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But as San Jose State University art student \u003ca href=\"http://ebauart.weebly.com/\" target=\"_blank\" rel=\"noopener\">Estefania Bautista\u003c/a> investigates in her portrait series \u003cem>Viva La Mujer\u003c/em>, history often forgets the work and power of the women within those same communities.\u003c/p>\n\u003cp>Bautista recently spoke with KQED about the visibility her work brings to female leaders from the ’60s and ’70s freedom movements and the importance of education in activism.\u003c/p>\n\u003cp>\u003cb>How did your series \u003cem>Viva La Mujer\u003c/em> begin?\u003c/b>\u003c/p>\n\u003cp>I took my inspiration from my Mexican American history class with Professor Covarrubias, who made sure to talk about the female perspective in history. I just thought it was so cool to learn about these women who were very active in their community, but who we don’t usually learn about. While I was taking a break from studying, I decided to draw one of them — I started off drawing a portrait of the Brown Beret women, then I added a representation from the Black Panthers and a portrait of Native American activist Sacheen Littlefeather. As I learned and learned about these other women, my research began to take me outside the classroom.\u003c/p>\n\u003cfigure id=\"attachment_12870966\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12870966\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/img-4562_1.jpeg\" alt=\"Portraits of a Brown Beret, a Black Panther and Sacheen Littlefeather by Estefania Bautista.\" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/img-4562_1.jpeg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/img-4562_1-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/img-4562_1-240x320.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/img-4562_1-375x500.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/img-4562_1-520x693.jpeg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Portraits of a Brown Beret, a Black Panther and Sacheen Littlefeather by Estefania Bautista. \u003ccite>(Courtesy of Estefania Bautista)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you decide which subjects to create portraits of?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Because of white-dominant history classes, we know even less about women of color, so I specifically picked portraits of women in groups like the Young Lords, which was a Puerto Rican group inspired by the Black Panther Party, and Dolores Huerta, who is mostly known for helping Cesar Chavez but was also one of the most vocal people debating farm owners and politicians for labor rights. \u003cspan style=\"font-weight: 400\">I’m using these portraits to teach people about these women who have opened doors for us — we are thanking them and continuing their legacy by providing back to our communities. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12870760\" class=\"wp-caption alignright\" style=\"max-width: 460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12870760 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/vlm-me-2_orig.jpg\" alt=\"Artist Estefania Bautista holds up a sign she created at the Women's March in San Jose.\" width=\"460\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/vlm-me-2_orig.jpg 460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/vlm-me-2_orig-160x250.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/vlm-me-2_orig-240x376.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/vlm-me-2_orig-375x587.jpg 375w\" sizes=\"(max-width: 460px) 100vw, 460px\">\u003cfigcaption class=\"wp-caption-text\">Artist Estefania Bautista holds up a sign she created at the Women’s March in San Jose. \u003ccite>(Courtesy of Estefania Bautista.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you hope people take away from the series?\u003c/b>\u003c/p>\n\u003cp>Trump’s inauguration and election inspired me to educate other people and remind them that this history is not in the past, we’re continuing it. I hope it makes us think about what we’re doing in our lives and how it’s our legacy to fight back. It’s really important to know that there is a history of resistance. Even though today seems so complicated and difficult because people are being criminalized and oppressed, knowing that we have fought back before will hopefully inspire people to continue and actually do something, whether it’s to protest or to teach someone else about our history.\u003c/p>\n\u003cp>\u003cb>What do you think young people can do to contribute to the movement?\u003c/b>\u003c/p>\n\u003cp>I think college students can get involved in the community by getting educated on issues and their history and to organize and take action from there. I’m just a college student so I’m still trying to figure out my role, but I think that because of what’s happening in the world, I’ve had more of a clear understanding of what I can do to contribute. I plan on adding other women from other decades in the \u003cem>Viva La Mujer\u003c/em> series, for example, and making this a lifelong project.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Check out the rest of Estefania’s work on her \u003ca href=\"http://ebauart.weebly.com/\" target=\"_blank\" rel=\"noopener\">website\u003c/a> or on Instagram at \u003ca href=\"https://www.instagram.com/ebau_art/\" target=\"_blank\" rel=\"noopener\">@ebau_art\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area has a storied legacy of activism, from the \u003ca href=\"https://ww2.kqed.org/arts/2016/02/15/no-justice-without-us-the-bay-areas-legacy-of-art-activism/\" target=\"_blank\" rel=\"noopener\">Black Panthers to anti-gentrification movements\u003c/a>. But as San Jose State University art student \u003ca href=\"http://ebauart.weebly.com/\" target=\"_blank\" rel=\"noopener\">Estefania Bautista\u003c/a> investigates in her portrait series \u003cem>Viva La Mujer\u003c/em>, history often forgets the work and power of the women within those same communities.\u003c/p>\n\u003cp>Bautista recently spoke with KQED about the visibility her work brings to female leaders from the ’60s and ’70s freedom movements and the importance of education in activism.\u003c/p>\n\u003cp>\u003cb>How did your series \u003cem>Viva La Mujer\u003c/em> begin?\u003c/b>\u003c/p>\n\u003cp>I took my inspiration from my Mexican American history class with Professor Covarrubias, who made sure to talk about the female perspective in history. I just thought it was so cool to learn about these women who were very active in their community, but who we don’t usually learn about. While I was taking a break from studying, I decided to draw one of them — I started off drawing a portrait of the Brown Beret women, then I added a representation from the Black Panthers and a portrait of Native American activist Sacheen Littlefeather. As I learned and learned about these other women, my research began to take me outside the classroom.\u003c/p>\n\u003cfigure id=\"attachment_12870966\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12870966\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/img-4562_1.jpeg\" alt=\"Portraits of a Brown Beret, a Black Panther and Sacheen Littlefeather by Estefania Bautista.\" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/img-4562_1.jpeg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/img-4562_1-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/img-4562_1-240x320.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/img-4562_1-375x500.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/img-4562_1-520x693.jpeg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Portraits of a Brown Beret, a Black Panther and Sacheen Littlefeather by Estefania Bautista. \u003ccite>(Courtesy of Estefania Bautista)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you decide which subjects to create portraits of?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because of white-dominant history classes, we know even less about women of color, so I specifically picked portraits of women in groups like the Young Lords, which was a Puerto Rican group inspired by the Black Panther Party, and Dolores Huerta, who is mostly known for helping Cesar Chavez but was also one of the most vocal people debating farm owners and politicians for labor rights. \u003cspan style=\"font-weight: 400\">I’m using these portraits to teach people about these women who have opened doors for us — we are thanking them and continuing their legacy by providing back to our communities. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12870760\" class=\"wp-caption alignright\" style=\"max-width: 460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12870760 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/vlm-me-2_orig.jpg\" alt=\"Artist Estefania Bautista holds up a sign she created at the Women's March in San Jose.\" width=\"460\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/vlm-me-2_orig.jpg 460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/vlm-me-2_orig-160x250.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/vlm-me-2_orig-240x376.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/vlm-me-2_orig-375x587.jpg 375w\" sizes=\"(max-width: 460px) 100vw, 460px\">\u003cfigcaption class=\"wp-caption-text\">Artist Estefania Bautista holds up a sign she created at the Women’s March in San Jose. \u003ccite>(Courtesy of Estefania Bautista.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you hope people take away from the series?\u003c/b>\u003c/p>\n\u003cp>Trump’s inauguration and election inspired me to educate other people and remind them that this history is not in the past, we’re continuing it. I hope it makes us think about what we’re doing in our lives and how it’s our legacy to fight back. It’s really important to know that there is a history of resistance. Even though today seems so complicated and difficult because people are being criminalized and oppressed, knowing that we have fought back before will hopefully inspire people to continue and actually do something, whether it’s to protest or to teach someone else about our history.\u003c/p>\n\u003cp>\u003cb>What do you think young people can do to contribute to the movement?\u003c/b>\u003c/p>\n\u003cp>I think college students can get involved in the community by getting educated on issues and their history and to organize and take action from there. I’m just a college student so I’m still trying to figure out my role, but I think that because of what’s happening in the world, I’ve had more of a clear understanding of what I can do to contribute. I plan on adding other women from other decades in the \u003cem>Viva La Mujer\u003c/em> series, for example, and making this a lifelong project.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Check out the rest of Estefania’s work on her \u003ca href=\"http://ebauart.weebly.com/\" target=\"_blank\" rel=\"noopener\">website\u003c/a> or on Instagram at \u003ca href=\"https://www.instagram.com/ebau_art/\" target=\"_blank\" rel=\"noopener\">@ebau_art\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While we’re growing up, all of us are products of our immediate environment. But with age comes change. The influence starts to run in the other direction; we look around our immediate environment and think, “I live here and work here. How can I leave my mark on this?”\u003c/p>\n\u003cp>That’s the case, at least, for San Jose native Juan Carlos Araujo, who’s slowly been improving his neighborhood, one mural at a time. With dogged persistence, the artist and gallery owner began walking the streets of San Jose’s Japantown, asking proprietors if they’d be interested in having an artist cover an otherwise bland wall with a colorful mural.\u003c/p>\n\u003cp>The result? Enough business owners said yes that murals now enliven the vibrant neighborhood, with closer human connections. “I’m invested here in San Jose,” says Araujo. “I originally opened the gallery here because we wanted to bring more of this culture to San Jose. This is my home.”\u003c/p>\n\u003cp>Watch as Araujo checks back in with various mural sites in the video above, and talks about the ways in which art brings a community together.\u003c/p>\n\u003cp>\u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While we’re growing up, all of us are products of our immediate environment. But with age comes change. The influence starts to run in the other direction; we look around our immediate environment and think, “I live here and work here. How can I leave my mark on this?”\u003c/p>\n\u003cp>That’s the case, at least, for San Jose native Juan Carlos Araujo, who’s slowly been improving his neighborhood, one mural at a time. With dogged persistence, the artist and gallery owner began walking the streets of San Jose’s Japantown, asking proprietors if they’d be interested in having an artist cover an otherwise bland wall with a colorful mural.\u003c/p>\n\u003cp>The result? Enough business owners said yes that murals now enliven the vibrant neighborhood, with closer human connections. “I’m invested here in San Jose,” says Araujo. “I originally opened the gallery here because we wanted to bring more of this culture to San Jose. This is my home.”\u003c/p>\n\u003cp>Watch as Araujo checks back in with various mural sites in the video above, and talks about the ways in which art brings a community together.\u003c/p>\n\u003cp>\u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Just One Piece of Art, But Many Surrounding Issues, at 'Black Light'",
