 and I don’t think, ever in my lifetime, I’ve seen anything as bad as things are with President Trump in office,” Avery said. “We have fascism in America. You can’t sit by and just make art, unless it addresses what’s going on.”\u003c/p>\n\u003cp>Active and even bloody resistance to President Trump is represented by \u003ca href=\"http://www.josart.net/\" target=\"_blank\" rel=\"noopener\">Jos Sances\u003c/a>’ screenprint with watercolor, \u003cem>Judith Slaying Holofernes\u003c/em>, a take on a baroque masterpiece by the female artist \u003ca href=\"http://www.arthistoryarchive.com/arthistory/baroque/Artemisia-Gentileschi.html\" target=\"_blank\" rel=\"noopener\">Artemisia Gentileschi\u003c/a>.\u003c/p>\n\u003cp>In Sances’ version, Trump takes the role of an Assyrian general whose head was cut off by the biblical hero \u003ca href=\"https://en.wikipedia.org/wiki/Book_of_Judith\" target=\"_blank\" rel=\"noopener\">Judith\u003c/a>, the woman he lusted for. The print bears the tongue-in-cheek caption, “Any resemblance to persons living or dead is completely accidental.”\u003c/p>\n\u003cfigure id=\"attachment_12929807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12929807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FullSizeRender-800x524.jpg\" alt=\"Jos Sances' Screenprint with watercolor "Judith Slaying Holofernes"\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1920x1259.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1180x774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-520x341.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jos Sances’ screenprint with watercolor, ‘Judith Slaying Holofernes.'” \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sances’ politics and those of \u003ca href=\"http://www.malaquiasmontoya.com/\" target=\"_blank\" rel=\"noopener\">Malaquias Montoya \u003c/a>(his work \u003cem>Mein Trumpf\u003c/em> is pictured above) are anything but subtle, but \u003cem>Newsfeed\u003c/em>, a relief print by San Francisco Art Institute student \u003ca href=\"http://howlingmoondog.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Kate Laster\u003c/a>, is a study in ambiguity.\u003c/p>\n\u003cp>“This is the preamble on my mind, a way of untangling emotional baggage,” Laster said of her work, which shows a woman desperately embracing a figure made out of newsprint. “I keep thinking about doublespeak. There are all of these lies from Trump, these horrible things he’s saying that are affecting every part of our lives.”\u003c/p>\n\u003cfigure id=\"attachment_12930020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12930020 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/002-e1490062111292-800x1416.jpg\" alt='Kate Lasker standing in front of her relief print \"Newsfeed\" part of the show ‘Creation and Resistance' width=\"800\" height=\"1416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-800x1416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-160x283.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-768x1359.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-1020x1805.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-960x1699.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-240x425.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-375x664.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292-520x920.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/002-e1490062111292.jpg 1157w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kate Lasker standing in front of her relief print ‘Newsfeed,’ part of the show ‘Creation and Resistance.’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other prints in the show were inspired by the \u003ca href=\"http://www.npr.org/tags/492631446/dakota-access-pipeline\" target=\"_blank\" rel=\"noopener\">Dakota Access Pipeline protests\u003c/a>, and President Trump’s decision to authorize construction by the Army Corps of Engineers. “The Standing Rock Sioux are fighting a government that is still not respecting its treaties,” said Veronica Solis, who made the linocut \u003cem>Winter Count\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12930022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12930022\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/005-e1490062524999-800x484.jpg\" alt=\"Veronica Solis' linocut "Winter Count" is part of the show 'Creation and Resistance'\" width=\"800\" height=\"484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-800x484.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-1020x617.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-1920x1162.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-1180x714.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-960x581.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999-520x315.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005-e1490062524999.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Veronica Solis’ linocut ‘Winter Count,’ part of the show ‘Creation and Resistance.’ \u003ccite>(Photo: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Solis, a Mexican immigrant, was deeply offended by Trump’s derogatory comments about people like her. “We have to remember,” she said, perhaps speaking for all the artists in the show, “that reality is not what he says it is. Immigrants are a big part of what makes this country so great. So we need to be loud. And these prints are our way to speak.”\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\u003cem>The exhibit \u003cem>Creation and Resistance: Printmaking in Dark Times\u003c/em> continues through Friday, April 7, when \u003ca href=\"http://accionlatina.org/en/\" target=\"_blank\" rel=\"noopener\">Acción Latina\u003c/a> hosts a closing reception from 6-9pm featuring an artist panel including Chamuco Cortez, Kate Laster, Fernando Marti, Veronica Solis and David Avery.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Erica Deeman Bridges the Bay with Two Simultaneous Solos",
"headTitle": "Erica Deeman Bridges the Bay with Two Simultaneous Solos | KQED",
"content": "\u003cp>If San Francisco-based photographer \u003ca href=\"http://www.ericadeeman.com/\" target=\"_blank\" rel=\"noopener\">Erica Deeman\u003c/a> can mount two solo shows on both sides of the bay in the span of two weeks, then we, the viewing public, should definitely be able to brave the bridge, tunnel or ferry (your choice!) to simply enjoy looking at them.\u003c/p>\n\u003cp>Deeman’s show \u003ci>\u003ca href=\"http://bampfa.berkeley.edu/program/erica-deeman-silhouettes\" target=\"_blank\" rel=\"noopener\">Silhouettes\u003c/a>\u003c/i>, on view at the Berkeley Art Museum and Pacific Film Archive through June 11, depicts women from the African diaspora in profile from the shoulders up, against a white background. The high-contrast prints (seen last year in Pier 24’s \u003ci>Collected\u003c/i>) might seem like zoomed-in Kara Walker cut-outs from afar, but up close, Deeman’s careful lighting glances gracefully off the women’s cheeks, collarbones and foreheads.\u003c/p>\n\u003cfigure id=\"attachment_12928950\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12928950\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200.jpg\" alt=\"Erica Deeman, 'Untitled 2,' 2014.\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Erica Deeman, ‘Untitled 2,’ 2014. \u003ccite>(Courtesy of the artist and Anthony Meier Fine Arts, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Anthony Meier Fine Arts in San Francisco, Deeman opens a second show of portraiture, \u003ci>\u003ca href=\"http://www.anthonymeierfinearts.com/exhibitions/erica-deeman-brown\" target=\"_blank\" rel=\"noopener\">Brown\u003c/a>\u003c/i>, on March 23. In this series, Deeman’s subjects are the male counterparts of her \u003ci>Silhouettes\u003c/i> subjects, captured facing the camera against a brown background that matches the artist’s own skin tone. In a video made by the gallery for the exhibition, Deeman explains she wanted to insert herself within each image to better understand “the spectrum of brownness.”\u003c/p>\n\u003cp>In both bodies of work, Deeman seeks to create a “modern-day narrative” for a group of people whose images aren’t readily found in classical portraiture or photography. Her portraits reference both mug shots and the popular 18th and 19th-century pseudoscience of physiognomy — the assessment of a person’s character from their face — but underline the fallacy of judging a person at face value, let alone from a photograph.\u003c/p>\n\u003cfigure id=\"attachment_12928958\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12928958\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/DeemanGregory1200.jpg\" alt=\"Erica Deeman, 'Gregory,' 2016.\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Erica Deeman, ‘Gregory,’ 2016. \u003ccite>(Courtesy of the artist and Anthony Meier Fine Arts, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stripped of clothing and accessories — and therefore commonly held signifiers of wealth and class — Deeman’s subjects are differentiated mostly by age and hairstyle (look for the man in \u003ci>Brown\u003c/i> with the excellent beard). The formal compositions in both series imbue each image with warmth and dignity, a testament to Deeman’s ability to forge relationships with her subjects (culled from friends, family, ad-responders and strangers she encountered on the street) and put them at ease in front of her camera.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That tantalizing connection, part of what makes the images so compelling, is reserved for the photographer and her models. “You \u003ci>will\u003c/i> think you know them,” she says, “and you’ll be wrong.”\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>\u003ci>‘Silhouettes’ is on view at the Berkeley Art Museum and Pacific Film Archive through June 11. For tickets and more information, \u003ca href=\"http://bampfa.berkeley.edu/program/erica-deeman-silhouettes\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Brown’ is on view at Anthony Meier Fine Arts in San Francisco, March 24 through April 28, with an opening reception on Thursday, March 23, 6-8pm. For more information, \u003ca href=\"http://www.anthonymeierfinearts.com/exhibitions/erica-deeman-brown\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Concurrent exhibitions at BAMPFA and Anthony Meier Fine Arts showcase the photographer's formal portraits of men and women from the African diaspora.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If San Francisco-based photographer \u003ca href=\"http://www.ericadeeman.com/\" target=\"_blank\" rel=\"noopener\">Erica Deeman\u003c/a> can mount two solo shows on both sides of the bay in the span of two weeks, then we, the viewing public, should definitely be able to brave the bridge, tunnel or ferry (your choice!) to simply enjoy looking at them.\u003c/p>\n\u003cp>Deeman’s show \u003ci>\u003ca href=\"http://bampfa.berkeley.edu/program/erica-deeman-silhouettes\" target=\"_blank\" rel=\"noopener\">Silhouettes\u003c/a>\u003c/i>, on view at the Berkeley Art Museum and Pacific Film Archive through June 11, depicts women from the African diaspora in profile from the shoulders up, against a white background. The high-contrast prints (seen last year in Pier 24’s \u003ci>Collected\u003c/i>) might seem like zoomed-in Kara Walker cut-outs from afar, but up close, Deeman’s careful lighting glances gracefully off the women’s cheeks, collarbones and foreheads.