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"content": "\u003cp>Every year, the graduating curatorial practice students at California College of the Arts organize a culminating thesis exhibition of their own choosing. Often, the group looks back, using the Wattis Institute for Contemporary Arts as a space in which to recontextualize a moment in history through the lens of their particular curatorial conceit. \u003c/p>\n\u003cp>With \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2016/03/22/more-than-mosh-pits-void-california-displays-the-art-of-a-punk-scene/\" target=\"_blank\" rel=\"noopener\">Void California: 1975-1989\u003c/a>\u003c/i>, the class of 2016 turned their focus to “punk-inflected media” responses to the neoconservatism of the Reagan era, presciently prepping us for artmaking in our current political climate.\u003c/p>\n\u003cp>The class of 2017 similarly looks both backwards and forwards with \u003ci>Black Light\u003c/i>, opening March 16, an exhibition of just one object, but a full program of artist talks and panel discussions all variously addressing the relationship (or lack thereof) between cultural institutions and black artists. \u003c/p>\n\u003cfigure id=\"attachment_12895937\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis.jpg\" alt=\"Underground Museum cofounder Karon Davis greets the audience at 'Holding Court: Black Lives Matter,' 2016. Courtesy of The Underground Museum.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-12895937\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis-520x347.jpg 520w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Underground Museum cofounder Karon Davis greets the audience at ‘Holding Court: Black Lives Matter,’ 2016. Courtesy of The Underground Museum. \u003ccite>(Photo by Christel Robleto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These events, all free and open to the public, bring up questions of agency, historical models and the means by which communities can make themselves visible. In other words, \u003ci>Black Light\u003c/i> is an exhibition that cuts out the middleman, creating a space in which audiences can encounter the issues facing black artists and the perspectives of black artists face-to-face, without the artwork as intermediary. \u003c/p>\n\u003cp>Highlights include a March 30 conversation between Dale Brockman Davis (co-founder of \u003ca href=\"https://en.wikipedia.org/wiki/Dale_Brockman_Davis#Brockman_Gallery\" target=\"_blank\" rel=\"noopener\">Brockman Gallery\u003c/a> in Los Angeles) and \u003ca href=\"http://viscrit.cca.edu/duane-deterville/\" target=\"_blank\" rel=\"noopener\">Duane Deterville\u003c/a> (CCA professor and art historian) on the overlapping histories of black artist-run spaces in Los Angeles and Oakland. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And on May 6, \u003ca href=\"https://www.blackquantumfuturism.com/\" target=\"_blank\" rel=\"noopener\">Rasheedah Phillips\u003c/a> delivers a performative lecture on Afrofuturism and time travel via memory, imagination or crystals. \u003c/p>\n\u003cfigure id=\"attachment_12895935\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12-.jpg\" alt=\"Rodney McMillian, 'red dust between,' 2017. Courtesy the artist and Maccarone, New York/Los Angeles.\" width=\"1200\" height=\"1800\" class=\"size-full wp-image-12895935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12-.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12--160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12--800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12--768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12--1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12--1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12--960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12--240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12--375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12--520x780.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rodney McMillian, ‘red dust between,’ 2017. Courtesy the artist and Maccarone, New York/Los Angeles. \u003ccite>(Photo by Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other contributors to \u003ci>Black Light\u003c/i>‘s programming and the forthcoming exhibition catalog include Karon Davis (co-founder of \u003ca href=\"http://theunderground-museum.org/\" target=\"_blank\" rel=\"noopener\">The Underground Museum\u003c/a> in Los Angeles), \u003ca href=\"https://www.cca.edu/academics/faculty/jfrancis\" target=\"_blank\" rel=\"noopener\">Jacqueline Francis\u003c/a> (CCA professor and art historian), Robyn Hillman-Harrigan (of \u003ca href=\"http://facebook.com/bwaforblm\" target=\"_blank\" rel=\"noopener\">Black Women Artists for Black Lives Matter\u003c/a>), and Marc Bamuthi Joseph (\u003ca href=\"https://www.ybca.org/\" target=\"_blank\" rel=\"noopener\">YBCA\u003c/a>’s chief of program and pedagogy). \u003c/p>\n\u003cp>\u003ci>Black Light\u003c/i> takes its name from a series of portraits and text-based paintings made by artist \u003ca href=\"http://www.faithringgold.com/\" target=\"_blank\" rel=\"noopener\">Faith Ringgold\u003c/a> during the 1960s civil rights movement. And yet the one artwork included in \u003ci>Black Light\u003c/i> comes not from Ringgold, but from Los Angeles-based artist Rodney McMillian, aiding the exhibition’s bookending of past and present. McMillian’s brand new painting \u003ci>red dust between\u003c/i> — a blue bed sheet layered thick with an abstract landscape of paint — serves as a fitting backdrop for the difficult and necessary conversations \u003ci>Black Light\u003c/i> aims to foster.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Black Light\u003c/b> is on view at CCA’s Wattis Institute for Contemporary Arts in San Francisco March 16-May 14, 2017. For more information \u003ca href=\"http://www.wattis.org/view?id=435\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The Wattis Institute slates a full program of artist talks and panel discussions addressing the relationship (or lack thereof) between cultural institutions and black artists. ",
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"title": "Just One Piece of Art, But Many Surrounding Issues, at 'Black Light' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every year, the graduating curatorial practice students at California College of the Arts organize a culminating thesis exhibition of their own choosing. Often, the group looks back, using the Wattis Institute for Contemporary Arts as a space in which to recontextualize a moment in history through the lens of their particular curatorial conceit. \u003c/p>\n\u003cp>With \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2016/03/22/more-than-mosh-pits-void-california-displays-the-art-of-a-punk-scene/\" target=\"_blank\" rel=\"noopener\">Void California: 1975-1989\u003c/a>\u003c/i>, the class of 2016 turned their focus to “punk-inflected media” responses to the neoconservatism of the Reagan era, presciently prepping us for artmaking in our current political climate.\u003c/p>\n\u003cp>The class of 2017 similarly looks both backwards and forwards with \u003ci>Black Light\u003c/i>, opening March 16, an exhibition of just one object, but a full program of artist talks and panel discussions all variously addressing the relationship (or lack thereof) between cultural institutions and black artists. \u003c/p>\n\u003cfigure id=\"attachment_12895937\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis.jpg\" alt=\"Underground Museum cofounder Karon Davis greets the audience at 'Holding Court: Black Lives Matter,' 2016. Courtesy of The Underground Museum.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-12895937\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/2_CCAWattis_BlackLight_KaronDavis-520x347.jpg 520w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Underground Museum cofounder Karon Davis greets the audience at ‘Holding Court: Black Lives Matter,’ 2016. Courtesy of The Underground Museum. \u003ccite>(Photo by Christel Robleto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These events, all free and open to the public, bring up questions of agency, historical models and the means by which communities can make themselves visible. In other words, \u003ci>Black Light\u003c/i> is an exhibition that cuts out the middleman, creating a space in which audiences can encounter the issues facing black artists and the perspectives of black artists face-to-face, without the artwork as intermediary. \u003c/p>\n\u003cp>Highlights include a March 30 conversation between Dale Brockman Davis (co-founder of \u003ca href=\"https://en.wikipedia.org/wiki/Dale_Brockman_Davis#Brockman_Gallery\" target=\"_blank\" rel=\"noopener\">Brockman Gallery\u003c/a> in Los Angeles) and \u003ca href=\"http://viscrit.cca.edu/duane-deterville/\" target=\"_blank\" rel=\"noopener\">Duane Deterville\u003c/a> (CCA professor and art historian) on the overlapping histories of black artist-run spaces in Los Angeles and Oakland. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And on May 6, \u003ca href=\"https://www.blackquantumfuturism.com/\" target=\"_blank\" rel=\"noopener\">Rasheedah Phillips\u003c/a> delivers a performative lecture on Afrofuturism and time travel via memory, imagination or crystals. \u003c/p>\n\u003cfigure id=\"attachment_12895935\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12-.jpg\" alt=\"Rodney McMillian, 'red dust between,' 2017. Courtesy the artist and Maccarone, New York/Los Angeles.\" width=\"1200\" height=\"1800\" class=\"size-full wp-image-12895935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12-.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12--160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12--800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12--768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12--1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12--1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12--960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12--240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12--375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/1_CCAWattis_BlackLight_McMillan_12--520x780.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rodney McMillian, ‘red dust between,’ 2017. Courtesy the artist and Maccarone, New York/Los Angeles. \u003ccite>(Photo by Josh White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other contributors to \u003ci>Black Light\u003c/i>‘s programming and the forthcoming exhibition catalog include Karon Davis (co-founder of \u003ca href=\"http://theunderground-museum.org/\" target=\"_blank\" rel=\"noopener\">The Underground Museum\u003c/a> in Los Angeles), \u003ca href=\"https://www.cca.edu/academics/faculty/jfrancis\" target=\"_blank\" rel=\"noopener\">Jacqueline Francis\u003c/a> (CCA professor and art historian), Robyn Hillman-Harrigan (of \u003ca href=\"http://facebook.com/bwaforblm\" target=\"_blank\" rel=\"noopener\">Black Women Artists for Black Lives Matter\u003c/a>), and Marc Bamuthi Joseph (\u003ca href=\"https://www.ybca.org/\" target=\"_blank\" rel=\"noopener\">YBCA\u003c/a>’s chief of program and pedagogy). \u003c/p>\n\u003cp>\u003ci>Black Light\u003c/i> takes its name from a series of portraits and text-based paintings made by artist \u003ca href=\"http://www.faithringgold.com/\" target=\"_blank\" rel=\"noopener\">Faith Ringgold\u003c/a> during the 1960s civil rights movement. And yet the one artwork included in \u003ci>Black Light\u003c/i> comes not from Ringgold, but from Los Angeles-based artist Rodney McMillian, aiding the exhibition’s bookending of past and present. McMillian’s brand new painting \u003ci>red dust between\u003c/i> — a blue bed sheet layered thick with an abstract landscape of paint — serves as a fitting backdrop for the difficult and necessary conversations \u003ci>Black Light\u003c/i> aims to foster.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Black Light\u003c/b> is on view at CCA’s Wattis Institute for Contemporary Arts in San Francisco March 16-May 14, 2017. For more information \u003ca href=\"http://www.wattis.org/view?id=435\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "#Time2Escalate: Interactive Game Shows How Activism Requires Collaboration",
"headTitle": "#Time2Escalate: Interactive Game Shows How Activism Requires Collaboration | KQED",
"content": "\u003cp>Last year, during a media obsession with then-presidential candidate Donald Trump’s antics, critics exclaimed that too much attention was being paid to what he was doing and saying and not on the issues themselves. Two activist artists, \u003ca href=\"https://emiliayang.org/about-2/\" target=\"_blank\" rel=\"noopener\">Emilia Yang\u003c/a> and \u003ca href=\"http://toniab.com/\" target=\"_blank\" rel=\"noopener\">Tonia Beglari\u003c/a>, tried to address this last April with their interactive game “#Time2Escalate.”\u003c/p>\n\u003cp>The goal of the game is to turn off all the televisions showing Trump by touching them, but the only way to beat the game is to work with others. The game demonstrates that in order for activists to reach their goals, there needs to be collaboration.\u003c/p>\n\u003cp>Now that candidate Trump is President Trump, we checked in with Yang and Belgari to find out more about the project and what they’ve done with it since. They answered our questions as a team via email.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/188381086\u003cbr>\n\u003ci>Above: Watch people play #Time2Escalate\u003c/i>\u003cbr>\n\u003c/aside>\n\u003cp>\u003cstrong>Where did the idea for #Time2Escalate come from?\u003c/strong>\u003c/p>\n\u003cp>Emilia did a first iteration of another piece called “To Trump Trump’s wall,” a mock-up wall where participants could project their own stop-motion animations responding to Trump’s idea to build a wall using an animation booth. One of the lessons of that iteration was that people wanted to touch/break the wall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the time (early 2016), we saw how media was already hyping Trump’s every move. So, talking to Tonia, we came up with the idea of creating a multiplayer interactive game installation that utilizes guerilla materials and physical computing to invite players to work together so love conquers hate. We used the mechanic of a memory game to show what people should do to shut him down (unite and work together) and we decided that we wanted to “visibilize” what activists were doing. \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>The title itself is a play on the mega-movement that inspired this game. We found out and were deeply inspired by #Time2Escalate — a call to action hashtag signed by the Black Lives Matter movement — the anti-deportation campaign Mijente (#Not1More), and the Grassroots Global Justice Alliance (which works on global issues including climate change) creating a “movement of movements” to disrupt Trump’s hate in order for allies to join and take a stance. \u003c/p>\n\u003cp>So basically, the game goal is to work together to change the conversation. You first see 16 channels of Trump, and whenever you touch one, the channel flips and you see an activist we are highlighting. You have to match them with your teammates. Because of its spatial dimension and rules, the game cannot be won alone. When matches are found, underdog winning scenes play. When all matches are found, there is finally a period of calm. Inevitably the Trumps trickle back in, since we acknowledge that resistance is an ongoing process. Our installation highlights activists, veterans and artists who are working to empower those most at risk under the Trump/Pence administration (but only if players work together to elevate them).\u003c/p>\n\u003cfigure id=\"attachment_12876205\" class=\"wp-caption alignright\" style=\"max-width: 683px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Trumpsign5-683x1024.jpg\" alt=\"Instructions for #Time2Escalate\" width=\"683\" height=\"1024\" class=\"size-full wp-image-12876205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trumpsign5-683x1024.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trumpsign5-683x1024-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trumpsign5-683x1024-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trumpsign5-683x1024-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trumpsign5-683x1024-520x780.jpg 520w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003cfigcaption class=\"wp-caption-text\">Instructions for #Time2Escalate\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How many hours of television did you have to watch to find the clips that you use?\u003c/strong>\u003c/p>\n\u003cp>Hours and hours. Luckily we have been alive for over 219,000 hours each!\u003c/p>\n\u003cp>\u003cstrong>How does the technology work?\u003c/strong>\u003c/p>\n\u003cp>When a player touches one of our projection-mapped panels, they are completing a circuit which is registered by a microchip sending information into a computer that wirelessly controls the projection. The structure is made of cardboard which we covered with conductive spray-paint and individually wired to the chip. Players stand on a conductive floor which allows each player to trigger the animations with their bare hands.\u003c/p>\n\u003cp>\u003cstrong>What did you learn from the piece?\u003c/strong>\u003c/p>\n\u003cp>We learned a lot about designing for a cooperative experience and in testing it. Ideally, we could upgrade the structural concept for a permanent installation where we periodically update the content! It would also be nice to think about a piece that can have a more mobile guerilla cooperative installation without relying on ceiling projectors, speakers, etc. that we could pop up in public places.\u003c/p>\n\u003cp>\u003cstrong>Will it be featured in future exhibits?\u003c/strong>\u003c/p>\n\u003cp>We have showed the piece twice, and have applied for it to be shown again in a space. #Time2Escalate works resurfacing the coverage and critique of social ills that are often drowned out of discussion. Now that Trump is the President, we are polishing the installation to expand the reach of our message of teamwork to elevate the efforts of activists working to respect the humanity of every dreamer that doesn’t fit the white nationalist mold. \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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"excerpt": "An interactive game whose goal is to turn off a wall of televisions showing Trump demonstrates that in order for activists to reach their goals, they need to work together.",
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"description": "An interactive game whose goal is to turn off a wall of televisions showing Trump demonstrates that in order for activists to reach their goals, they need to work together.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year, during a media obsession with then-presidential candidate Donald Trump’s antics, critics exclaimed that too much attention was being paid to what he was doing and saying and not on the issues themselves. Two activist artists, \u003ca href=\"https://emiliayang.org/about-2/\" target=\"_blank\" rel=\"noopener\">Emilia Yang\u003c/a> and \u003ca href=\"http://toniab.com/\" target=\"_blank\" rel=\"noopener\">Tonia Beglari\u003c/a>, tried to address this last April with their interactive game “#Time2Escalate.”\u003c/p>\n\u003cp>The goal of the game is to turn off all the televisions showing Trump by touching them, but the only way to beat the game is to work with others. The game demonstrates that in order for activists to reach their goals, there needs to be collaboration.\u003c/p>\n\u003cp>Now that candidate Trump is President Trump, we checked in with Yang and Belgari to find out more about the project and what they’ve done with it since. They answered our questions as a team via email.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/188381086\u003cbr>\n\u003ci>Above: Watch people play #Time2Escalate\u003c/i>\u003cbr>\n\u003c/aside>\n\u003cp>\u003cstrong>Where did the idea for #Time2Escalate come from?\u003c/strong>\u003c/p>\n\u003cp>Emilia did a first iteration of another piece called “To Trump Trump’s wall,” a mock-up wall where participants could project their own stop-motion animations responding to Trump’s idea to build a wall using an animation booth. One of the lessons of that iteration was that people wanted to touch/break the wall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the time (early 2016), we saw how media was already hyping Trump’s every move. So, talking to Tonia, we came up with the idea of creating a multiplayer interactive game installation that utilizes guerilla materials and physical computing to invite players to work together so love conquers hate. We used the mechanic of a memory game to show what people should do to shut him down (unite and work together) and we decided that we wanted to “visibilize” what activists were doing. \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>The title itself is a play on the mega-movement that inspired this game. We found out and were deeply inspired by #Time2Escalate — a call to action hashtag signed by the Black Lives Matter movement — the anti-deportation campaign Mijente (#Not1More), and the Grassroots Global Justice Alliance (which works on global issues including climate change) creating a “movement of movements” to disrupt Trump’s hate in order for allies to join and take a stance. \u003c/p>\n\u003cp>So basically, the game goal is to work together to change the conversation. You first see 16 channels of Trump, and whenever you touch one, the channel flips and you see an activist we are highlighting. You have to match them with your teammates. Because of its spatial dimension and rules, the game cannot be won alone. When matches are found, underdog winning scenes play. When all matches are found, there is finally a period of calm. Inevitably the Trumps trickle back in, since we acknowledge that resistance is an ongoing process. Our installation highlights activists, veterans and artists who are working to empower those most at risk under the Trump/Pence administration (but only if players work together to elevate them).\u003c/p>\n\u003cfigure id=\"attachment_12876205\" class=\"wp-caption alignright\" style=\"max-width: 683px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Trumpsign5-683x1024.jpg\" alt=\"Instructions for #Time2Escalate\" width=\"683\" height=\"1024\" class=\"size-full wp-image-12876205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trumpsign5-683x1024.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trumpsign5-683x1024-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trumpsign5-683x1024-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trumpsign5-683x1024-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trumpsign5-683x1024-520x780.jpg 520w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003cfigcaption class=\"wp-caption-text\">Instructions for #Time2Escalate\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How many hours of television did you have to watch to find the clips that you use?\u003c/strong>\u003c/p>\n\u003cp>Hours and hours. Luckily we have been alive for over 219,000 hours each!\u003c/p>\n\u003cp>\u003cstrong>How does the technology work?\u003c/strong>\u003c/p>\n\u003cp>When a player touches one of our projection-mapped panels, they are completing a circuit which is registered by a microchip sending information into a computer that wirelessly controls the projection. The structure is made of cardboard which we covered with conductive spray-paint and individually wired to the chip. Players stand on a conductive floor which allows each player to trigger the animations with their bare hands.\u003c/p>\n\u003cp>\u003cstrong>What did you learn from the piece?\u003c/strong>\u003c/p>\n\u003cp>We learned a lot about designing for a cooperative experience and in testing it. Ideally, we could upgrade the structural concept for a permanent installation where we periodically update the content! It would also be nice to think about a piece that can have a more mobile guerilla cooperative installation without relying on ceiling projectors, speakers, etc. that we could pop up in public places.\u003c/p>\n\u003cp>\u003cstrong>Will it be featured in future exhibits?\u003c/strong>\u003c/p>\n\u003cp>We have showed the piece twice, and have applied for it to be shown again in a space. #Time2Escalate works resurfacing the coverage and critique of social ills that are often drowned out of discussion. Now that Trump is the President, we are polishing the installation to expand the reach of our message of teamwork to elevate the efforts of activists working to respect the humanity of every dreamer that doesn’t fit the white nationalist mold. \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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"slug": "at-galeria-de-la-raza-artists-fight-to-protect-water-and-human-rights",
"title": "At Galería de la Raza, Artists Fight to Protect Water and Human Rights",
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"content": "\u003cp>It’s rarely a good thing when water is in the news. Attention is most often paid to water when it is polluted, depleted or threatened.\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>On Feb. 16, water was in the news when President Trump signed \u003ca href=\"http://thehill.com/policy/energy-environment/319938-trump-signs-bill-undoing-obama-coal-mining-rule\" target=\"_blank\" rel=\"noopener\">a bill\u003c/a> reversing the Obama-era Stream Protection Rule, a regulation created to protect waterways from coal mining waste. A week later, on Feb. 23, \u003ca href=\"https://www.nytimes.com/2017/02/22/us/a-deadline-looms-for-dakota-protesters-to-leave-campsite.html\" target=\"_blank\" rel=\"noopener\">a militarized operation\u003c/a> of National Guard members and police officers forcibly removed Lakota demonstrators and allies protesting the Dakota Access pipeline (DAPL) on the Standing Rock Indian Reservation.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=6779\" target=\"_blank\" rel=\"noopener\">Échame Aguas\u003c/a>\u003c/i>, an exhibition opening March 11 at Galería de la Raza in San Francisco, seeks to break the reactive news cycle with works that advocate a proactive relationship to water. The over two dozen artists included in the exhibition share a conviction that water is inseparable from social justice, decolonialism and economic equality. Through printmaking, photography, murals and video works, \u003ci>Échame Aguas\u003c/i> makes a case for what realistically shouldn’t need to be argued: that water is a source of life.\u003c/p>\n\u003cp>Below, get to know five artists representing the diversity of practices and concerns represented in the exhibition.\u003c/p>\n\u003cfigure id=\"attachment_12876211\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12876211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/14317513_10105701355614453_1903247980030798903_n.jpg\" alt=\"Protesters holding Jesus Barraza's 'Solidarity with Standing Rock,' 2016.\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/14317513_10105701355614453_1903247980030798903_n.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/14317513_10105701355614453_1903247980030798903_n-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/14317513_10105701355614453_1903247980030798903_n-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/14317513_10105701355614453_1903247980030798903_n-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/14317513_10105701355614453_1903247980030798903_n-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Protesters holding Jesus Barraza’s ‘Solidarity with Standing Rock,’ 2016. \u003ccite>(Courtesy of Dignidade Rebelde)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://dignidadrebelde.com/\">Jesus Barraza\u003c/a>\u003c/h3>\n\u003cp>Oakland-based printmaker Jesus Barraza’s distinctive posters and prints are likely familiar to those who have spent time in Bay Area political spaces. Focused on racial justice, Indigenous rights and the Zapatismo philosophy, Barraza’s work has featured prominently in DAPL resistance efforts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Barraza’s \u003ca href=\"http://dignidadrebelde.com/?p=760\" target=\"_blank\" rel=\"noopener\">\u003cem>Solidarity with Standing Rock\u003c/em>\u003c/a> shows a confident young woman with her first raised just out of the poster frame. Behind her are scenes from the protests at Standing Rock Camp in eye-catching red and turquoise. Text at the bottom reads, simply: “Defend the land. Protect the water.”\u003c/p>\n\u003cp>While environmental science, predictive models, infrastructure, economics, water rights, treaties, human rights and individual values all rightfully complicate water politics, Barraza’s work points to the issue’s underlying simplicity, too easily forgotten.\u003c/p>\n\u003cp>His print \u003cem>Tlaloc\u003c/em> reads “agua es vida defiende tu vida / water is life defend your life.” The advice is simple and undeniable. Tlaloc, the Aztec god of rain, commands half of the print, alluding to the fact that Indigenous people around the world often face the greatest threats to their access to clean water.\u003c/p>\n\u003cfigure id=\"attachment_12865527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12865527 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Tropical_BReeze-800x1080.jpg\" alt=\"Jesus Barraza, 'Tlaloc,' 2016\" width=\"800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Tropical_BReeze-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Tropical_BReeze-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Tropical_BReeze-768x1037.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Tropical_BReeze-1020x1377.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Tropical_BReeze-960x1296.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Tropical_BReeze-240x324.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Tropical_BReeze-375x506.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Tropical_BReeze-520x702.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Tropical_BReeze.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jesus Barraza, ‘Tlaloc,’ 2016. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Madison Hye Long\u003c/h3>\n\u003cp>\u003ci>Échame Aguas\u003c/i> is the very first exhibition for \u003ca href=\"https://www.instagram.com/madison_hye/\" target=\"_blank\" rel=\"noopener\">Madison Hye Long\u003c/a>, a member of the Eastern Band of Cherokee Indians and recent San Francisco transplant from Cherokee, North Carolina. The show includes work from her series \u003cem>A Situation That Is Black & White\u003c/em>, black-and-white editorial-style photographs addressing the Dakota Access pipeline.\u003c/p>\n\u003cp>Long’s approach is unique among anti-DAPL photography, much of which features landscape images of Sacred Stone Camp or portraits of protesters. Unable to join the fight in North Dakota, Long instead staged what she calls “very emotional, staged photographs that people can relate to.”\u003c/p>\n\u003cp>In one photograph, a barefoot model in a long dress holds an umbrella over her head as black liquid drips into puddles on the floor. The model appears forlorn and subdued. She is not at a protest, but exists in a world in which the threat of polluted water is taken to the extreme.\u003c/p>\n\u003cfigure id=\"attachment_12861628\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12861628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-800x316.jpeg\" alt='Delilah Montoya, \"Humane Borders Water Station,\" 2004' width=\"800\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-800x316.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-160x63.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-768x304.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-1020x403.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-1920x759.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-1180x466.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-960x380.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-240x95.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-375x148.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-520x206.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Delilah Montoya, ‘Humane Borders Water Station,’ 2004.