\u003c/p>\n\u003cfigure id=\"attachment_12928950\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12928950\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200.jpg\" alt=\"Erica Deeman, 'Untitled 2,' 2014.\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Erica-Deeman_Untitled-2_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Erica Deeman, ‘Untitled 2,’ 2014. \u003ccite>(Courtesy of the artist and Anthony Meier Fine Arts, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Anthony Meier Fine Arts in San Francisco, Deeman opens a second show of portraiture, \u003ci>\u003ca href=\"http://www.anthonymeierfinearts.com/exhibitions/erica-deeman-brown\" target=\"_blank\" rel=\"noopener\">Brown\u003c/a>\u003c/i>, on March 23. In this series, Deeman’s subjects are the male counterparts of her \u003ci>Silhouettes\u003c/i> subjects, captured facing the camera against a brown background that matches the artist’s own skin tone. In a video made by the gallery for the exhibition, Deeman explains she wanted to insert herself within each image to better understand “the spectrum of brownness.”\u003c/p>\n\u003cp>In both bodies of work, Deeman seeks to create a “modern-day narrative” for a group of people whose images aren’t readily found in classical portraiture or photography. Her portraits reference both mug shots and the popular 18th and 19th-century pseudoscience of physiognomy — the assessment of a person’s character from their face — but underline the fallacy of judging a person at face value, let alone from a photograph.\u003c/p>\n\u003cfigure id=\"attachment_12928958\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12928958\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/DeemanGregory1200.jpg\" alt=\"Erica Deeman, 'Gregory,' 2016.\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DeemanGregory1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Erica Deeman, ‘Gregory,’ 2016. \u003ccite>(Courtesy of the artist and Anthony Meier Fine Arts, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stripped of clothing and accessories — and therefore commonly held signifiers of wealth and class — Deeman’s subjects are differentiated mostly by age and hairstyle (look for the man in \u003ci>Brown\u003c/i> with the excellent beard). The formal compositions in both series imbue each image with warmth and dignity, a testament to Deeman’s ability to forge relationships with her subjects (culled from friends, family, ad-responders and strangers she encountered on the street) and put them at ease in front of her camera.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That tantalizing connection, part of what makes the images so compelling, is reserved for the photographer and her models. “You \u003ci>will\u003c/i> think you know them,” she says, “and you’ll be wrong.”\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>\u003ci>‘Silhouettes’ is on view at the Berkeley Art Museum and Pacific Film Archive through June 11. For tickets and more information, \u003ca href=\"http://bampfa.berkeley.edu/program/erica-deeman-silhouettes\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Brown’ is on view at Anthony Meier Fine Arts in San Francisco, March 24 through April 28, with an opening reception on Thursday, March 23, 6-8pm. For more information, \u003ca href=\"http://www.anthonymeierfinearts.com/exhibitions/erica-deeman-brown\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Man Charged After Attack on Painting at London's National Gallery",
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"content": "\u003cp>A man entered the National Gallery in London on Saturday afternoon, approached a painting by British master Thomas Gainsborough, and proceeded to attack it with a “sharp object.”\u003c/p>\n\u003cp>A Metropolitan Police Service spokesman tells NPR that a 63-year-old man named Keith Gregory, “of no fixed abode,” was charged with causing criminal damage to a National Gallery painting.\u003c/p>\n\u003cp>It’s not clear what motivated the attack on Gainsborough’s 1785 work \u003cem>Mr and Mrs William Hallett\u003c/em>, more commonly known as \u003cem>The Morning Walk\u003c/em>. The \u003ca href=\"https://www.nationalgallery.org.uk/about-us/press-and-media/press-releases/statement-on-gainsborough-incident\" target=\"_blank\" rel=\"noopener\">museum said in a statement\u003c/a> that the suspect was quickly apprehended by museum staff and visitors, and then arrested by the police.\u003c/p>\n\u003cp>“The damage is limited to two long scratches which have penetrated the paint layers, but not the supporting canvas,” the museum said. “The painting was removed from display and examined by the Gallery’s conservators, who are now assessing next steps.”\u003c/p>\n\u003cp>The National Gallery did not specify what type of “sharp object” was used to attack the work of art, though one Reddit user said bystanders \u003ca href=\"https://www.reddit.com/r/london/comments/609fhr/curious_unreported_incident_the_national_gallery/?st=j0i8tkoa&sh=db7ff898\" target=\"_blank\" rel=\"noopener\">were speaking about a screwdriver\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gregory “appeared in custody at Westminster Magistrates’ Court on Monday, 20 March and was remanded to next appear on Thursday, 23 March,” the police said. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>Mark Bills, the director of the museum Gainsborough’s House, described the incident as “quite shocking” in \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/19/man-charged-damage-to-gainsborough-work-at-national-gallery-evacuation\" target=\"_blank\" rel=\"noopener\">an interview with The Guardian\u003c/a>.\u003c/p>\n\u003cp>“It’s a picture that I can’t imagine anybody finding offensive,” Bills said. “What an odd thing to want to do.”\u003c/p>\n\u003cp>The gallery’s East Wing was closed immediately after the incident and reopened within two hours. The painting was housed in a room of \u003ca href=\"https://www.nationalgallery.org.uk/visiting/floorplans/level-2/room-34\" target=\"_blank\" rel=\"noopener\">British art from 1750-1850\u003c/a>, including paintings by John Constable and J.M.W. Turner.\u003c/p>\n\u003cp>In the James Bond film \u003cem>Skyfall\u003c/em>, the room “was used as the setting for a covert meeting between Daniel Craig’s James Bond and Ben Whishaw’s equipment expert Q,” the \u003cem>Guardian\u003c/em> added.\u003c/p>\n\u003cp>The painting itself depicts a young couple on a walk with a white, fluffy dog. “William Hallett and Elizabeth Stephen were both aged 21 and due to be married in the summer of 1785, shortly after the painting was completed,” \u003ca href=\"https://www.nationalgallery.org.uk/paintings/thomas-gainsborough-mr-and-mrs-william-hallett-the-morning-walk\" target=\"_blank\" rel=\"noopener\">according to the museum’s description\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bills tells the \u003cem>Guardian\u003c/em> that the painting is one of Gainsborough’s “great masterpieces.” He adds: “When we think about Gainsborough, it’s usually from around these years. When you think of the elegant portraits of the Georgian period, that’s the one that comes to mind.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Man+Charged+After+Attack+On+Painting+At+London%27s+National+Gallery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A man entered the National Gallery in London on Saturday afternoon, approached a painting by British master Thomas Gainsborough, and proceeded to attack it with a “sharp object.”\u003c/p>\n\u003cp>A Metropolitan Police Service spokesman tells NPR that a 63-year-old man named Keith Gregory, “of no fixed abode,” was charged with causing criminal damage to a National Gallery painting.\u003c/p>\n\u003cp>It’s not clear what motivated the attack on Gainsborough’s 1785 work \u003cem>Mr and Mrs William Hallett\u003c/em>, more commonly known as \u003cem>The Morning Walk\u003c/em>. The \u003ca href=\"https://www.nationalgallery.org.uk/about-us/press-and-media/press-releases/statement-on-gainsborough-incident\" target=\"_blank\" rel=\"noopener\">museum said in a statement\u003c/a> that the suspect was quickly apprehended by museum staff and visitors, and then arrested by the police.\u003c/p>\n\u003cp>“The damage is limited to two long scratches which have penetrated the paint layers, but not the supporting canvas,” the museum said. “The painting was removed from display and examined by the Gallery’s conservators, who are now assessing next steps.”\u003c/p>\n\u003cp>The National Gallery did not specify what type of “sharp object” was used to attack the work of art, though one Reddit user said bystanders \u003ca href=\"https://www.reddit.com/r/london/comments/609fhr/curious_unreported_incident_the_national_gallery/?st=j0i8tkoa&sh=db7ff898\" target=\"_blank\" rel=\"noopener\">were speaking about a screwdriver\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gregory “appeared in custody at Westminster Magistrates’ Court on Monday, 20 March and was remanded to next appear on Thursday, 23 March,” the police said. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>Mark Bills, the director of the museum Gainsborough’s House, described the incident as “quite shocking” in \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/19/man-charged-damage-to-gainsborough-work-at-national-gallery-evacuation\" target=\"_blank\" rel=\"noopener\">an interview with The Guardian\u003c/a>.\u003c/p>\n\u003cp>“It’s a picture that I can’t imagine anybody finding offensive,” Bills said. “What an odd thing to want to do.”\u003c/p>\n\u003cp>The gallery’s East Wing was closed immediately after the incident and reopened within two hours. The painting was housed in a room of \u003ca href=\"https://www.nationalgallery.org.uk/visiting/floorplans/level-2/room-34\" target=\"_blank\" rel=\"noopener\">British art from 1750-1850\u003c/a>, including paintings by John Constable and J.M.W. Turner.\u003c/p>\n\u003cp>In the James Bond film \u003cem>Skyfall\u003c/em>, the room “was used as the setting for a covert meeting between Daniel Craig’s James Bond and Ben Whishaw’s equipment expert Q,” the \u003cem>Guardian\u003c/em> added.\u003c/p>\n\u003cp>The painting itself depicts a young couple on a walk with a white, fluffy dog. “William Hallett and Elizabeth Stephen were both aged 21 and due to be married in the summer of 1785, shortly after the painting was completed,” \u003ca href=\"https://www.nationalgallery.org.uk/paintings/thomas-gainsborough-mr-and-mrs-william-hallett-the-morning-walk\" target=\"_blank\" rel=\"noopener\">according to the museum’s description\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bills tells the \u003cem>Guardian\u003c/em> that the painting is one of Gainsborough’s “great masterpieces.” He adds: “When we think about Gainsborough, it’s usually from around these years. When you think of the elegant portraits of the Georgian period, that’s the one that comes to mind.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Man+Charged+After+Attack+On+Painting+At+London%27s+National+Gallery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Draw The Line Illustrates the Simplicity, Beauty of Taking Action",
"headTitle": "Draw The Line Illustrates the Simplicity, Beauty of Taking Action | KQED",