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.delilahmontoya.com\" target=\"_blank\" rel=\"noopener\">Delilah Montoya\u003c/a>\u003c/h3>\n\u003cp>Photographer Delilah Montoya has spent much of her life in the southwestern United States, a setting that deeply informs her investigations of everything from Chicana identity to desert landscapes.\u003c/p>\n\u003cp>In 2004, Montoya collaborated with artist and writer Orlando Lara on \u003cem>Sed: The Trail of Thirst\u003c/em>, an installation of photographs, videos and found objects documenting signs of immigration around the Tohono O’odham Nation in Arizona. This popular yet dangerous area for Mexicans and Central Americans crossing the Arizona-Sonora border claims the lives of more than 100 migrants a year. Desert temperatures can approach 120 degrees Fahrenheit in the summer.\u003c/p>\n\u003cp>Montoya’s photographs show water stations or jugs of water provided by humanitarian organizations and individuals to help prevent dehydration and death. Her landscapes — arid deserts covered with brittle sagebrush, saguaro cactus and purple mountain peaks — are mostly devoid of people. The peacefulness is interrupted by bottles of water strategically placed in bushes or by giant blue barrels marked “agua.”\u003c/p>\n\u003cp>The images simultaneously call attention to the work being done to save migrants’ lives, and to the tragedy that necessitates that work. Not unsurprisingly, the \u003cem>Sed\u003c/em> installation has toured North America continuously for 13 years.\u003c/p>\n\u003cfigure id=\"attachment_12862246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12862246 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever-800x1197.jpg\" alt=\"Thea Gahr, 'Everglades Forever,' 2016.\" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever-1180x1766.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever-960x1437.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever-375x561.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever-520x778.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever.jpg 1368w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thea Gahr, ‘Everglades Forever,’ 2016.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://theagahr.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Thea Gahr\u003c/a>\u003c/h3>\n\u003cp>Printmaker Thea Gahr traces her beliefs about the environment, social justice and art making to her upbringing on a family farm in Oregon. Her family grew wheat, amaranth and vetch for many years before depleted soil and a change of heart led her father to convert their cropland back into wetlands.\u003c/p>\n\u003cp>Gahr watched diverse plant and animal life make its way back onto the land. “Witnessing these first steps in restoring life to the land completely integrated itself into my artwork,” says Gahr. “I like to think about bringing the water of emotions into the landscapes of our mental outlook.”\u003c/p>\n\u003cp>Gahr, like Barraza and several other artists in \u003ci>Échame Aguas\u003c/i>, is a member of \u003ca href=\"http://justseeds.org/\" target=\"_blank\" rel=\"noopener\">Justseeds Artists’ Cooperative\u003c/a>, a network of printmakers living in the U.S., Mexico and Canada dedicated to making politically and environmentally engaged art. As Gahr explains it, printmaking puts “visuals to the hopes, fears and atrocities of lived experience.”\u003c/p>\n\u003cp>Like the artists behind early 20th-century social realism, Gahr focuses largely on the human condition, depicting subjects as they toil, mourn or defy. But her subjects don’t just work in the fields and the factories — they walk through rain puddles, paddle boats on a lake or stand surrounded by foliage. In Gahr’s work, a near-constant intertwining of humans with nature articulates their inseparability.\u003c/p>\n\u003cfigure id=\"attachment_12865529\" class=\"wp-caption aligncenter\" style=\"max-width: 458px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12865529 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/TomahawkGreyEyes_To-ei-iina.jpg\" alt=\"TomahawkGreyEyes, 'Tó éí ííńá'\" width=\"458\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/TomahawkGreyEyes_To-ei-iina.jpg 458w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/TomahawkGreyEyes_To-ei-iina-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/TomahawkGreyEyes_To-ei-iina-240x367.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/TomahawkGreyEyes_To-ei-iina-375x573.jpg 375w\" sizes=\"(max-width: 458px) 100vw, 458px\">\u003cfigcaption class=\"wp-caption-text\">Tomahawk GreyEyes, ‘Tó éí ííńá.’\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://tomahawkgreyeyes.com\" target=\"_blank\" rel=\"noopener\">Tomahawk GreyEyes\u003c/a>\u003c/h3>\n\u003cp>Oakland-based Tomahawk GreyEyes doesn’t pull any punches. The multidisciplinary Diné (Navajo) artist uses printmaking, video and installations to addresses colonial trauma and Indigenous peoples’ resistance to oppression.\u003c/p>\n\u003cp>Like the Standing Rock Sioux, members of the Navajo Nation protested in 2016 for access to clean, potable water. More than one-third of Navajo Nation residents lack access to water in their homes, relying instead on melted snow, trucked-in water and arsenic-contaminated groundwater.\u003c/p>\n\u003cp>In his print\u003ci> Tó éí ííńá\u003c/i> (“water is life” in Navajo), GreyEyes depicts a protest over Navajo water rights: A woman stands with her back to the viewer with a red handprint on her back. Something like blood runs down her skirt. This is a protest over water and blood, life and death.\u003c/p>\n\u003cp>Anti-DAPL protests have done much to bring longstanding Indigenous political issues to the attention of a society that largely ignores them. But it is critical that Standing Rock isn’t used as a substitute for more than 600 separate tribal nations across the U.S. and their own struggles.\u003c/p>\n\u003cp>Water is central to life, culture and justice, the artists of \u003cem>Échame Aguas\u003c/em> argue, but alongside that universal truth, it is of equal importance that unique histories and political realities are not overlooked.\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>Échame Aguas \u003c/em>is on view at Galería de la Raza in San Francisco from March 11–April 30, 2017. Details and more information \u003ca href=\"http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=6779\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s rarely a good thing when water is in the news. Attention is most often paid to water when it is polluted, depleted or threatened.\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>On Feb. 16, water was in the news when President Trump signed \u003ca href=\"http://thehill.com/policy/energy-environment/319938-trump-signs-bill-undoing-obama-coal-mining-rule\" target=\"_blank\" rel=\"noopener\">a bill\u003c/a> reversing the Obama-era Stream Protection Rule, a regulation created to protect waterways from coal mining waste. A week later, on Feb. 23, \u003ca href=\"https://www.nytimes.com/2017/02/22/us/a-deadline-looms-for-dakota-protesters-to-leave-campsite.html\" target=\"_blank\" rel=\"noopener\">a militarized operation\u003c/a> of National Guard members and police officers forcibly removed Lakota demonstrators and allies protesting the Dakota Access pipeline (DAPL) on the Standing Rock Indian Reservation.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=6779\" target=\"_blank\" rel=\"noopener\">Échame Aguas\u003c/a>\u003c/i>, an exhibition opening March 11 at Galería de la Raza in San Francisco, seeks to break the reactive news cycle with works that advocate a proactive relationship to water. The over two dozen artists included in the exhibition share a conviction that water is inseparable from social justice, decolonialism and economic equality. Through printmaking, photography, murals and video works, \u003ci>Échame Aguas\u003c/i> makes a case for what realistically shouldn’t need to be argued: that water is a source of life.\u003c/p>\n\u003cp>Below, get to know five artists representing the diversity of practices and concerns represented in the exhibition.\u003c/p>\n\u003cfigure id=\"attachment_12876211\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12876211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/14317513_10105701355614453_1903247980030798903_n.jpg\" alt=\"Protesters holding Jesus Barraza's 'Solidarity with Standing Rock,' 2016.\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/14317513_10105701355614453_1903247980030798903_n.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/14317513_10105701355614453_1903247980030798903_n-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/14317513_10105701355614453_1903247980030798903_n-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/14317513_10105701355614453_1903247980030798903_n-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/14317513_10105701355614453_1903247980030798903_n-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Protesters holding Jesus Barraza’s ‘Solidarity with Standing Rock,’ 2016. \u003ccite>(Courtesy of Dignidade Rebelde)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://dignidadrebelde.com/\">Jesus Barraza\u003c/a>\u003c/h3>\n\u003cp>Oakland-based printmaker Jesus Barraza’s distinctive posters and prints are likely familiar to those who have spent time in Bay Area political spaces. Focused on racial justice, Indigenous rights and the Zapatismo philosophy, Barraza’s work has featured prominently in DAPL resistance efforts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Barraza’s \u003ca href=\"http://dignidadrebelde.com/?p=760\" target=\"_blank\" rel=\"noopener\">\u003cem>Solidarity with Standing Rock\u003c/em>\u003c/a> shows a confident young woman with her first raised just out of the poster frame. Behind her are scenes from the protests at Standing Rock Camp in eye-catching red and turquoise. Text at the bottom reads, simply: “Defend the land. Protect the water.”\u003c/p>\n\u003cp>While environmental science, predictive models, infrastructure, economics, water rights, treaties, human rights and individual values all rightfully complicate water politics, Barraza’s work points to the issue’s underlying simplicity, too easily forgotten.\u003c/p>\n\u003cp>His print \u003cem>Tlaloc\u003c/em> reads “agua es vida defiende tu vida / water is life defend your life.” The advice is simple and undeniable. Tlaloc, the Aztec god of rain, commands half of the print, alluding to the fact that Indigenous people around the world often face the greatest threats to their access to clean water.\u003c/p>\n\u003cfigure id=\"attachment_12865527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12865527 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Tropical_BReeze-800x1080.jpg\" alt=\"Jesus Barraza, 'Tlaloc,' 2016\" width=\"800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Tropical_BReeze-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Tropical_BReeze-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Tropical_BReeze-768x1037.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Tropical_BReeze-1020x1377.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Tropical_BReeze-960x1296.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Tropical_BReeze-240x324.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Tropical_BReeze-375x506.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Tropical_BReeze-520x702.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Tropical_BReeze.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jesus Barraza, ‘Tlaloc,’ 2016. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Madison Hye Long\u003c/h3>\n\u003cp>\u003ci>Échame Aguas\u003c/i> is the very first exhibition for \u003ca href=\"https://www.instagram.com/madison_hye/\" target=\"_blank\" rel=\"noopener\">Madison Hye Long\u003c/a>, a member of the Eastern Band of Cherokee Indians and recent San Francisco transplant from Cherokee, North Carolina. The show includes work from her series \u003cem>A Situation That Is Black & White\u003c/em>, black-and-white editorial-style photographs addressing the Dakota Access pipeline.\u003c/p>\n\u003cp>Long’s approach is unique among anti-DAPL photography, much of which features landscape images of Sacred Stone Camp or portraits of protesters. Unable to join the fight in North Dakota, Long instead staged what she calls “very emotional, staged photographs that people can relate to.”\u003c/p>\n\u003cp>In one photograph, a barefoot model in a long dress holds an umbrella over her head as black liquid drips into puddles on the floor. The model appears forlorn and subdued. She is not at a protest, but exists in a world in which the threat of polluted water is taken to the extreme.\u003c/p>\n\u003cfigure id=\"attachment_12861628\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12861628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-800x316.jpeg\" alt='Delilah Montoya, \"Humane Borders Water Station,\" 2004' width=\"800\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-800x316.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-160x63.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-768x304.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-1020x403.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-1920x759.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-1180x466.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-960x380.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-240x95.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-375x148.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation-520x206.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/07HumaneBordersWaterStation.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Delilah Montoya, ‘Humane Borders Water Station,’ 2004.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.delilahmontoya.com\" target=\"_blank\" rel=\"noopener\">Delilah Montoya\u003c/a>\u003c/h3>\n\u003cp>Photographer Delilah Montoya has spent much of her life in the southwestern United States, a setting that deeply informs her investigations of everything from Chicana identity to desert landscapes.\u003c/p>\n\u003cp>In 2004, Montoya collaborated with artist and writer Orlando Lara on \u003cem>Sed: The Trail of Thirst\u003c/em>, an installation of photographs, videos and found objects documenting signs of immigration around the Tohono O’odham Nation in Arizona. This popular yet dangerous area for Mexicans and Central Americans crossing the Arizona-Sonora border claims the lives of more than 100 migrants a year. Desert temperatures can approach 120 degrees Fahrenheit in the summer.\u003c/p>\n\u003cp>Montoya’s photographs show water stations or jugs of water provided by humanitarian organizations and individuals to help prevent dehydration and death. Her landscapes — arid deserts covered with brittle sagebrush, saguaro cactus and purple mountain peaks — are mostly devoid of people. The peacefulness is interrupted by bottles of water strategically placed in bushes or by giant blue barrels marked “agua.”\u003c/p>\n\u003cp>The images simultaneously call attention to the work being done to save migrants’ lives, and to the tragedy that necessitates that work. Not unsurprisingly, the \u003cem>Sed\u003c/em> installation has toured North America continuously for 13 years.\u003c/p>\n\u003cfigure id=\"attachment_12862246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12862246 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever-800x1197.jpg\" alt=\"Thea Gahr, 'Everglades Forever,' 2016.\" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever-1180x1766.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever-960x1437.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever-375x561.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever-520x778.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Thea_Gahr_Everglades_Forever.jpg 1368w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thea Gahr, ‘Everglades Forever,’ 2016.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://theagahr.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Thea Gahr\u003c/a>\u003c/h3>\n\u003cp>Printmaker Thea Gahr traces her beliefs about the environment, social justice and art making to her upbringing on a family farm in Oregon. Her family grew wheat, amaranth and vetch for many years before depleted soil and a change of heart led her father to convert their cropland back into wetlands.\u003c/p>\n\u003cp>Gahr watched diverse plant and animal life make its way back onto the land. “Witnessing these first steps in restoring life to the land completely integrated itself into my artwork,” says Gahr. “I like to think about bringing the water of emotions into the landscapes of our mental outlook.”\u003c/p>\n\u003cp>Gahr, like Barraza and several other artists in \u003ci>Échame Aguas\u003c/i>, is a member of \u003ca href=\"http://justseeds.org/\" target=\"_blank\" rel=\"noopener\">Justseeds Artists’ Cooperative\u003c/a>, a network of printmakers living in the U.S., Mexico and Canada dedicated to making politically and environmentally engaged art. As Gahr explains it, printmaking puts “visuals to the hopes, fears and atrocities of lived experience.”\u003c/p>\n\u003cp>Like the artists behind early 20th-century social realism, Gahr focuses largely on the human condition, depicting subjects as they toil, mourn or defy. But her subjects don’t just work in the fields and the factories — they walk through rain puddles, paddle boats on a lake or stand surrounded by foliage. In Gahr’s work, a near-constant intertwining of humans with nature articulates their inseparability.\u003c/p>\n\u003cfigure id=\"attachment_12865529\" class=\"wp-caption aligncenter\" style=\"max-width: 458px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12865529 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/TomahawkGreyEyes_To-ei-iina.jpg\" alt=\"TomahawkGreyEyes, 'Tó éí ííńá'\" width=\"458\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/TomahawkGreyEyes_To-ei-iina.jpg 458w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/TomahawkGreyEyes_To-ei-iina-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/TomahawkGreyEyes_To-ei-iina-240x367.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/TomahawkGreyEyes_To-ei-iina-375x573.jpg 375w\" sizes=\"(max-width: 458px) 100vw, 458px\">\u003cfigcaption class=\"wp-caption-text\">Tomahawk GreyEyes, ‘Tó éí ííńá.’\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://tomahawkgreyeyes.com\" target=\"_blank\" rel=\"noopener\">Tomahawk GreyEyes\u003c/a>\u003c/h3>\n\u003cp>Oakland-based Tomahawk GreyEyes doesn’t pull any punches. The multidisciplinary Diné (Navajo) artist uses printmaking, video and installations to addresses colonial trauma and Indigenous peoples’ resistance to oppression.\u003c/p>\n\u003cp>Like the Standing Rock Sioux, members of the Navajo Nation protested in 2016 for access to clean, potable water. More than one-third of Navajo Nation residents lack access to water in their homes, relying instead on melted snow, trucked-in water and arsenic-contaminated groundwater.\u003c/p>\n\u003cp>In his print\u003ci> Tó éí ííńá\u003c/i> (“water is life” in Navajo), GreyEyes depicts a protest over Navajo water rights: A woman stands with her back to the viewer with a red handprint on her back. Something like blood runs down her skirt. This is a protest over water and blood, life and death.\u003c/p>\n\u003cp>Anti-DAPL protests have done much to bring longstanding Indigenous political issues to the attention of a society that largely ignores them. But it is critical that Standing Rock isn’t used as a substitute for more than 600 separate tribal nations across the U.S. and their own struggles.\u003c/p>\n\u003cp>Water is central to life, culture and justice, the artists of \u003cem>Échame Aguas\u003c/em> argue, but alongside that universal truth, it is of equal importance that unique histories and political realities are not overlooked.\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>Échame Aguas \u003c/em>is on view at Galería de la Raza in San Francisco from March 11–April 30, 2017. Details and more information \u003ca href=\"http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=6779\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-a-world-music-diva-a-play-about-war-in-africa-and-a-show-about-artistic-influence",
"title": "Cy and David's Picks: A World Music Diva, A Play about War in Africa, and a Show about Artistic Influence",
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"headTitle": "Cy and David’s Picks: A World Music Diva, A Play about War in Africa, and a Show about Artistic Influence | KQED",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>Both David and I are a bit groggy after a late evening at the opening of \u003ca href=\"http://www.fiascotheater.com/\" target=\"_blank\" rel=\"noopener\">Fiasco Theater\u003c/a>’s \u003ca href=\"http://www.sfchronicle.com/performance/article/Romp-Into-the-Woods-where-wishes-come-10989566.php\" target=\"_blank\" rel=\"noopener\">excellent stripped down production \u003c/a>of James Lapine and Stephen Sondheim’s musical \u003cem>Into the Woods\u003c/em>. Details for the run at SHN’s \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=intothewoods&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Golden Gate Theater through April 2 are here\u003c/a>. I’m also stoked to see Aaron Diehl and Cecile McLorin Salvant celebrate the music of Jelly Roll Morton and George Gershwin. They’re at \u003ca href=\"https://live.stanford.edu/calendar/march-2017/aaron-diehl-presents-jelly-and-george\" target=\"_blank\" rel=\"noopener\">Bing Concert Hall at Stanford\u003c/a>, \u003ca href=\"https://www.kuumbwajazz.org/calendar/2017-02/\" target=\"_blank\" rel=\"noopener\">Kuumbwa in Santa Cruz\u003c/a>, \u003ca href=\"https://mondavi.ucdavis.edu/event/2016-17/jelly-and-george-featuring-aaron-diehl-and-cecile-mclorin-salvant\">the Mondavi Center in Davis\u003c/a> and \u003ca href=\"https://sfjazz.org/events/2016-17/0316/cecile-mclorin-salvant-aaron-diehl\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> — with\u003ca href=\"http://www.aarondiehl.com/booked-c1q5u\" target=\"_blank\" rel=\"noopener\"> details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qC8feW4gomo\u003c/p>\n\u003cp>\u003cstrong>March 11\u003c/strong>: \u003ca href=\"http://www.meklitmusic.com/new-page-1/\" target=\"_blank\" rel=\"noopener\">Meklit Hadero\u003c/a> is one of the Bay Area’s most adventurous singers and songwriters. She’s Ethiopian-born, and a TED Fellow who brews her music out of jazz, soul, R&B and world music. Hadero has been busy lately curating \u003ca href=\"http://nileproject.org/\" target=\"_blank\" rel=\"noopener\">The Nile Project \u003c/a>(a touring group of Nile Delta musicians) and \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Undercover\u003c/a>’s tribute to Lauryn Hill, so it’s nice to see her focusing again on her own music — especially in the intimate setting of Bing Concert Hall’s new Rehearsal Studio, with its cocktail lounge feel. Details for Hadero’s show Saturday\u003ca href=\"https://live.stanford.edu/calendar/march-2017/meklit\" target=\"_blank\" rel=\"noopener\"> are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12876203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12876203 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-800x450.jpg\" alt=\"Stacey Sargeant in ‘Eclipsed’ at the Curran Theatre in San Francisco\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacey Sargeant in ‘Eclipsed’ at the Curran Theatre in San Francisco. \u003ccite>(Photo: Little Fang/Curran)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 7–19\u003c/strong>: \u003ca href=\"https://sfcurran.com/shows/eclipsed/\" target=\"_blank\" rel=\"noopener\">\u003cem>Eclipsed\u003c/em> \u003c/a>is a play about the brutal violence of the Liberian Civil War and the bitter lives of women held as sex slaves by a rebel officer. The show is remarkable as the first on Broadway produced by an \u003ca href=\"http://www.okayafrica.com/culture-2/eclipsed-on-broadway-makes-history/\" target=\"_blank\" rel=\"noopener\">all-black, all-women creative team\u003c/a>, including former director (and former Berkeley Rep Associate Director) \u003ca href=\"https://www.forbes.com/sites/jerylbrunner/2016/06/29/director-liesl-tommy-the-first-woman-of-color-nominated-for-a-tony-for-best-direction-of-a-play/#70e6ca0a69a7\" target=\"_blank\" rel=\"noopener\">Lisel Tommy\u003c/a> and playwright and Zimbabwean-American Danai Gurira (who’s also one of the stars of the TV series \u003cem>\u003ca href=\"http://www.amc.com/shows/the-walking-dead\" target=\"_blank\" rel=\"noopener\">The Walking Dead\u003c/a>, \u003c/em>and slated to appear in the upcoming Marvel \u003cem>Black Panther\u003c/em> movie). Gurira started writing because she didn’t think there were enough plays about Africa on American stages (you think?), and has won nothing but praise for her work. \u003cem>Eclipsed\u003c/em> is the second show at the renovated Curran Theatre (after \u003cem>Fun Home), \u003c/em>and more proof that owner Carole Shorenstein Hays is making good on her promise to bring important, serious shows to San Francisco. Each performance of \u003cem>Eclipsed\u003c/em> will be dedicated by name—in a post-show presentation—to abducted girls around the world. Details \u003ca href=\"https://sfcurran.com/shows/eclipsed/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ycIVwe4MsS4\u003c/p>\n\u003cp>\u003cstrong>March 16–19\u003c/strong>: \u003ca href=\"http://ncco.org/\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra\u003c/a> is continuing its 25th anniversary with a season of farewell to music director and violinist \u003ca href=\"http://www.nadjasalernosonnenberg.com/\" target=\"_blank\" rel=\"noopener\">Nadja Salerno-Sonnenberg\u003c/a>, who will leave to teach full-time at \u003ca href=\"http://www.loyno.edu/\" target=\"_blank\" rel=\"noopener\">Loyola University \u003c/a>next fall. For this concert, Salerno-Sonnenberg has put together a program of pure pleasure, featuring an excerpt from Stravinsky’s ballet \u003ca href=\"https://en.wikipedia.org/wiki/Apollo_(ballet)\" target=\"_blank\" rel=\"noopener\">\u003cem>Apollon musagète\u003c/em>\u003c/a> and a suite of songs from \u003cem>An American in Paris\u003c/em>. That brings in the other stars of these shows, the choral group Chanticleer. You can’t go wrong. It runs March 16 in Berkeley at the First Presbyterian Church, March 17 in Palo Alto at the Oshman JCC, March 18 at Herbst Theater in San Francisco, and March 19 in San Rafael at the Osher Marin JCC. Details \u003ca href=\"http://ncco.org/concert-tickets/program-3-americans-paris/\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12876209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12876209 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-800x614.jpg\" alt=\"Richard Diebenkorn’s Woman on a Porch\" width=\"800\" height=\"614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-1020x783.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-1180x905.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-960x737.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-520x399.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854.jpg 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Diebenkorn’s ‘Woman on a Porch.’ \u003ccite>(Photo: Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 11–May 29\u003c/strong>: Two of the greatest names in modern art are together for the first time at the San Francisco Museum of Modern Art — French Fauvist and impressionist \u003ca href=\"http://www.henri-matisse.net/\" target=\"_blank\" rel=\"noopener\">Henri Matisse\u003c/a> (1869-1954) and Californian \u003ca href=\"http://diebenkorn.org/\" target=\"_blank\" rel=\"noopener\">Richard Diebenkorn \u003c/a>(1922–1993). That Diebenkorn was deeply influenced by Matisse was no secret, But in this collaboration between the \u003ca href=\"https://artbma.org/\" target=\"_blank\" rel=\"noopener\">Baltimore Museum of Art\u003c/a> (with its deep collection of Matisse) and \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">SFMOMA \u003c/a>(with its deep collection of Diebenkorn), visitors can see firsthand the way Diebenkorn often employed the same colors and design elements that Matisse used in his paintings. “Diebenkorn had an incredible visual memory,” SFMOMA \u003ca href=\"https://newamericanpaintings.com/jurors/janet-bishop\" target=\"_blank\" rel=\"noopener\">curator Janet Bishop\u003c/a> told me while we talked in front of Matisse’s \u003cem>Yellow Pottery from Provence\u003c/em>, “and he carried that image with him, so several years later, when he made one of his Berkeley paintings, you see that same palette emerge, that same banding of color. To see these paintings together for the first time is an incredible thrill.” And they’re gorgeous. Details for the Matisse/Diebenkorn show at SFMOMA \u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn/\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KLoKWvUwyjM\u003c/p>\n\u003cp>\u003cstrong>March 10–12\u003c/strong>: \u003ca href=\"http://thecoathangers.com/\" target=\"_blank\" rel=\"noopener\">The Coathangers\u003c/a> are three women from Atlanta who only occasionally do ballads — mostly they play garage and surf-punk with no compromises. The band’s name (a reference to dangerous abortion methods so common before \u003cem>Roe v. Wade\u003c/em>) makes David uncomfortable, but maybe that’s the idea for a trio whose song titles include “Don’t Touch my Sh-t.” They touch down three times in the Bay Area this weekend — on March 10 at Brick and Mortar in San Francisco (\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7065685&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), March 11 at the Starline Social Club in Oakland (\u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/3/11/the-coathangers-girltears\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), and March 12 at the \u003ca href=\"https://arlenefranciscenter.org/\" target=\"_blank\" rel=\"noopener\">Arlene Francis Center\u003c/a> in Santa Rosa (\u003ca href=\"https://arlenefranciscenter.org/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>).\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": "Cy and David feature garage-punk from the Coathangers, a stellar meeting of Diebenkorn and Matisse, a play about women in war and more.",
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"title": "Cy and David's Picks: A World Music Diva, A Play about War in Africa, and a Show about Artistic Influence | KQED",