"content": "\u003cp>Can comic artists change the world? Well, you could ask Daniel Clowes how his \u003ca href=\"https://ww2.kqed.org/arts/2016/01/06/daniel-clowes-boycotting-comic-award-contest-bereft-of-female-nominees/\" target=\"_blank\" rel=\"noopener\">boycott of the Grand Prix d’Angouleme\u003c/a> turned out. Or you could take action yourself and see what happens.\u003c/p>\n\u003cp>\u003ca href=\"https://drawthelinecomics.com/\" target=\"_blank\" rel=\"noopener\">Draw The Line\u003c/a> is propelled by the notion that if you want to become politically active, nothing’s stopping you. The website provides 365 concrete actions for any budding activist, even those with little free time or money. Many are basic and easy, such as a \u003ca href=\"https://drawthelinecomics.com/2017/02/05/the-cheap-stuff-actions-you-can-take-with-just-a-small-budget/\" target=\"_blank\" rel=\"noopener\">starting a collection for food banks\u003c/a> and reporting fake news on social media. Some of the suggestions are even geared towards kids. All are accompanied by illustrations from comic artists all over the world. \u003c/p>\n\u003cp>Wanting to take action herself, the idea behind Draw The Line came to British comic publisher Myfanwy Nixon while on a jog. As soon as she returned home, she jumped on the computer and began reaching out to artists. Within hours, she had around 140 artists lined up and was soliciting ideas for actions to illustrate \u003ca href=\"https://www.facebook.com/mockduck/posts/10153774168531735?pnref=story\" target=\"_blank\" rel=\"noopener\">on social media\u003c/a>.\u003c/p>\n\u003cp>Initially Nixon planned to print a small pamphlet featuring all 365 actions, but she now hopes to have them printed in something more substantial and with wide distribution.\u003c/p>\n\u003cp>\u003ci>Here are a few examples of the illustrations on Draw The Line:\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_12916823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/118_christine_wong-800x626.jpg\" alt='\"Click the Triangle\" by Christine Wong, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Click the Triangle” by Christine Wong, 2017\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12916820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-800x626.jpg\" alt='\"Be Playful\" by Maria Bjorklund, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Be Playful” by Maria Bjorklund, 2017\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12916821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/080_david_baillie-800x626.jpg\" alt='\"Put It Live\" by David Baillie, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Put It Live” by David Baillie, 2017\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12916822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/041_dave_mckean-800x626.jpg\" alt='\"Give Mindfully\" by Dave McKean, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Give Mindfully” by Dave McKean, 2017\u003c/figcaption>\u003c/figure>\n\u003cp>See more at \u003cem>\u003ca href=\"https://drawthelinecomics.com/\" target=\"_blank\" rel=\"noopener\">Draw The Line\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Draw The Line supplies 365 ways people can take action in cartoon and comic-strip form.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Can comic artists change the world? Well, you could ask Daniel Clowes how his \u003ca href=\"https://ww2.kqed.org/arts/2016/01/06/daniel-clowes-boycotting-comic-award-contest-bereft-of-female-nominees/\" target=\"_blank\" rel=\"noopener\">boycott of the Grand Prix d’Angouleme\u003c/a> turned out. Or you could take action yourself and see what happens.\u003c/p>\n\u003cp>\u003ca href=\"https://drawthelinecomics.com/\" target=\"_blank\" rel=\"noopener\">Draw The Line\u003c/a> is propelled by the notion that if you want to become politically active, nothing’s stopping you. The website provides 365 concrete actions for any budding activist, even those with little free time or money. Many are basic and easy, such as a \u003ca href=\"https://drawthelinecomics.com/2017/02/05/the-cheap-stuff-actions-you-can-take-with-just-a-small-budget/\" target=\"_blank\" rel=\"noopener\">starting a collection for food banks\u003c/a> and reporting fake news on social media. Some of the suggestions are even geared towards kids. All are accompanied by illustrations from comic artists all over the world. \u003c/p>\n\u003cp>Wanting to take action herself, the idea behind Draw The Line came to British comic publisher Myfanwy Nixon while on a jog. As soon as she returned home, she jumped on the computer and began reaching out to artists. Within hours, she had around 140 artists lined up and was soliciting ideas for actions to illustrate \u003ca href=\"https://www.facebook.com/mockduck/posts/10153774168531735?pnref=story\" target=\"_blank\" rel=\"noopener\">on social media\u003c/a>.\u003c/p>\n\u003cp>Initially Nixon planned to print a small pamphlet featuring all 365 actions, but she now hopes to have them printed in something more substantial and with wide distribution.\u003c/p>\n\u003cp>\u003ci>Here are a few examples of the illustrations on Draw The Line:\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_12916823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/118_christine_wong-800x626.jpg\" alt='\"Click the Triangle\" by Christine Wong, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/118_christine_wong-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Click the Triangle” by Christine Wong, 2017\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12916820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-800x626.jpg\" alt='\"Be Playful\" by Maria Bjorklund, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/029_maria_bjorklund1-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Be Playful” by Maria Bjorklund, 2017\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12916821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/080_david_baillie-800x626.jpg\" alt='\"Put It Live\" by David Baillie, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/080_david_baillie-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Put It Live” by David Baillie, 2017\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12916822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/041_dave_mckean-800x626.jpg\" alt='\"Give Mindfully\" by Dave McKean, 2017' width=\"800\" height=\"626\" class=\"size-medium wp-image-12916822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/041_dave_mckean-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Give Mindfully” by Dave McKean, 2017\u003c/figcaption>\u003c/figure>\n\u003cp>See more at \u003cem>\u003ca href=\"https://drawthelinecomics.com/\" target=\"_blank\" rel=\"noopener\">Draw The Line\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "in-california-the-beginning-of-the-battle-to-save-arts-funding",
"title": "In California, the 'Beginning of the Battle' to Save Arts Funding",
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"content": "\u003cp>With the official release of President Trump’s proposed budget on Thursday, arts leaders in California weren’t surprised to see the elimination of the \u003ca href=\"https://www.arts.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts\u003c/a> (NEA) and the \u003ca href=\"https://www.neh.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Humanities \u003c/a>(NEH) among the cuts. But that doesn’t mean they’re not worried about the survival of dozens of arts programs across the state, many of them serving immigrant and poor communities.\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>“It’s a significant blow,” says California Arts Council director Craig Watson. “Our fear is that even a loss of modest funding will have a ripple effect through local neighborhoods, and the neighborhoods that are least able to afford those losses.”\u003c/p>\n\u003cp>Watson says individual grants aren’t that large. In total, the NEA split $7.8 million among 119 grantees in California this year (2016-2017), while another $1.2 million went to the California Arts Council. But grantees have to match every dollar from other donors, in part to demonstrate public support for their programming or artworks. Groups say they can leverage an NEA grant nine times.\u003c/p>\n\u003cp>The Alliance for California Traditional Arts (ACTA) received $120,000 from the NEA last year, and the group stretched that money to support the work of everyone from Ohlone basket weavers to producers of Vietnamese opera and Cowboy poets.\u003c/p>\n\u003cfigure id=\"attachment_12911339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12911339 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Trad-arts-800x533.jpg\" alt=\"Indigenous Mixtec Oaxacan immigrants in the San Joaquin Valley perform the Danza de los Diablos (Dance of the Devils). ACTA supported an apprenticeship in mask making with master artist Luis Ortiz and his apprentice Panuncio Gutiérrez.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indigenous Mixtec Oaxacan immigrants in the San Joaquin Valley perform the Danza de los Diablos (Dance of the Devils). ACTA supported an apprenticeship in mask making with master artist Luis Ortiz and his apprentice Panuncio Gutiérrez. \u003ccite>(Photo: Courtesy California Arts Council)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s the thing that really is alarming about eliminating this agency,” says ACTA director Amy Kitchener. “There really is a fragile ecosystem for the arts in this country.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cuts could also mean more empty galleries at museums. The NEA underwrites temporary insurance for artwork in traveling exhibitions, an often otherwise prohibitive cost even for larger museums.\u003c/p>\n\u003cp>San Francisco Museum of Modern Art (SFMOMA) director Neal Benezra says the museum couldn’t have co-curated its current \u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn/\" target=\"_blank\" rel=\"noopener\">\u003cem>Matisse/Diebenkorn\u003c/em> \u003c/a>show without NEA support, seeing as paintings by Matisse are valued in the \u003ca href=\"http://www.independent.co.uk/arts-entertainment/art/matisse-sets-new-49-million-dollar-record-in-new-york-2126992.html\" target=\"_blank\" rel=\"noopener\">millions and tens of millions of dollars\u003c/a>. “For many of our visitors,” Benezra wrote in an email, “these exhibitions represent the only opportunity in their lifetimes to enjoy and learn from these important works and the artists who created them.”\u003c/p>\n\u003cfigure id=\"attachment_12876000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12876000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-800x450.jpg\" alt=\"Matisse's Goldfish and Palette next to Diebenkorn's Urbana #5- showing the affinities between the two artists in a show at SFMOMA\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matisse’s ‘Goldfish and Palette’ next to Diebenkorn’s ‘Urbana #5’ — showing the affinities between the two artists in a show at SFMOMA. \u003ccite>(Photo: Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>President Trump has also proposed eliminating the \u003ca href=\"https://www.imls.gov/\" target=\"_blank\" rel=\"noopener\">Institute for Museum and Library Science\u003c/a>, which helped fund SFMOMA’s new Photography Interpretive Gallery.\u003c/p>\n\u003cp>The same fate would also befall the National Endowment for the Humanities, which funds dozens of scholarly programs in California. The NEH has given San Jose State Associate Professor Matthew Spangler approximately $500,000 over the past three years, which he’s used to run a summer institute for K-12 teachers from around the country about the immigrant experience in California. As part of the program, the teachers are able to meet with authors ranging from Khaled Hosseini to Luis Valdez and Maxine Hong Kingston.\u003c/p>\n\u003cp>“The teachers come from all over — rural Georgia, Ohio, Wyoming, Alaska, New York — and they go back to do their schools rejuvenated,” Spangler says. “So these programs benefit the constituents of the very states of the congresspeople who will probably vote to kill them. That’s what’s kind of sad and ironic.”\u003c/p>\n\u003cp>Congress has considered proposals to kill federal arts and culture funding before, and rejected them.\u003c/p>\n\u003cp>“We’re not going to drop like a wet rock out of the sky tomorrow,” says Kitchener.\u003c/p>\n\u003cp>Meanwhile, \u003ca href=\"https://californiansforthearts.org/board-of-directors/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area Executive Director Brad Erickson\u003c/a> is heading a delegation of state arts leaders flying to Washington on Monday and Tuesday (March 20 and 21) to lobby Congress on what they’re calling an \u003ca href=\"http://www.americansforthearts.org/events/arts-advocacy-day\" target=\"_blank\" rel=\"noopener\">Arts Advocacy Day\u003c/a>. They promise they’ll be calling on Representative Ken Calvert, who represents Riverside County and who chairs the interior subcommittee which oversees the NEA budget.\u003c/p>\n\u003cp>Says CAC director Watson: “This is the beginning of the battle.”\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": "California arts leaders ready for the fight to save funding for the National Endowments for the Arts and Humanities. ",
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"title": "In California, the 'Beginning of the Battle' to Save Arts Funding | KQED",
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"headline": "In California, the 'Beginning of the Battle' to Save Arts Funding",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the official release of President Trump’s proposed budget on Thursday, arts leaders in California weren’t surprised to see the elimination of the \u003ca href=\"https://www.arts.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts\u003c/a> (NEA) and the \u003ca href=\"https://www.neh.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Humanities \u003c/a>(NEH) among the cuts. But that doesn’t mean they’re not worried about the survival of dozens of arts programs across the state, many of them serving immigrant and poor communities.\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>“It’s a significant blow,” says California Arts Council director Craig Watson. “Our fear is that even a loss of modest funding will have a ripple effect through local neighborhoods, and the neighborhoods that are least able to afford those losses.”\u003c/p>\n\u003cp>Watson says individual grants aren’t that large. In total, the NEA split $7.8 million among 119 grantees in California this year (2016-2017), while another $1.2 million went to the California Arts Council. But grantees have to match every dollar from other donors, in part to demonstrate public support for their programming or artworks. Groups say they can leverage an NEA grant nine times.\u003c/p>\n\u003cp>The Alliance for California Traditional Arts (ACTA) received $120,000 from the NEA last year, and the group stretched that money to support the work of everyone from Ohlone basket weavers to producers of Vietnamese opera and Cowboy poets.\u003c/p>\n\u003cfigure id=\"attachment_12911339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12911339 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Trad-arts-800x533.jpg\" alt=\"Indigenous Mixtec Oaxacan immigrants in the San Joaquin Valley perform the Danza de los Diablos (Dance of the Devils). ACTA supported an apprenticeship in mask making with master artist Luis Ortiz and his apprentice Panuncio Gutiérrez.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indigenous Mixtec Oaxacan immigrants in the San Joaquin Valley perform the Danza de los Diablos (Dance of the Devils). ACTA supported an apprenticeship in mask making with master artist Luis Ortiz and his apprentice Panuncio Gutiérrez. \u003ccite>(Photo: Courtesy California Arts Council)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s the thing that really is alarming about eliminating this agency,” says ACTA director Amy Kitchener. “There really is a fragile ecosystem for the arts in this country.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The cuts could also mean more empty galleries at museums. The NEA underwrites temporary insurance for artwork in traveling exhibitions, an often otherwise prohibitive cost even for larger museums.\u003c/p>\n\u003cp>San Francisco Museum of Modern Art (SFMOMA) director Neal Benezra says the museum couldn’t have co-curated its current \u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn/\" target=\"_blank\" rel=\"noopener\">\u003cem>Matisse/Diebenkorn\u003c/em> \u003c/a>show without NEA support, seeing as paintings by Matisse are valued in the \u003ca href=\"http://www.independent.co.uk/arts-entertainment/art/matisse-sets-new-49-million-dollar-record-in-new-york-2126992.html\" target=\"_blank\" rel=\"noopener\">millions and tens of millions of dollars\u003c/a>. “For many of our visitors,” Benezra wrote in an email, “these exhibitions represent the only opportunity in their lifetimes to enjoy and learn from these important works and the artists who created them.”\u003c/p>\n\u003cfigure id=\"attachment_12876000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12876000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-800x450.jpg\" alt=\"Matisse's Goldfish and Palette next to Diebenkorn's Urbana #5- showing the affinities between the two artists in a show at SFMOMA\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matisse’s ‘Goldfish and Palette’ next to Diebenkorn’s ‘Urbana #5’ — showing the affinities between the two artists in a show at SFMOMA. \u003ccite>(Photo: Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>President Trump has also proposed eliminating the \u003ca href=\"https://www.imls.gov/\" target=\"_blank\" rel=\"noopener\">Institute for Museum and Library Science\u003c/a>, which helped fund SFMOMA’s new Photography Interpretive Gallery.\u003c/p>\n\u003cp>The same fate would also befall the National Endowment for the Humanities, which funds dozens of scholarly programs in California. The NEH has given San Jose State Associate Professor Matthew Spangler approximately $500,000 over the past three years, which he’s used to run a summer institute for K-12 teachers from around the country about the immigrant experience in California. As part of the program, the teachers are able to meet with authors ranging from Khaled Hosseini to Luis Valdez and Maxine Hong Kingston.\u003c/p>\n\u003cp>“The teachers come from all over — rural Georgia, Ohio, Wyoming, Alaska, New York — and they go back to do their schools rejuvenated,” Spangler says. “So these programs benefit the constituents of the very states of the congresspeople who will probably vote to kill them. That’s what’s kind of sad and ironic.”\u003c/p>\n\u003cp>Congress has considered proposals to kill federal arts and culture funding before, and rejected them.\u003c/p>\n\u003cp>“We’re not going to drop like a wet rock out of the sky tomorrow,” says Kitchener.\u003c/p>\n\u003cp>Meanwhile, \u003ca href=\"https://californiansforthearts.org/board-of-directors/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area Executive Director Brad Erickson\u003c/a> is heading a delegation of state arts leaders flying to Washington on Monday and Tuesday (March 20 and 21) to lobby Congress on what they’re calling an \u003ca href=\"http://www.americansforthearts.org/events/arts-advocacy-day\" target=\"_blank\" rel=\"noopener\">Arts Advocacy Day\u003c/a>. They promise they’ll be calling on Representative Ken Calvert, who represents Riverside County and who chairs the interior subcommittee which oversees the NEA budget.\u003c/p>\n\u003cp>Says CAC director Watson: “This is the beginning of the battle.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Artist Michele Pred Wears Her Feminism On Her Sleeve — and On Her Handbags",
"headTitle": "Artist Michele Pred Wears Her Feminism On Her Sleeve — and On Her Handbags | KQED",
"content": "\u003cp>In January of this year, the Women’s March marked a landmark day for handmade posterboard signs. But for feminist statements that \u003cem>won’t\u003c/em> get soggy in the rain, there’s the work of Michele Pred, a Bay Area artist who has garnered buzz and accolades from some very famous fans in the months surrounding the election of Donald Trump.\u003c/p>\n\u003cfigure id=\"attachment_12904459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/static1.squarespace.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12904459\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/static1.squarespace-800x800.jpg\" alt=\"One of Pred's "vote" bags\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of Pred’s “vote” bags.\u003c/figcaption>\u003c/figure>\n\u003cp>Pred, who was born in San Francisco and grew up in both Berkeley and Sweden, makes accessories (like handbags bearing straightforward political messages like “Pro Choice”) as well as large-scale installations (like \u003cem>Homeland Security\u003c/em>, comprised of objects confiscated at airports by the TSA). Supreme Court Justice Sonia Sotomayor has said that Pred’s work “is an important offering for its relevance to the times.” Comedian Amy Schumer let an image speak a thousand words in February when\u003ca href=\"https://www.instagram.com/p/BP-UnhKl2WO/?hl=en\" target=\"_blank\" rel=\"noopener\"> she posted an Instagram video\u003c/a> of a Michele Pred handbag reading “Pro Choice” on one side and “Nasty Woman” on the other.\u003c/p>\n\u003cp>Locally, Pred’s work is included in the \u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/rise-art-action\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project’s group exhibition \u003cem>RISE UP! Art as Action\u003c/em> in San Francisco, on view through May 6\u003c/a>. We asked her a few questions over email.\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\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" 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>\u003cstrong>I know you grew up partially in Sweden; how do you think your experience with living abroad and experiencing a political system that’s very different from ours has affected your perspective on our current situation?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Growing up in Sweden had a huge effect on me and the way I think politically. The political choices they have made in Sweden helped create an extremely high standard of living without the extremes of poverty or wealth we have here. Neither has this balance come at the expense of personal freedom. Sweden is able to think in the longer term and, partially due to an excellent education system, consider issues in all of their complexity without resorting to the easiest, most comfortable answer. For example, women in Sweden have 18 months of paid parental leave, and men have a mandatory three months’ paid parental leave, contributing to the overall sense of well-being. I would never say that their system is perfect, but the U.S. could learn a great deal if only we could set aside our political labels.\u003c/p>\n\u003cp>My political views have also been greatly influenced by my parents. My mother, who ventured away from Sweden as a young woman in the 1950s, was determined, independent and fierce. She also built a strong bridge for our family back to Sweden. My father was a Professor in Cultural Geography at UC Berkeley for over 40 years and was extremely political with a passion for social justice. It was the norm to sit around the dinner table and critically discuss current political affairs across the globe.