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"headline": "Cy and David's Picks: A World Music Diva, A Play about War in Africa, and a Show about Artistic Influence",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>Both David and I are a bit groggy after a late evening at the opening of \u003ca href=\"http://www.fiascotheater.com/\" target=\"_blank\" rel=\"noopener\">Fiasco Theater\u003c/a>’s \u003ca href=\"http://www.sfchronicle.com/performance/article/Romp-Into-the-Woods-where-wishes-come-10989566.php\" target=\"_blank\" rel=\"noopener\">excellent stripped down production \u003c/a>of James Lapine and Stephen Sondheim’s musical \u003cem>Into the Woods\u003c/em>. Details for the run at SHN’s \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=intothewoods&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Golden Gate Theater through April 2 are here\u003c/a>. I’m also stoked to see Aaron Diehl and Cecile McLorin Salvant celebrate the music of Jelly Roll Morton and George Gershwin. They’re at \u003ca href=\"https://live.stanford.edu/calendar/march-2017/aaron-diehl-presents-jelly-and-george\" target=\"_blank\" rel=\"noopener\">Bing Concert Hall at Stanford\u003c/a>, \u003ca href=\"https://www.kuumbwajazz.org/calendar/2017-02/\" target=\"_blank\" rel=\"noopener\">Kuumbwa in Santa Cruz\u003c/a>, \u003ca href=\"https://mondavi.ucdavis.edu/event/2016-17/jelly-and-george-featuring-aaron-diehl-and-cecile-mclorin-salvant\">the Mondavi Center in Davis\u003c/a> and \u003ca href=\"https://sfjazz.org/events/2016-17/0316/cecile-mclorin-salvant-aaron-diehl\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> — with\u003ca href=\"http://www.aarondiehl.com/booked-c1q5u\" target=\"_blank\" rel=\"noopener\"> details here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qC8feW4gomo'\n title='//www.youtube.com/embed/qC8feW4gomo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 11\u003c/strong>: \u003ca href=\"http://www.meklitmusic.com/new-page-1/\" target=\"_blank\" rel=\"noopener\">Meklit Hadero\u003c/a> is one of the Bay Area’s most adventurous singers and songwriters. She’s Ethiopian-born, and a TED Fellow who brews her music out of jazz, soul, R&B and world music. Hadero has been busy lately curating \u003ca href=\"http://nileproject.org/\" target=\"_blank\" rel=\"noopener\">The Nile Project \u003c/a>(a touring group of Nile Delta musicians) and \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Undercover\u003c/a>’s tribute to Lauryn Hill, so it’s nice to see her focusing again on her own music — especially in the intimate setting of Bing Concert Hall’s new Rehearsal Studio, with its cocktail lounge feel. Details for Hadero’s show Saturday\u003ca href=\"https://live.stanford.edu/calendar/march-2017/meklit\" target=\"_blank\" rel=\"noopener\"> are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12876203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12876203 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-800x450.jpg\" alt=\"Stacey Sargeant in ‘Eclipsed’ at the Curran Theatre in San Francisco\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/411.Stacey-Sargeant-in-ECLIPSED-at-the-Curran-theater-photo-by-Little-Fang-e1489098718659.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacey Sargeant in ‘Eclipsed’ at the Curran Theatre in San Francisco. \u003ccite>(Photo: Little Fang/Curran)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 7–19\u003c/strong>: \u003ca href=\"https://sfcurran.com/shows/eclipsed/\" target=\"_blank\" rel=\"noopener\">\u003cem>Eclipsed\u003c/em> \u003c/a>is a play about the brutal violence of the Liberian Civil War and the bitter lives of women held as sex slaves by a rebel officer. The show is remarkable as the first on Broadway produced by an \u003ca href=\"http://www.okayafrica.com/culture-2/eclipsed-on-broadway-makes-history/\" target=\"_blank\" rel=\"noopener\">all-black, all-women creative team\u003c/a>, including former director (and former Berkeley Rep Associate Director) \u003ca href=\"https://www.forbes.com/sites/jerylbrunner/2016/06/29/director-liesl-tommy-the-first-woman-of-color-nominated-for-a-tony-for-best-direction-of-a-play/#70e6ca0a69a7\" target=\"_blank\" rel=\"noopener\">Lisel Tommy\u003c/a> and playwright and Zimbabwean-American Danai Gurira (who’s also one of the stars of the TV series \u003cem>\u003ca href=\"http://www.amc.com/shows/the-walking-dead\" target=\"_blank\" rel=\"noopener\">The Walking Dead\u003c/a>, \u003c/em>and slated to appear in the upcoming Marvel \u003cem>Black Panther\u003c/em> movie). Gurira started writing because she didn’t think there were enough plays about Africa on American stages (you think?), and has won nothing but praise for her work. \u003cem>Eclipsed\u003c/em> is the second show at the renovated Curran Theatre (after \u003cem>Fun Home), \u003c/em>and more proof that owner Carole Shorenstein Hays is making good on her promise to bring important, serious shows to San Francisco. Each performance of \u003cem>Eclipsed\u003c/em> will be dedicated by name—in a post-show presentation—to abducted girls around the world. Details \u003ca href=\"https://sfcurran.com/shows/eclipsed/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ycIVwe4MsS4'\n title='//www.youtube.com/embed/ycIVwe4MsS4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 16–19\u003c/strong>: \u003ca href=\"http://ncco.org/\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra\u003c/a> is continuing its 25th anniversary with a season of farewell to music director and violinist \u003ca href=\"http://www.nadjasalernosonnenberg.com/\" target=\"_blank\" rel=\"noopener\">Nadja Salerno-Sonnenberg\u003c/a>, who will leave to teach full-time at \u003ca href=\"http://www.loyno.edu/\" target=\"_blank\" rel=\"noopener\">Loyola University \u003c/a>next fall. For this concert, Salerno-Sonnenberg has put together a program of pure pleasure, featuring an excerpt from Stravinsky’s ballet \u003ca href=\"https://en.wikipedia.org/wiki/Apollo_(ballet)\" target=\"_blank\" rel=\"noopener\">\u003cem>Apollon musagète\u003c/em>\u003c/a> and a suite of songs from \u003cem>An American in Paris\u003c/em>. That brings in the other stars of these shows, the choral group Chanticleer. You can’t go wrong. It runs March 16 in Berkeley at the First Presbyterian Church, March 17 in Palo Alto at the Oshman JCC, March 18 at Herbst Theater in San Francisco, and March 19 in San Rafael at the Osher Marin JCC. Details \u003ca href=\"http://ncco.org/concert-tickets/program-3-americans-paris/\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12876209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12876209 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-800x614.jpg\" alt=\"Richard Diebenkorn’s Woman on a Porch\" width=\"800\" height=\"614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-1020x783.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-1180x905.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-960x737.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854-520x399.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/16.-Diebenkorn_Woman-on-a-Porch-e1489099986854.jpg 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Diebenkorn’s ‘Woman on a Porch.’ \u003ccite>(Photo: Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 11–May 29\u003c/strong>: Two of the greatest names in modern art are together for the first time at the San Francisco Museum of Modern Art — French Fauvist and impressionist \u003ca href=\"http://www.henri-matisse.net/\" target=\"_blank\" rel=\"noopener\">Henri Matisse\u003c/a> (1869-1954) and Californian \u003ca href=\"http://diebenkorn.org/\" target=\"_blank\" rel=\"noopener\">Richard Diebenkorn \u003c/a>(1922–1993). That Diebenkorn was deeply influenced by Matisse was no secret, But in this collaboration between the \u003ca href=\"https://artbma.org/\" target=\"_blank\" rel=\"noopener\">Baltimore Museum of Art\u003c/a> (with its deep collection of Matisse) and \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">SFMOMA \u003c/a>(with its deep collection of Diebenkorn), visitors can see firsthand the way Diebenkorn often employed the same colors and design elements that Matisse used in his paintings. “Diebenkorn had an incredible visual memory,” SFMOMA \u003ca href=\"https://newamericanpaintings.com/jurors/janet-bishop\" target=\"_blank\" rel=\"noopener\">curator Janet Bishop\u003c/a> told me while we talked in front of Matisse’s \u003cem>Yellow Pottery from Provence\u003c/em>, “and he carried that image with him, so several years later, when he made one of his Berkeley paintings, you see that same palette emerge, that same banding of color. To see these paintings together for the first time is an incredible thrill.” And they’re gorgeous. Details for the Matisse/Diebenkorn show at SFMOMA \u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn/\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KLoKWvUwyjM'\n title='//www.youtube.com/embed/KLoKWvUwyjM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 10–12\u003c/strong>: \u003ca href=\"http://thecoathangers.com/\" target=\"_blank\" rel=\"noopener\">The Coathangers\u003c/a> are three women from Atlanta who only occasionally do ballads — mostly they play garage and surf-punk with no compromises. The band’s name (a reference to dangerous abortion methods so common before \u003cem>Roe v. Wade\u003c/em>) makes David uncomfortable, but maybe that’s the idea for a trio whose song titles include “Don’t Touch my Sh-t.” They touch down three times in the Bay Area this weekend — on March 10 at Brick and Mortar in San Francisco (\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7065685&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), March 11 at the Starline Social Club in Oakland (\u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/3/11/the-coathangers-girltears\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), and March 12 at the \u003ca href=\"https://arlenefranciscenter.org/\" target=\"_blank\" rel=\"noopener\">Arlene Francis Center\u003c/a> in Santa Rosa (\u003ca href=\"https://arlenefranciscenter.org/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>).\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": "At SFSU, Looking and Truly Seeing the Middle East Through Art",
"headTitle": "At SFSU, Looking and Truly Seeing the Middle East Through Art | KQED",
"content": "\u003cp>What does it mean to look? And what does it mean to be seen?\u003c/p>\n\u003cp>These are two of the critical questions raised in \u003ca href=\"https://ids.sfsu.edu/news-announce/mashrabiya-art-looking-back\" target=\"_blank\" rel=\"noopener\">\u003ci>Mashrabiya: The Art of Looking Back\u003c/i>\u003c/a>, an intimate, six-person exhibition now on view in the San Francisco State University (SFSU) Fine Arts Gallery.\u003c/p>\n\u003cp>The title \u003cem>Mashrabiya\u003c/em> refers to the \u003ca href=\"https://www.google.com/search?q=mashrabiya&rlz=1C1PRFC_enUS638US638&espv=2&biw=1920&bih=911&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiCrarb2MXSAhUJwlQKHdFpBi4Q_AUIBigB\" target=\"_blank\" rel=\"noopener\">projecting latticed windows\u003c/a> that are a familiar feature of domestic architecture throughout the Middle East and wider Islamic world. The windows function to protect inhabitants — primarily women — from public gaze while simultaneously providing a safe vantage point from which to view the public realm. Co-curators Santhi Kavuri-Bauer, Kathy Zarur, Sharon E. Bliss and Mark Johnson adapted the mashrabiya as a visual metaphor through which to think about social and political relations between East and West, and how much the West in particular has yet to learn.\u003c/p>\n\u003cfigure id=\"attachment_12866838\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Guirguis.jpg\" alt=\"Work by Sherin Guirguis.\" width=\"1000\" height=\"720\" class=\"size-full wp-image-12866838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-960x691.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-520x374.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Work by Sherin Guirguis. \u003ccite>(Photo by Kristy Boylan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Taraneh Hemami’s \u003ca href=\"http://www.taranehhemami.com/bulletin-2016\" target=\"_blank\" rel=\"noopener\">\u003ci>Bulletin\u003c/i>\u003c/a>, published in conjunction with the longform project \u003cem>Theory of Survival\u003c/em>, establishes a loose context for the overall exhibition. Comprising critical points in Iranian and world history, \u003cem>Bulletin\u003c/em> offers a more complete account of the country’s fraught passage through the 19th and 20th centuries, widening the otherwise narrow aperture through which Middle Eastern life is perceived. \u003c/p>\n\u003cp>Iran’s history does not begin with the Islamic Revolution (1978-79), but that is the primary event that informs almost all contemporary media portrayals of the country to this day. Hemami’s bulleted list, mirroring a mashrabiya in its layout, situates her native country and other Middle Eastern nations within the temporal spectrum of recent history to illustrate how little we know of a place otherwise relegated to \u003ca href=\"https://en.wikipedia.org/wiki/Axis_of_evil\" target=\"_blank\" rel=\"noopener\">“the axis of evil.”\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While no two stories about living outside one’s cultural and familial context are the same, certain themes emerge in \u003ci>The Art of Looking Back\u003c/i> that create a cohesive exhibition narrative; namely mistranslation and the consequences of war.\u003c/p>\n\u003cp>Los Angeles-based \u003ca href=\"http://www.sheringuirguis.com/work\" target=\"_blank\" rel=\"noopener\">Sherin Guirguis\u003c/a> addresses cultural appropriation through painting and sculpture. In \u003cem>Untitled (ollas)\u003c/em>, Guirguis models unglazed ceramic water jugs in wood and modifies them with gold-painted, geometric wings. The wings enhance the curvaceous white vessels, and render them useless as functional objects. \u003c/p>\n\u003cfigure id=\"attachment_12866840\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Yamin.jpg\" alt=\"Work by Samira Yamin.\" width=\"1000\" height=\"667\" class=\"size-full wp-image-12866840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Work by Samira Yamin. \u003ccite>(Photo by Kristy Boylan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like so many non-Western objects that come into public or private art collections through legal and extralegal means, any appreciation of their aesthetic appeal is tempered by their dislocation from their original use and context. Guirguis’ modification of the jugs gestures to the mono-directional flow of cultural items from East to West under European colonialist rule and the tendency to regard, or “see” Arab and Persian cultures, as permanently moored to antiquity, unable to evolve.\u003c/p>\n\u003cp>Though the United States did not indulge in Middle Eastern colonialist misadventures as our European counterparts did, we’ve supported or lead multiple disastrous military incursions into the region. Those actions, like all actions, have consequences, and the work in \u003ci>The Art of Looking Back\u003c/i> gestures to those negative influences.\u003c/p>\n\u003cp>\u003ca href=\"http://samirayamin.com/geometries/cgb0pfkbg423rdvdjz3x208gjqfa6l\" target=\"_blank\" rel=\"noopener\">Samira Yamin\u003c/a> works with modest, mass-produced pulp paper, carving the repetitious geometric forms that make up mashrabiyas. Cutting each page by hand, she reveals an obsessive aspect to her practice. While the volumes of \u003ci>Time\u003c/i> magazine she modifies don’t exclusively address the twin catastrophes of war in Iraq and Afghanistan or the Sept. 11 attacks, those events aren’t far away, and Yamin’s exquisite paper screens further emphasize the power of media to obfuscate comprehension.