\u003c/p>\n\u003cfigure id=\"attachment_12904460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12904460\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-800x550.jpg\" alt=\"An American flag made from confiscated pocket knives, part of Pred's 'Homeland Security' piece\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-375x258.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-520x358.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5.jpg 855w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An American flag made from confiscated pocket knives, part of Pred’s ‘Homeland Security’ piece.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you spent election night? Was your initial reaction to make art about it?\u003c/strong>\u003c/p>\n\u003cp>I spent election night at a Hillary party at our neighbors’ house. I had gone so far as to buy a cake that said “Hillary” on it, bought balloons and red, white and blue decorations and a really good bottle of champagne. We thought we were going to be celebrating a historic event. As the evening progressed, I was initially in denial about the direction the election was going. I thought Hillary would pick up more states later in the evening. One by one people started to leave the party when we realized what direction the election was going. I was in shock. Needless to say, we never drank that bottle of champagne.\u003c/p>\n\u003cp>The day after, and the following week, I was simply in shock. I wanted to start making artwork about the election right away, but I just couldn’t. Up until the election I was responding immediately to Trump’s actions and words. I made a “Nasty Woman” purse the morning after that debate and a “Pussy Grabs Back” the day after the audio came out in the media. To be honest, I was exhausted after campaigning all year with my various art projects (\u003ca href=\"http://hyperallergic.com/334444/on-anniversary-of-the-patriot-act-artist-passes-out-pocket-knives-at-the-airport/\">Patriot Act Performance\u003c/a> and \u003ca href=\"http://herbodyhervote.com/home.html\">HerBodyHerVote\u003c/a>) and I was hoping to take a little break. But we lost, and it was devastating, so I just had to pull up my bootstraps and march on with my work!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12904461\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-800x800.jpg\" alt=\"d002d1dabe36e1a40641e964b3dfa3b3\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3.jpg 1220w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>How do you see the role of the artist within a protest movement? What is your responsibility?\u003c/strong>\u003c/p>\n\u003cp>As an artist, I feel it’s my role to spark conversation and reflection about the world around us with or without a protest movement. However, the current environment certainly adds a sense of urgency to my work and makes those conversations all the more important. The movement also helps amplify all of our voices and can draw new attention to issues that may have been hard to hear only a year ago.\u003c/p>\n\u003cp>Still, for the next four years, my focus will remain on the issues that I have always cared about. In that way, I hope to help us all avoid being distracted by the more frivolous sideshows and intentional misdirections we are being fed.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/d7hftxdivxxvm.cloudfront.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/d7hftxdivxxvm.cloudfront.jpg\" alt=\"d7hftxdivxxvm.cloudfront\" width=\"350\" height=\"254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d7hftxdivxxvm.cloudfront.jpg 350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d7hftxdivxxvm.cloudfront-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d7hftxdivxxvm.cloudfront-240x174.jpg 240w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Your handbags and other pieces bearing pro-choice messages have garnered a lot of attention in these volatile times for women’s rights. How does one make pro-choice art without feeling like one is preaching to the choir? Do you set out to change people’s minds, or is serving as a source of strength and inspiration for folks who already share your viewpoints enough?\u003c/strong>\u003c/p>\n\u003cp>One important aspect of my current artwork is to support pro-choice organizations like NARAL and Planned Parenthood. I have been donating a percentage of my sales to these organizations since 2013, particularly through events sponsored by those organizations. They do work for abortion and reproductive rights that I am unable to do, so I see that as an extension of my work. I also see my purses, T-shirts, tote bags and pins as small-scale mobile political billboards that carry pro-choice messages into the public beyond the art gallery. Those, along with the actual billboards I have run, are meant to encourage dialogue. Sometimes that dialogue is charged and not necessarily fruitful, but I often see it working to clarify viewpoints and work out issues.\u003c/p>\n\u003cfigure id=\"attachment_12904462\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/michele-pred-shirt.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/michele-pred-shirt.jpg\" alt=\"One version of Michele Pred's 'her body her business' shirt being modeled by a friend\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One version of Michele Pred’s ‘Her Body Her Business’ shirt being modeled by a friend. \u003ccite>(Courtesy Michele Pred)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was a pro-life blog that created a visually beautiful article about the pro-choice pieces with many images of my work. I have hopes that it might have led some people to stop and think about the ideas I was presenting.\u003c/p>\n\u003cp>When I sent out the “Her Body Her Business” T-shirts to all U.S. Senators before the election, I received several responses. One was a thoughtful and respectful letter from John McCain. Naturally we have completely opposing ideas about reproductive rights but he opened up a dialogue with me and I plan on writing him back to continue the discussion. If we can understand each other more, maybe we can actually create some lasting change.\u003c/p>\n\u003cp>But, my work is absolutely about serving as a source of strength and inspiration too. We desperately need this right now.\u003c/p>\n\u003cp>\u003cstrong>How did your “VOTE” bag wind up in the hands of Hillary Clinton?\u003c/strong>\u003c/p>\n\u003cp>I started making “VOTE” bags in April last year to emphasize the importance of the female vote. Then, last June, I received a Pro Choice Leadership Award from Personal PAC, a pro-choice Super PAC in Illinois. They held a fundraiser in a Gallery in Chicago where I had my work on display and I was donating a portion of the sale of my pieces to Personal PAC. I had the “VOTE” purse on display, but that particular piece was not yet for sale. A very prominent collector asked if she could buy it, and I told her no, as I had already promised it to my gallery in New York. She then asked me if I would sell it to her if she gifted it to Hillary, and naturally, I said yes! The collector gave the purse to Hillary in person.\u003c/p>\n\u003cfigure id=\"attachment_12904463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12904463\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-800x533.jpg\" alt=\"Purses from an installation called 'Wage Gaps'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Purses from an installation called ‘Wage Gaps.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you have coming up in your work that you’re most excited about? Are there any topics you feel you absolutely must comment on? \u003c/strong>\u003c/p>\n\u003cp>I am also working on a series of riot shields with feminist slogans emblazoned on them with pink nail polish. I purchase the shields online from a police supply business.\u003c/p>\n\u003cp>I carried the first one I made to Inauguration Day in D.C. [see photo, above, of Pred with police in riot gear]. It is currently on view at Southern Exposure in the \u003ca href=\"https://www.soex.org/events/100-days-action\" target=\"_blank\" rel=\"noopener\">100 Days Action\u003c/a> exhibit. Right now, I’m also working on a round riot shield with the text “Nevertheless She Persisted.” It is still in process so I do not have an image of it yet. I plan on making approximately 7–10 more shields (both round and rectangular) and creating a large-scale wall installation. I hope to show it in the next few months at an art fair or other venue.\u003c/p>\n\u003cp>\u003cstrong>Who do you look to for inspiration in times like the present? \u003c/strong>\u003c/p>\n\u003cp>I have been very inspired by female artists like Barbara Kruger and Jenny Holzer. Locally, I love the project Ana Teresa Fernandez is doing with painting the Mexican border wall, and Taraneh Hemami creates great work as well.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Michele Pred’s work is on view at the Minnesota Street Project in San Francisco through May 6 and Southern Exposure through March 19. For more, check out her website at \u003ca href=\"http://michelepred.com\" target=\"_blank\" rel=\"noopener\">michelepred.com\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "With straightforward statements on gender equality, one Bay Area artist has made fans out of Supreme Court Justice Sonia Sotomayor and comedian Amy Schumer alike. ",
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"title": "Artist Michele Pred Wears Her Feminism On Her Sleeve — and On Her Handbags | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In January of this year, the Women’s March marked a landmark day for handmade posterboard signs. But for feminist statements that \u003cem>won’t\u003c/em> get soggy in the rain, there’s the work of Michele Pred, a Bay Area artist who has garnered buzz and accolades from some very famous fans in the months surrounding the election of Donald Trump.\u003c/p>\n\u003cfigure id=\"attachment_12904459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/static1.squarespace.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12904459\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/static1.squarespace-800x800.jpg\" alt=\"One of Pred's "vote" bags\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of Pred’s “vote” bags.\u003c/figcaption>\u003c/figure>\n\u003cp>Pred, who was born in San Francisco and grew up in both Berkeley and Sweden, makes accessories (like handbags bearing straightforward political messages like “Pro Choice”) as well as large-scale installations (like \u003cem>Homeland Security\u003c/em>, comprised of objects confiscated at airports by the TSA). Supreme Court Justice Sonia Sotomayor has said that Pred’s work “is an important offering for its relevance to the times.” Comedian Amy Schumer let an image speak a thousand words in February when\u003ca href=\"https://www.instagram.com/p/BP-UnhKl2WO/?hl=en\" target=\"_blank\" rel=\"noopener\"> she posted an Instagram video\u003c/a> of a Michele Pred handbag reading “Pro Choice” on one side and “Nasty Woman” on the other.\u003c/p>\n\u003cp>Locally, Pred’s work is included in the \u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/rise-art-action\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project’s group exhibition \u003cem>RISE UP! Art as Action\u003c/em> in San Francisco, on view through May 6\u003c/a>. We asked her a few questions over email.\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\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" 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>\u003cstrong>I know you grew up partially in Sweden; how do you think your experience with living abroad and experiencing a political system that’s very different from ours has affected your perspective on our current situation?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Growing up in Sweden had a huge effect on me and the way I think politically. The political choices they have made in Sweden helped create an extremely high standard of living without the extremes of poverty or wealth we have here. Neither has this balance come at the expense of personal freedom. Sweden is able to think in the longer term and, partially due to an excellent education system, consider issues in all of their complexity without resorting to the easiest, most comfortable answer. For example, women in Sweden have 18 months of paid parental leave, and men have a mandatory three months’ paid parental leave, contributing to the overall sense of well-being. I would never say that their system is perfect, but the U.S. could learn a great deal if only we could set aside our political labels.\u003c/p>\n\u003cp>My political views have also been greatly influenced by my parents. My mother, who ventured away from Sweden as a young woman in the 1950s, was determined, independent and fierce. She also built a strong bridge for our family back to Sweden. My father was a Professor in Cultural Geography at UC Berkeley for over 40 years and was extremely political with a passion for social justice. It was the norm to sit around the dinner table and critically discuss current political affairs across the globe.\u003c/p>\n\u003cfigure id=\"attachment_12904460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12904460\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-800x550.jpg\" alt=\"An American flag made from confiscated pocket knives, part of Pred's 'Homeland Security' piece\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-375x258.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-520x358.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5.jpg 855w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An American flag made from confiscated pocket knives, part of Pred’s ‘Homeland Security’ piece.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you spent election night? Was your initial reaction to make art about it?\u003c/strong>\u003c/p>\n\u003cp>I spent election night at a Hillary party at our neighbors’ house. I had gone so far as to buy a cake that said “Hillary” on it, bought balloons and red, white and blue decorations and a really good bottle of champagne. We thought we were going to be celebrating a historic event. As the evening progressed, I was initially in denial about the direction the election was going. I thought Hillary would pick up more states later in the evening. One by one people started to leave the party when we realized what direction the election was going. I was in shock. Needless to say, we never drank that bottle of champagne.\u003c/p>\n\u003cp>The day after, and the following week, I was simply in shock. I wanted to start making artwork about the election right away, but I just couldn’t. Up until the election I was responding immediately to Trump’s actions and words. I made a “Nasty Woman” purse the morning after that debate and a “Pussy Grabs Back” the day after the audio came out in the media. To be honest, I was exhausted after campaigning all year with my various art projects (\u003ca href=\"http://hyperallergic.com/334444/on-anniversary-of-the-patriot-act-artist-passes-out-pocket-knives-at-the-airport/\">Patriot Act Performance\u003c/a> and \u003ca href=\"http://herbodyhervote.com/home.html\">HerBodyHerVote\u003c/a>) and I was hoping to take a little break. But we lost, and it was devastating, so I just had to pull up my bootstraps and march on with my work!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12904461\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-800x800.jpg\" alt=\"d002d1dabe36e1a40641e964b3dfa3b3\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3.jpg 1220w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>How do you see the role of the artist within a protest movement? What is your responsibility?\u003c/strong>\u003c/p>\n\u003cp>As an artist, I feel it’s my role to spark conversation and reflection about the world around us with or without a protest movement. However, the current environment certainly adds a sense of urgency to my work and makes those conversations all the more important. The movement also helps amplify all of our voices and can draw new attention to issues that may have been hard to hear only a year ago.\u003c/p>\n\u003cp>Still, for the next four years, my focus will remain on the issues that I have always cared about. In that way, I hope to help us all avoid being distracted by the more frivolous sideshows and intentional misdirections we are being fed.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/d7hftxdivxxvm.cloudfront.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/d7hftxdivxxvm.cloudfront.jpg\" alt=\"d7hftxdivxxvm.cloudfront\" width=\"350\" height=\"254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d7hftxdivxxvm.cloudfront.jpg 350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d7hftxdivxxvm.cloudfront-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d7hftxdivxxvm.cloudfront-240x174.jpg 240w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Your handbags and other pieces bearing pro-choice messages have garnered a lot of attention in these volatile times for women’s rights. How does one make pro-choice art without feeling like one is preaching to the choir? Do you set out to change people’s minds, or is serving as a source of strength and inspiration for folks who already share your viewpoints enough?\u003c/strong>\u003c/p>\n\u003cp>One important aspect of my current artwork is to support pro-choice organizations like NARAL and Planned Parenthood. I have been donating a percentage of my sales to these organizations since 2013, particularly through events sponsored by those organizations. They do work for abortion and reproductive rights that I am unable to do, so I see that as an extension of my work. I also see my purses, T-shirts, tote bags and pins as small-scale mobile political billboards that carry pro-choice messages into the public beyond the art gallery. Those, along with the actual billboards I have run, are meant to encourage dialogue. Sometimes that dialogue is charged and not necessarily fruitful, but I often see it working to clarify viewpoints and work out issues.\u003c/p>\n\u003cfigure id=\"attachment_12904462\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/michele-pred-shirt.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/michele-pred-shirt.jpg\" alt=\"One version of Michele Pred's 'her body her business' shirt being modeled by a friend\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One version of Michele Pred’s ‘Her Body Her Business’ shirt being modeled by a friend. \u003ccite>(Courtesy Michele Pred)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was a pro-life blog that created a visually beautiful article about the pro-choice pieces with many images of my work. I have hopes that it might have led some people to stop and think about the ideas I was presenting.\u003c/p>\n\u003cp>When I sent out the “Her Body Her Business” T-shirts to all U.S. Senators before the election, I received several responses. One was a thoughtful and respectful letter from John McCain. Naturally we have completely opposing ideas about reproductive rights but he opened up a dialogue with me and I plan on writing him back to continue the discussion. If we can understand each other more, maybe we can actually create some lasting change.\u003c/p>\n\u003cp>But, my work is absolutely about serving as a source of strength and inspiration too. We desperately need this right now.\u003c/p>\n\u003cp>\u003cstrong>How did your “VOTE” bag wind up in the hands of Hillary Clinton?\u003c/strong>\u003c/p>\n\u003cp>I started making “VOTE” bags in April last year to emphasize the importance of the female vote. Then, last June, I received a Pro Choice Leadership Award from Personal PAC, a pro-choice Super PAC in Illinois. They held a fundraiser in a Gallery in Chicago where I had my work on display and I was donating a portion of the sale of my pieces to Personal PAC. I had the “VOTE” purse on display, but that particular piece was not yet for sale. A very prominent collector asked if she could buy it, and I told her no, as I had already promised it to my gallery in New York. She then asked me if I would sell it to her if she gifted it to Hillary, and naturally, I said yes! The collector gave the purse to Hillary in person.\u003c/p>\n\u003cfigure id=\"attachment_12904463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12904463\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-800x533.jpg\" alt=\"Purses from an installation called 'Wage Gaps'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Purses from an installation called ‘Wage Gaps.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you have coming up in your work that you’re most excited about? Are there any topics you feel you absolutely must comment on? \u003c/strong>\u003c/p>\n\u003cp>I am also working on a series of riot shields with feminist slogans emblazoned on them with pink nail polish. I purchase the shields online from a police supply business.\u003c/p>\n\u003cp>I carried the first one I made to Inauguration Day in D.C. [see photo, above, of Pred with police in riot gear]. It is currently on view at Southern Exposure in the \u003ca href=\"https://www.soex.org/events/100-days-action\" target=\"_blank\" rel=\"noopener\">100 Days Action\u003c/a> exhibit. Right now, I’m also working on a round riot shield with the text “Nevertheless She Persisted.” It is still in process so I do not have an image of it yet. I plan on making approximately 7–10 more shields (both round and rectangular) and creating a large-scale wall installation. I hope to show it in the next few months at an art fair or other venue.\u003c/p>\n\u003cp>\u003cstrong>Who do you look to for inspiration in times like the present? \u003c/strong>\u003c/p>\n\u003cp>I have been very inspired by female artists like Barbara Kruger and Jenny Holzer. Locally, I love the project Ana Teresa Fernandez is doing with painting the Mexican border wall, and Taraneh Hemami creates great work as well.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Michele Pred’s work is on view at the Minnesota Street Project in San Francisco through May 6 and Southern Exposure through March 19. For more, check out her website at \u003ca href=\"http://michelepred.com\" target=\"_blank\" rel=\"noopener\">michelepred.com\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s late on a recent Friday night at Jeffrey Cheung’s studio in an old West Oakland yogurt factory, where the popular painter is putting the finishing touches on a hand-painted skateboard deck. Upon a pink background, two nude figures joyously intertwine their bodies, each with long black hair, breasts hanging freely, and plump lips curving wide across the face. Although skate deck art varies widely these days, Cheung’s boards still stand out for their brilliantly unabashed branding: “Unity Queer Skateboarding,” this one reads, “Like it or Not!”