\u003c/p>\n\u003cfigure id=\"attachment_12866839\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Mazinani.jpg\" alt=\"Work by Sanaz Mazinani.\" width=\"1000\" height=\"667\" class=\"size-full wp-image-12866839\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Work by Sanaz Mazinani. \u003ccite>(Photo by Kristy Boylan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.sanazmazinani.com/\" target=\"_blank\" rel=\"noopener\">Sanaz Mazinani\u003c/a>, whose solo exhibition \u003ca href=\"http://www.sfcamerawork.org/exhibitions\" target=\"_blank\" rel=\"noopener\">\u003ci>Signal to Noise\u003c/i>\u003c/a> is concurrently on view at SF Camerawork, creates an installation at SFSU of floor and wall-mounted mirror panels onto which she projects abstracted scenes of destruction from popular American films. The sumptuous, atmospheric experience is tempered by the knowledge that what we import from the Middle East is decidedly less deadly than what we export to the region.\u003c/p>\n\u003cp>Before the two-fronted war and the calamity of ISIS it unleashed, the United States’ relations with Middle Eastern countries were precarious at best, perpetually clouded by differences in language, religion, and culture. In 2017, we are no closer to understanding one another and may, if the current administration’s ill-conceived \u003ca href=\"http://www.cnn.com/2017/01/30/politics/trump-travel-ban-q-and-a/index.html\">travel ban\u003c/a> is any indication, be further from mutual comprehension than ever been before. But \u003cem>Mashrabiya: The Art of Looking Back\u003c/em> also celebrates the establishment of a center for Iranian \u003ca href=\"http://www.payvand.com/news/09/nov/1037.html\" target=\"_blank\" rel=\"noopener\">diasporic\u003c/a> studies at SFSU in the coming year. This news and the group exhibition on view offer a tentative path toward understanding, toward seeing civilizations other than our own for the depth, beauty, and complexity that define them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>Mashrabiya: The Art of Looking Back\u003c/b> is on view at the Fine Arts Gallery, San Francisco State University through March 16, 2017. For more information visit \u003ca href=\"http://gallery.sfsu.edu/\">gallery.sfsu.edu\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What does it mean to look? And what does it mean to be seen?\u003c/p>\n\u003cp>These are two of the critical questions raised in \u003ca href=\"https://ids.sfsu.edu/news-announce/mashrabiya-art-looking-back\" target=\"_blank\" rel=\"noopener\">\u003ci>Mashrabiya: The Art of Looking Back\u003c/i>\u003c/a>, an intimate, six-person exhibition now on view in the San Francisco State University (SFSU) Fine Arts Gallery.\u003c/p>\n\u003cp>The title \u003cem>Mashrabiya\u003c/em> refers to the \u003ca href=\"https://www.google.com/search?q=mashrabiya&rlz=1C1PRFC_enUS638US638&espv=2&biw=1920&bih=911&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiCrarb2MXSAhUJwlQKHdFpBi4Q_AUIBigB\" target=\"_blank\" rel=\"noopener\">projecting latticed windows\u003c/a> that are a familiar feature of domestic architecture throughout the Middle East and wider Islamic world. The windows function to protect inhabitants — primarily women — from public gaze while simultaneously providing a safe vantage point from which to view the public realm. Co-curators Santhi Kavuri-Bauer, Kathy Zarur, Sharon E. Bliss and Mark Johnson adapted the mashrabiya as a visual metaphor through which to think about social and political relations between East and West, and how much the West in particular has yet to learn.\u003c/p>\n\u003cfigure id=\"attachment_12866838\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Guirguis.jpg\" alt=\"Work by Sherin Guirguis.\" width=\"1000\" height=\"720\" class=\"size-full wp-image-12866838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-960x691.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Guirguis-520x374.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Work by Sherin Guirguis. \u003ccite>(Photo by Kristy Boylan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Taraneh Hemami’s \u003ca href=\"http://www.taranehhemami.com/bulletin-2016\" target=\"_blank\" rel=\"noopener\">\u003ci>Bulletin\u003c/i>\u003c/a>, published in conjunction with the longform project \u003cem>Theory of Survival\u003c/em>, establishes a loose context for the overall exhibition. Comprising critical points in Iranian and world history, \u003cem>Bulletin\u003c/em> offers a more complete account of the country’s fraught passage through the 19th and 20th centuries, widening the otherwise narrow aperture through which Middle Eastern life is perceived. \u003c/p>\n\u003cp>Iran’s history does not begin with the Islamic Revolution (1978-79), but that is the primary event that informs almost all contemporary media portrayals of the country to this day. Hemami’s bulleted list, mirroring a mashrabiya in its layout, situates her native country and other Middle Eastern nations within the temporal spectrum of recent history to illustrate how little we know of a place otherwise relegated to \u003ca href=\"https://en.wikipedia.org/wiki/Axis_of_evil\" target=\"_blank\" rel=\"noopener\">“the axis of evil.”\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While no two stories about living outside one’s cultural and familial context are the same, certain themes emerge in \u003ci>The Art of Looking Back\u003c/i> that create a cohesive exhibition narrative; namely mistranslation and the consequences of war.\u003c/p>\n\u003cp>Los Angeles-based \u003ca href=\"http://www.sheringuirguis.com/work\" target=\"_blank\" rel=\"noopener\">Sherin Guirguis\u003c/a> addresses cultural appropriation through painting and sculpture. In \u003cem>Untitled (ollas)\u003c/em>, Guirguis models unglazed ceramic water jugs in wood and modifies them with gold-painted, geometric wings. The wings enhance the curvaceous white vessels, and render them useless as functional objects. \u003c/p>\n\u003cfigure id=\"attachment_12866840\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Yamin.jpg\" alt=\"Work by Samira Yamin.\" width=\"1000\" height=\"667\" class=\"size-full wp-image-12866840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Yamin-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Work by Samira Yamin. \u003ccite>(Photo by Kristy Boylan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like so many non-Western objects that come into public or private art collections through legal and extralegal means, any appreciation of their aesthetic appeal is tempered by their dislocation from their original use and context. Guirguis’ modification of the jugs gestures to the mono-directional flow of cultural items from East to West under European colonialist rule and the tendency to regard, or “see” Arab and Persian cultures, as permanently moored to antiquity, unable to evolve.\u003c/p>\n\u003cp>Though the United States did not indulge in Middle Eastern colonialist misadventures as our European counterparts did, we’ve supported or lead multiple disastrous military incursions into the region. Those actions, like all actions, have consequences, and the work in \u003ci>The Art of Looking Back\u003c/i> gestures to those negative influences.\u003c/p>\n\u003cp>\u003ca href=\"http://samirayamin.com/geometries/cgb0pfkbg423rdvdjz3x208gjqfa6l\" target=\"_blank\" rel=\"noopener\">Samira Yamin\u003c/a> works with modest, mass-produced pulp paper, carving the repetitious geometric forms that make up mashrabiyas. Cutting each page by hand, she reveals an obsessive aspect to her practice. While the volumes of \u003ci>Time\u003c/i> magazine she modifies don’t exclusively address the twin catastrophes of war in Iraq and Afghanistan or the Sept. 11 attacks, those events aren’t far away, and Yamin’s exquisite paper screens further emphasize the power of media to obfuscate comprehension.\u003c/p>\n\u003cfigure id=\"attachment_12866839\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Mazinani.jpg\" alt=\"Work by Sanaz Mazinani.\" width=\"1000\" height=\"667\" class=\"size-full wp-image-12866839\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Mazinani-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Work by Sanaz Mazinani. \u003ccite>(Photo by Kristy Boylan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.sanazmazinani.com/\" target=\"_blank\" rel=\"noopener\">Sanaz Mazinani\u003c/a>, whose solo exhibition \u003ca href=\"http://www.sfcamerawork.org/exhibitions\" target=\"_blank\" rel=\"noopener\">\u003ci>Signal to Noise\u003c/i>\u003c/a> is concurrently on view at SF Camerawork, creates an installation at SFSU of floor and wall-mounted mirror panels onto which she projects abstracted scenes of destruction from popular American films. The sumptuous, atmospheric experience is tempered by the knowledge that what we import from the Middle East is decidedly less deadly than what we export to the region.\u003c/p>\n\u003cp>Before the two-fronted war and the calamity of ISIS it unleashed, the United States’ relations with Middle Eastern countries were precarious at best, perpetually clouded by differences in language, religion, and culture. In 2017, we are no closer to understanding one another and may, if the current administration’s ill-conceived \u003ca href=\"http://www.cnn.com/2017/01/30/politics/trump-travel-ban-q-and-a/index.html\">travel ban\u003c/a> is any indication, be further from mutual comprehension than ever been before. But \u003cem>Mashrabiya: The Art of Looking Back\u003c/em> also celebrates the establishment of a center for Iranian \u003ca href=\"http://www.payvand.com/news/09/nov/1037.html\" target=\"_blank\" rel=\"noopener\">diasporic\u003c/a> studies at SFSU in the coming year. This news and the group exhibition on view offer a tentative path toward understanding, toward seeing civilizations other than our own for the depth, beauty, and complexity that define them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>Mashrabiya: The Art of Looking Back\u003c/b> is on view at the Fine Arts Gallery, San Francisco State University through March 16, 2017. For more information visit \u003ca href=\"http://gallery.sfsu.edu/\">gallery.sfsu.edu\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At SFMOMA, Andrea Geyer Taps into Founding Principles of the Museum",
"headTitle": "At SFMOMA, Andrea Geyer Taps into Founding Principles of the Museum | KQED",
"content": "\u003cp>Imagine you’re at the San Francisco Museum of Modern Art. Imagine, to be exact, that you’re in the center of the Helen and Charles Schwab Hall. Sol LeWitt’s \u003ci>Wall Drawing 895: Loopy Doopy (white and blue)\u003c/i> undulates around you, beckoning upwards to the thousands of square feet of galleries above. The only question now is where to start. \u003c/p>\n\u003cp>Choose your own adventure. You can: A) take the stairs straight to the third floor’s not-to-be-missed Diane Arbus show and work your way up from there; or B) take an elevator right to the top, to the seventh floor’s excellent trio of exhibitions, and work your way down. \u003c/p>\n\u003cp>You can’t go wrong, you think. But you would be mistaken, because there’s a secret, hidden, not-so-obvious third option in this museum adventure, and it’s C) don’t go anywhere.\u003c/p>\n\u003cp>That’s because the Koret Education Center, located just off the second-floor lobby, contains more than just cubbies full of museum-going students’ backpacks. It’s currently the site of a small exhibition by New York-based artist \u003ca href=\"http://www.andreageyer.info/\" target=\"_blank\" rel=\"noopener\">Andrea Geyer\u003c/a>, \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/those-who-have-eyes-see/\" target=\"_blank\" rel=\"noopener\">To Those Who Have Eyes to See\u003c/a>\u003c/i>, an installation devoted to the legacy and ideals of \u003ca href=\"https://en.wikipedia.org/wiki/Grace_Morley\" target=\"_blank\" rel=\"noopener\">Grace McCann Morley\u003c/a>, SFMOMA’s founding director. \u003c/p>\n\u003cfigure id=\"attachment_12865747\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200.jpg\" alt=\"Installation view of 'To Those Who Have Eyes To See,' 2017 at SFMOMA.\" width=\"1200\" height=\"798\" class=\"size-full wp-image-12865747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-520x346.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘To Those Who Have Eyes To See,’ 2017 at SFMOMA. \u003ccite>(Photo: Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Geyer’s installation includes floor-to-ceiling textiles, a remapped history of modernism focusing on women’s contributions to the movement, images from a women’s march, a video reenactment of Morley’s hopes for the museum, and — a modern museum taboo — plants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two walls of curtains cut through the education center, mimicking an exhibition of textiles held at the museum during Morley’s tenure. In this contemporary incarnation, Geyer screenprints the different colored linen with logos and drawings from lesbian and feminist organizations of the mid-20th century. \u003c/p>\n\u003cp>Inside the cozy space created by the curtains, ample seating allows visitors of all ages to sit and watch \u003ci>Manifest\u003c/i>, a 20-minute video featuring two performers — one dressed as Morley, the other representing a modern everywoman — speak of what a museum should be for the public and do for the public. The script mixes Morley’s own writings and lectures with words from Walter Benjamin, Michel Foucault, Hannah Arendt and contemporary thinkers like UC Berkeley political scientist Wendy Brown. \u003c/p>\n\u003cfigure id=\"attachment_12865534\" class=\"wp-caption aligncenter\" style=\"max-width: 1123px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u.jpg\" alt=\"Andrea Geyer, Detail of 'Revolt, They Said,' 2012-ongoing.\" width=\"1123\" height=\"1300\" class=\"size-full wp-image-12865534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u.jpg 1123w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-800x926.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-768x889.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-1020x1181.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-960x1111.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-240x278.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-375x434.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-520x602.jpg 520w\" sizes=\"(max-width: 1123px) 100vw, 1123px\">\u003cfigcaption class=\"wp-caption-text\">Andrea Geyer, Detail of ‘Revolt, They Said,’ 2012-ongoing. \u003ccite>(Courtesy of the artist and Parque Galeria, Mexico City)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Morley believed art and museums were not luxuries for the select few, but civic necessities — a founding principle that, like so many idealistic notions from her era, hasn’t held up against the realities of the modern-day economy (a $6–$8 surcharge, for example, applies to SFMOMA’s upcoming special exhibition \u003cem>\u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn\" target=\"_blank\" rel=\"noopener\">Matisse/Diebenkorn\u003c/a>\u003c/em>, on top of the standard $25 adult admission).