\u003c/p>\n\u003cfigure id=\"attachment_12891870\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12891870\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_9481-800x533.jpg\" alt=\"Jeffrey Cheung at work on a Unity skateboard deck. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Cheung at work on a Unity skateboard deck. \u003ccite>(Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cheung is best known for his prolific output of paintings, screen prints, and illustrations often featuring groupings of same-sex or gender-ambiguous figures adoring each other’s — or their own — bodies in utter glee. His paintings manage to feel both queer- and body-positive without appearing polemic. Rather, they affirm in an infectiously matter-of-fact manner that cuts through both the disheartening political climate and the sometimes overwrought realm of identity politics.\u003c/p>\n\u003cp>That could be said for everything that falls under the Unity moniker — a creative umbrella encompassing several projects produced by Cheung and his core group of friends, all branded with Cheung’s signature illustrations. There’s \u003ca href=\"https://digitalregress.bandcamp.com/album/unity\">Unity\u003c/a>, the band in which Cheung sings and plays guitar; \u003ca href=\"https://www.instagram.com/unitypress/\">Unity Press\u003c/a>, which publishes zines and sells screen-printed clothing; and now \u003ca href=\"https://www.instagram.com/unityskateboarding/\">Unity Skateboarding\u003c/a>, a company specifically meant to nurture a sense of pride and community for queer skaters in a sport with little queer visibility.\u003c/p>\n\u003cp>The Unity Skateboarding launch in early February also coincided with the soft opening of \u003ca href=\"https://www.instagram.com/unitymart/\">Unity Mart\u003c/a>, the crew’s new shop in West Oakland. At the event, nearly all of Cheung’s first run of 100 hand-painted decks found new homes.\u003c/p>\n\u003cfigure id=\"attachment_12891871\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12891871\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_9412-800x533.jpg\" alt=\"A recently printed Unity band tee drying in Cheung's studio. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A recently printed Unity band tee drying in Cheung’s studio. \u003ccite>(Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cheung, who is in his late twenties, started skating when he was 11 years old. During high school, art helped him come to terms with his body and sexuality, while skateboarding served a more escapist role. “I didn’t really think about too much else when I was skateboarding, and that was liberating,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cheung recently got back into skateboarding, and met other queer skaters who inspired him. Meanwhile, pro skater Brian Anderson recently made waves in the national scene by coming out as gay. Cheung began imagining how affirmed he would have felt if there had been a queer skate crew for him to look up to as a kid. So, on New Year’s Day, he made it his mission to start one — and assure all the young queer skaters out there that they’re not alone.\u003c/p>\n\u003cfigure id=\"attachment_12891471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12891471 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_9435-800x533.jpg\" alt=\"a collection of Jeffrey Cheung's hand-painted skateboard decks. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collection of Jeffrey Cheung’s hand-painted skateboard decks. \u003ccite>(Holly Meadows-Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Cheung’s recent solo show at San Francisco’s Hashimoto Contemporary featured paintings that sold for multiple thousands, the artist is committed to making his decks accessible to any queer or femme skater that wants one. Before he began selling the decks for $55 each at Unity Mart, he sought out rad queer skateboarders and allies in Oakland to sponsor with customized “professional human being” boards. And very quickly, that crew became international.\u003c/p>\n\u003cp>After being featured in\u003ca href=\"https://i-d.vice.com/en_us/article/get-to-know-unity-a-radically-queer-skate-company\"> i-D Magazine \u003c/a>in early February, Cheung says he’s been receiving about an email a day from skaters all over the world expressing how much the company means to them. “There are so many queer skaters out there,” says Cheung, “and it’s incredibly gratifying to know that Unity Skateboarding is encouraging and affirming for them.”\u003c/p>\n\u003cfigure id=\"attachment_12891872\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12891872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_9506-800x1200.jpg\" alt=\"Jeffrey Cheung. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Cheung. \u003ccite>(Sarah Burke )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I really wanted to get into skating, but the scene around me in London isn’t very open to female skaters,” reads one of the many messages. “Your brand has been a reminder that it’s not like that everywhere.”\u003c/p>\n\u003cp>Just before heading to Japan with new boards in hand, Cheung sent out a large batch of customized decks to queer youth and teens who reached out to him from all over the globe. Now, those folks are part of the Unity Skateboarding family.\u003c/p>\n\u003cp>Cheung says he’ll be hand-painting around 200 more boards, then will possibly begin getting his decks screen-printed. The next batch will be available at Unity Mart and online in late April.\u003c/p>\n\u003cp>In the future, Cheung hopes “queer kids won’t need to be afraid or ashamed” of who they are.\u003c/p>\n\u003cp>“The next generation of skaters will be queer and better than ever,” he says.\u003c/p>\n\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s late on a recent Friday night at Jeffrey Cheung’s studio in an old West Oakland yogurt factory, where the popular painter is putting the finishing touches on a hand-painted skateboard deck. Upon a pink background, two nude figures joyously intertwine their bodies, each with long black hair, breasts hanging freely, and plump lips curving wide across the face. Although skate deck art varies widely these days, Cheung’s boards still stand out for their brilliantly unabashed branding: “Unity Queer Skateboarding,” this one reads, “Like it or Not!”\u003c/p>\n\u003cfigure id=\"attachment_12891870\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12891870\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_9481-800x533.jpg\" alt=\"Jeffrey Cheung at work on a Unity skateboard deck. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9481.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Cheung at work on a Unity skateboard deck. \u003ccite>(Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cheung is best known for his prolific output of paintings, screen prints, and illustrations often featuring groupings of same-sex or gender-ambiguous figures adoring each other’s — or their own — bodies in utter glee. His paintings manage to feel both queer- and body-positive without appearing polemic. Rather, they affirm in an infectiously matter-of-fact manner that cuts through both the disheartening political climate and the sometimes overwrought realm of identity politics.\u003c/p>\n\u003cp>That could be said for everything that falls under the Unity moniker — a creative umbrella encompassing several projects produced by Cheung and his core group of friends, all branded with Cheung’s signature illustrations. There’s \u003ca href=\"https://digitalregress.bandcamp.com/album/unity\">Unity\u003c/a>, the band in which Cheung sings and plays guitar; \u003ca href=\"https://www.instagram.com/unitypress/\">Unity Press\u003c/a>, which publishes zines and sells screen-printed clothing; and now \u003ca href=\"https://www.instagram.com/unityskateboarding/\">Unity Skateboarding\u003c/a>, a company specifically meant to nurture a sense of pride and community for queer skaters in a sport with little queer visibility.\u003c/p>\n\u003cp>The Unity Skateboarding launch in early February also coincided with the soft opening of \u003ca href=\"https://www.instagram.com/unitymart/\">Unity Mart\u003c/a>, the crew’s new shop in West Oakland. At the event, nearly all of Cheung’s first run of 100 hand-painted decks found new homes.\u003c/p>\n\u003cfigure id=\"attachment_12891871\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12891871\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_9412-800x533.jpg\" alt=\"A recently printed Unity band tee drying in Cheung's studio. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9412.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A recently printed Unity band tee drying in Cheung’s studio. \u003ccite>(Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cheung, who is in his late twenties, started skating when he was 11 years old. During high school, art helped him come to terms with his body and sexuality, while skateboarding served a more escapist role. “I didn’t really think about too much else when I was skateboarding, and that was liberating,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cheung recently got back into skateboarding, and met other queer skaters who inspired him. Meanwhile, pro skater Brian Anderson recently made waves in the national scene by coming out as gay. Cheung began imagining how affirmed he would have felt if there had been a queer skate crew for him to look up to as a kid. So, on New Year’s Day, he made it his mission to start one — and assure all the young queer skaters out there that they’re not alone.\u003c/p>\n\u003cfigure id=\"attachment_12891471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12891471 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_9435-800x533.jpg\" alt=\"a collection of Jeffrey Cheung's hand-painted skateboard decks. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9435.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collection of Jeffrey Cheung’s hand-painted skateboard decks. \u003ccite>(Holly Meadows-Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Cheung’s recent solo show at San Francisco’s Hashimoto Contemporary featured paintings that sold for multiple thousands, the artist is committed to making his decks accessible to any queer or femme skater that wants one. Before he began selling the decks for $55 each at Unity Mart, he sought out rad queer skateboarders and allies in Oakland to sponsor with customized “professional human being” boards. And very quickly, that crew became international.\u003c/p>\n\u003cp>After being featured in\u003ca href=\"https://i-d.vice.com/en_us/article/get-to-know-unity-a-radically-queer-skate-company\"> i-D Magazine \u003c/a>in early February, Cheung says he’s been receiving about an email a day from skaters all over the world expressing how much the company means to them. “There are so many queer skaters out there,” says Cheung, “and it’s incredibly gratifying to know that Unity Skateboarding is encouraging and affirming for them.”\u003c/p>\n\u003cfigure id=\"attachment_12891872\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12891872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_9506-800x1200.jpg\" alt=\"Jeffrey Cheung. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_9506.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Cheung. \u003ccite>(Sarah Burke )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I really wanted to get into skating, but the scene around me in London isn’t very open to female skaters,” reads one of the many messages. “Your brand has been a reminder that it’s not like that everywhere.”\u003c/p>\n\u003cp>Just before heading to Japan with new boards in hand, Cheung sent out a large batch of customized decks to queer youth and teens who reached out to him from all over the globe. Now, those folks are part of the Unity Skateboarding family.\u003c/p>\n\u003cp>Cheung says he’ll be hand-painting around 200 more boards, then will possibly begin getting his decks screen-printed. The next batch will be available at Unity Mart and online in late April.\u003c/p>\n\u003cp>In the future, Cheung hopes “queer kids won’t need to be afraid or ashamed” of who they are.\u003c/p>\n\u003cp>“The next generation of skaters will be queer and better than ever,” he says.\u003c/p>\n\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While the \u003ca href=\"https://www.ccsf.edu/\" target=\"_blank\" rel=\"noopener\">City College of San Francisco\u003c/a> (CCSF) is making headlines for allegedly being nearly priced out of its home, the \u003ca href=\"https://fortmason.org/\" target=\"_blank\" rel=\"noopener\">Fort Mason Center for Arts and Culture\u003c/a> has accused the college of bad faith in negotiating a new rental agreement. The college offers 53 classes to approximately 400 students at Fort Mason, a former Army post on San Francisco Bay whose lower portion now operates as a nonprofit primarily renting — and partially subsidizing those rents — to arts nonprofits.\u003c/p>\n\u003cp>The current rental agreement between CCSF and Fort Mason, dating to 2014, expires at the end of June. Recently the college informed students that its drawing, painting and ceramics classes may have to move to one of its other campuses because Fort Mason wanted to hike the rent by 300 percent.\u003c/p>\n\u003cp>Fort Mason sees it differently.\u003c/p>\n\u003cp>“I think we’re a little perplexed at what’s going on,” said Fort Mason Director of External Affairs Nick Kinsey. “The new lease will actually save City College over $575,000 over the term of the lease, including almost $20,000 in year one, putting to bed the fictional rent increase CCSF has alleged.\u003c/p>\n\u003cp>“We sent them a lease proposal in November [2016],” Kinsey added. “And then we really didn’t hear anything from them in the next four months.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kinsey said Fort Mason staff was blindsided by an article in the \u003ca href=\"http://www.sfexaminer.com/rent-hike-prompts-ccsf-close-fort-mason-art-campus/\" target=\"_blank\" rel=\"noopener\">San Francisco Examiner\u003c/a> earlier this week in which CCSF’s administrators claimed Fort Mason was asking for a rent hike.\u003c/p>\n\u003cp>“We seem to have a difference of perspective on the level of communication between the college and the Fort Mason Center,” said CCSF Spokesman Jeff Hamilton. “We’ve been in pretty much continuous discussion with them for at least four months. And we’re in process right now with Fort Mason as to how we can come to terms. At this point, we are focused on a successful resolution of the outstanding issues. We believe we have enough runway to have productive discussions and a successful outcome.”\u003c/p>\n\u003cfigure id=\"attachment_12905039\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12905039 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-800x1109.jpg\" alt=\"A City College of San Francisco student make a pot in ceramics class at the college's Fort Mason campus\" width=\"800\" height=\"1109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-800x1109.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-768x1065.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-1020x1414.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-1180x1636.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-960x1331.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-240x333.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-375x520.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-520x721.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165.jpg 1351w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A City College of San Francisco student make a pot in ceramics class at the college’s Fort Mason campus. \u003ccite>(Photo: Courtesy of CCSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A CCSF spokesperson told the \u003cem>Examiner\u003c/em> that Fort Mason proposed a new lease that would increase the college’s rent by 28 percent, with annual increases thereafter.\u003c/p>\n\u003cp>Kinsey said that Fort Mason is asking the college, which occupies 22,000 square feet on two floors of the WWII-era center, to reduce the space it uses by 23 percent, something that Kinsey claims could be accomplished without cutting classes if the college used a more efficient schedule. The total rent, Kinsey said, would then go down by about $140 to $26,457 per month. After the initial increase, Fort Mason is also offering a smaller annual rent hike, Kinsey said, from the current seven percent per year to five percent per year.\u003c/p>\n\u003cp>Ceramics student Maryellen McGoldrick takes classes at Fort Mason. She said in a phone interview that she sent letters objecting to the higher rents to the Fort Mason trustees, and got a quick reply arguing that the rent hike was pure fiction. “What’s more shocking to me,” said McGoldrick, “is that CCSF would misrepresent the deal Fort Mason was offering.”\u003c/p>\n\u003cp>Fort Mason’s Kinsey says the center has agreed to continue the current lease agreement on a month-to-month basis while it negotiates with the college over the terms of a new contract.\u003c/p>\n\u003cp>“This has been shocking for us as an organization,” said Kinsey. “We spend $2.5 million each year supporting arts nonprofits. City College is the largest beneficiary of our support programs, receiving over $600,000 in reduced rents. We want to keep giving City College these benefits. And we hope that we’re able to do so.”\u003c/p>\n\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the \u003ca href=\"https://www.ccsf.edu/\" target=\"_blank\" rel=\"noopener\">City College of San Francisco\u003c/a> (CCSF) is making headlines for allegedly being nearly priced out of its home, the \u003ca href=\"https://fortmason.org/\" target=\"_blank\" rel=\"noopener\">Fort Mason Center for Arts and Culture\u003c/a> has accused the college of bad faith in negotiating a new rental agreement. The college offers 53 classes to approximately 400 students at Fort Mason, a former Army post on San Francisco Bay whose lower portion now operates as a nonprofit primarily renting — and partially subsidizing those rents — to arts nonprofits.\u003c/p>\n\u003cp>The current rental agreement between CCSF and Fort Mason, dating to 2014, expires at the end of June. Recently the college informed students that its drawing, painting and ceramics classes may have to move to one of its other campuses because Fort Mason wanted to hike the rent by 300 percent.\u003c/p>\n\u003cp>Fort Mason sees it differently.\u003c/p>\n\u003cp>“I think we’re a little perplexed at what’s going on,” said Fort Mason Director of External Affairs Nick Kinsey. “The new lease will actually save City College over $575,000 over the term of the lease, including almost $20,000 in year one, putting to bed the fictional rent increase CCSF has alleged.\u003c/p>\n\u003cp>“We sent them a lease proposal in November [2016],” Kinsey added. “And then we really didn’t hear anything from them in the next four months.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kinsey said Fort Mason staff was blindsided by an article in the \u003ca href=\"http://www.sfexaminer.com/rent-hike-prompts-ccsf-close-fort-mason-art-campus/\" target=\"_blank\" rel=\"noopener\">San Francisco Examiner\u003c/a> earlier this week in which CCSF’s administrators claimed Fort Mason was asking for a rent hike.\u003c/p>\n\u003cp>“We seem to have a difference of perspective on the level of communication between the college and the Fort Mason Center,” said CCSF Spokesman Jeff Hamilton. “We’ve been in pretty much continuous discussion with them for at least four months. And we’re in process right now with Fort Mason as to how we can come to terms. At this point, we are focused on a successful resolution of the outstanding issues. We believe we have enough runway to have productive discussions and a successful outcome.”\u003c/p>\n\u003cfigure id=\"attachment_12905039\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12905039 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-800x1109.jpg\" alt=\"A City College of San Francisco student make a pot in ceramics class at the college's Fort Mason campus\" width=\"800\" height=\"1109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-800x1109.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-768x1065.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-1020x1414.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-1180x1636.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-960x1331.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-240x333.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-375x520.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165-520x721.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/CCSF-Ceramics-Ft-Mason-e1489617517165.jpg 1351w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A City College of San Francisco student make a pot in ceramics class at the college’s Fort Mason campus. \u003ccite>(Photo: Courtesy of CCSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A CCSF spokesperson told the \u003cem>Examiner\u003c/em> that Fort Mason proposed a new lease that would increase the college’s rent by 28 percent, with annual increases thereafter.\u003c/p>\n\u003cp>Kinsey said that Fort Mason is asking the college, which occupies 22,000 square feet on two floors of the WWII-era center, to reduce the space it uses by 23 percent, something that Kinsey claims could be accomplished without cutting classes if the college used a more efficient schedule. The total rent, Kinsey said, would then go down by about $140 to $26,457 per month. After the initial increase, Fort Mason is also offering a smaller annual rent hike, Kinsey said, from the current seven percent per year to five percent per year.\u003c/p>\n\u003cp>Ceramics student Maryellen McGoldrick takes classes at Fort Mason. She said in a phone interview that she sent letters objecting to the higher rents to the Fort Mason trustees, and got a quick reply arguing that the rent hike was pure fiction. “What’s more shocking to me,” said McGoldrick, “is that CCSF would misrepresent the deal Fort Mason was offering.”\u003c/p>\n\u003cp>Fort Mason’s Kinsey says the center has agreed to continue the current lease agreement on a month-to-month basis while it negotiates with the college over the terms of a new contract.\u003c/p>\n\u003cp>“This has been shocking for us as an organization,” said Kinsey. “We spend $2.5 million each year supporting arts nonprofits. City College is the largest beneficiary of our support programs, receiving over $600,000 in reduced rents. We want to keep giving City College these benefits. And we hope that we’re able to do so.”\u003c/p>\n\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\n\u003c/div>\u003c/p>",
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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