\u003c/p>\n\u003cp>Unlike the rest of the museum’s second floor (including, by extension, Richard Serra’s \u003ci>Sequence\u003c/i>), entry to the Koret Education Center is ticketed. But one element of \u003ci>To Those Who Have Eyes to See\u003c/i> is free of charge — a hefty and completely necessary takeaway publication detailing women’s often-uncredited contributions to the art world as we know it today.\u003c/p>\n\u003cp>So before you grapple with A versus B, choose C, and think about what a museum should be and do.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>To Those Who Have Eyes to See\u003c/b> is on view at the Koret Education Center at the San Francisco Museum of Modern Art through Aug. 15. For more information visit \u003ca href=\"https://www.sfmoma.org/exhibition/those-who-have-eyes-see/\" target=\"_blank\" rel=\"noopener\">sfmoma.org\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine you’re at the San Francisco Museum of Modern Art. Imagine, to be exact, that you’re in the center of the Helen and Charles Schwab Hall. Sol LeWitt’s \u003ci>Wall Drawing 895: Loopy Doopy (white and blue)\u003c/i> undulates around you, beckoning upwards to the thousands of square feet of galleries above. The only question now is where to start. \u003c/p>\n\u003cp>Choose your own adventure. You can: A) take the stairs straight to the third floor’s not-to-be-missed Diane Arbus show and work your way up from there; or B) take an elevator right to the top, to the seventh floor’s excellent trio of exhibitions, and work your way down. \u003c/p>\n\u003cp>You can’t go wrong, you think. But you would be mistaken, because there’s a secret, hidden, not-so-obvious third option in this museum adventure, and it’s C) don’t go anywhere.\u003c/p>\n\u003cp>That’s because the Koret Education Center, located just off the second-floor lobby, contains more than just cubbies full of museum-going students’ backpacks. It’s currently the site of a small exhibition by New York-based artist \u003ca href=\"http://www.andreageyer.info/\" target=\"_blank\" rel=\"noopener\">Andrea Geyer\u003c/a>, \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/those-who-have-eyes-see/\" target=\"_blank\" rel=\"noopener\">To Those Who Have Eyes to See\u003c/a>\u003c/i>, an installation devoted to the legacy and ideals of \u003ca href=\"https://en.wikipedia.org/wiki/Grace_Morley\" target=\"_blank\" rel=\"noopener\">Grace McCann Morley\u003c/a>, SFMOMA’s founding director. \u003c/p>\n\u003cfigure id=\"attachment_12865747\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200.jpg\" alt=\"Installation view of 'To Those Who Have Eyes To See,' 2017 at SFMOMA.\" width=\"1200\" height=\"798\" class=\"size-full wp-image-12865747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/005_SFMOMA_AndreaGeyer_1200-520x346.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘To Those Who Have Eyes To See,’ 2017 at SFMOMA. \u003ccite>(Photo: Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Geyer’s installation includes floor-to-ceiling textiles, a remapped history of modernism focusing on women’s contributions to the movement, images from a women’s march, a video reenactment of Morley’s hopes for the museum, and — a modern museum taboo — plants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two walls of curtains cut through the education center, mimicking an exhibition of textiles held at the museum during Morley’s tenure. In this contemporary incarnation, Geyer screenprints the different colored linen with logos and drawings from lesbian and feminist organizations of the mid-20th century. \u003c/p>\n\u003cp>Inside the cozy space created by the curtains, ample seating allows visitors of all ages to sit and watch \u003ci>Manifest\u003c/i>, a 20-minute video featuring two performers — one dressed as Morley, the other representing a modern everywoman — speak of what a museum should be for the public and do for the public. The script mixes Morley’s own writings and lectures with words from Walter Benjamin, Michel Foucault, Hannah Arendt and contemporary thinkers like UC Berkeley political scientist Wendy Brown. \u003c/p>\n\u003cfigure id=\"attachment_12865534\" class=\"wp-caption aligncenter\" style=\"max-width: 1123px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u.jpg\" alt=\"Andrea Geyer, Detail of 'Revolt, They Said,' 2012-ongoing.\" width=\"1123\" height=\"1300\" class=\"size-full wp-image-12865534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u.jpg 1123w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-800x926.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-768x889.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-1020x1181.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-960x1111.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-240x278.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-375x434.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/lpAdoJ6CuC1u-520x602.jpg 520w\" sizes=\"(max-width: 1123px) 100vw, 1123px\">\u003cfigcaption class=\"wp-caption-text\">Andrea Geyer, Detail of ‘Revolt, They Said,’ 2012-ongoing. \u003ccite>(Courtesy of the artist and Parque Galeria, Mexico City)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Morley believed art and museums were not luxuries for the select few, but civic necessities — a founding principle that, like so many idealistic notions from her era, hasn’t held up against the realities of the modern-day economy (a $6–$8 surcharge, for example, applies to SFMOMA’s upcoming special exhibition \u003cem>\u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn\" target=\"_blank\" rel=\"noopener\">Matisse/Diebenkorn\u003c/a>\u003c/em>, on top of the standard $25 adult admission).\u003c/p>\n\u003cp>Unlike the rest of the museum’s second floor (including, by extension, Richard Serra’s \u003ci>Sequence\u003c/i>), entry to the Koret Education Center is ticketed. But one element of \u003ci>To Those Who Have Eyes to See\u003c/i> is free of charge — a hefty and completely necessary takeaway publication detailing women’s often-uncredited contributions to the art world as we know it today.\u003c/p>\n\u003cp>So before you grapple with A versus B, choose C, and think about what a museum should be and do.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>To Those Who Have Eyes to See\u003c/b> is on view at the Koret Education Center at the San Francisco Museum of Modern Art through Aug. 15. For more information visit \u003ca href=\"https://www.sfmoma.org/exhibition/those-who-have-eyes-see/\" target=\"_blank\" rel=\"noopener\">sfmoma.org\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'We Who Work' Pays Tribute to Those Laboring in Santa Cruz and Beyond",
"headTitle": "‘We Who Work’ Pays Tribute to Those Laboring in Santa Cruz and Beyond | KQED",
"content": "\u003cp>A lot of \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>’s art starts with an old, black and white photograph from China. Most of the subjects in the photos are anonymous.\u003c/p>\n\u003cp>“You don’t know anything about this person,” says the Chinese-American artist from Oakland. The anonymity, she explains, gives her the freedom to take something specific and universalize it. “I will never know her name, but her image will be enshrined, in a way.”\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>Take one photo of an old woman cooking on a big stove that became the inspiration for \u003cem>Luzao (Stove)\u003c/em>, pictured above. “Definitely, she’s not cooking for herself,” Liu says. “Reminds me a little of my grandma. She made shoes, but she cooked every day, day in, day out.”\u003c/p>\n\u003cp>The image of the woman is laid over an old map, to suggest she’s cooking for the world. Geese and fish fly by, and an old scholar waits in the corner for his dinner. Liu chuckles, looking at him. He’s every arrogant, effete intellectual humbled by the rumble in his belly. “Without women cooking, nothing can exist,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12856704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856704\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg\" alt=\"Mother, Daughter, and the River, 2016 by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut.jpg 962w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother, Daughter, and the River’ (2016), by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat. \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings, prints and tapestries of \u003cem>We Who Work\u003c/em>, now showing at the \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a>, are both dreamy and provocative, surreal yet grounded in Liu’s respect for hard labor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The idea is to make the invisible visible: “The people who actually work in the field, on the street, in the back of the kitchen,” Liu says. “They need to be returned to their dignity, to be honored,” adding with a wry smile, “maybe more important than rich and famous people.”\u003c/p>\n\u003cp>“All work is beautiful, in its own way,” says curator Nora Grant, adding that Liu “animates and enlarges” the struggle of the lives she depicts, “creating a new kind of truth.”\u003c/p>\n\u003cfigure id=\"attachment_12856909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12856909 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg\" alt=\"Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu's pieces in "We Who Work" depict women. "They suffer, but they also stand for their dignity."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu’s pieces in “We Who Work” depict women. “They suffer, but they also stand for their dignity.” \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If that’s the intended effect, it worked for those I talked to visiting the exhibition. Cynthia Begin of Santa Cruz describes Liu’s work as “Profound. I see pain and perseverance, and humanity’s ability to move out of that and create beauty. That’s what she’s [Liu’s] doing.”\u003c/p>\n\u003ch3>An immigrant “like so many immigrants.”\u003c/h3>\n\u003cp>Born in China in 1948, Liu grew up during Chairman Mao’s regime. During the Cultural Revolution, she worked in rice fields for four years. She immigrated to California in 1984 to study at UC San Diego.\u003c/p>\n\u003cp>Now a celebrated artist, her works have been collected by the San Francisco Museum of Modern Art, the Metropolitan Museum of Art and the Whitney Museum of American Art, among others.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/311005606″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cem>We Who Work\u003c/em> is not Liu’s first foray into political communication through art, but she feels a heightened sense of urgency in this political moment, when the Trump Administration is cracking down on a variety of immigrants.\u003c/p>\n\u003cp>“I’m an immigrant,” says Liu, who’s an American citizen now. “I’m part of the country, like so many immigrants from all over the world. We made [the U.S.] home.”\u003c/p>\n\u003cfigure id=\"attachment_12856908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg\" alt=\"Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut.jpg 1269w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015). \u003ccite>(Photo: Courtesy of Edward Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu says she feels responsible as an American citizen to use her tools as an artist to influence the political discussion over the value of immigrant labor. “Labor issues overall is human issues, especially in this time.”\u003c/p>\n\u003ch3>Physical labor doesn’t just happen overseas.\u003c/h3>\n\u003cp>The museum has paired Liu’s work with photographs of working people from Santa Cruz County, along with a table full of their tools, and statistics explaining who they are and how they’re treated — and mistreated — by employers.\u003c/p>\n\u003cp>That’s all courtesy of \u003ca href=\"https://workingfordignity.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Working for Dignity\u003c/a>, an advocacy group at UC Santa Cruz. Associate Sociology Professor Steve McKay directs the \u003ca href=\"https://labor.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Labor Studies\u003c/a> there.\u003c/p>\n\u003cp>“The numbers tell a certain story, but images of workers move people, humanizing this kind of invisible work,” McKay says. “People see that this is our community.”\u003c/p>\n\u003cfigure id=\"attachment_12856910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg\" alt=\"Window washer Augustin Garcia says "Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter's education."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Window washer Augustin Garcia says, “Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter’s education.” \u003ccite>(Photo Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The truth of that statement is not just limited to the artifacts on the walls and tables. Some of those visiting the exhibition can attest to life on the lower rungs of the economic ladder.\u003c/p>\n\u003cp>UC Santa Cruz sociology student Danielle Spahr has worked in restaurants where she’s been denied her legally mandated rest breaks, one of the hardships detailed on the walls in the museum. Staring at the statistic that 50 percent of working people surveyed have been denied their rest breaks, she nods her head. “Unfortunately, that’s how it is right now.”\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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Who Work’ runs through Sunday, June 25. More info \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>’s art starts with an old, black and white photograph from China. Most of the subjects in the photos are anonymous.\u003c/p>\n\u003cp>“You don’t know anything about this person,” says the Chinese-American artist from Oakland. The anonymity, she explains, gives her the freedom to take something specific and universalize it. “I will never know her name, but her image will be enshrined, in a way.”\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>Take one photo of an old woman cooking on a big stove that became the inspiration for \u003cem>Luzao (Stove)\u003c/em>, pictured above. “Definitely, she’s not cooking for herself,” Liu says. “Reminds me a little of my grandma. She made shoes, but she cooked every day, day in, day out.”\u003c/p>\n\u003cp>The image of the woman is laid over an old map, to suggest she’s cooking for the world. Geese and fish fly by, and an old scholar waits in the corner for his dinner. Liu chuckles, looking at him. He’s every arrogant, effete intellectual humbled by the rumble in his belly. “Without women cooking, nothing can exist,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12856704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856704\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg\" alt=\"Mother, Daughter, and the River, 2016 by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut.jpg 962w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother, Daughter, and the River’ (2016), by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat. \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings, prints and tapestries of \u003cem>We Who Work\u003c/em>, now showing at the \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a>, are both dreamy and provocative, surreal yet grounded in Liu’s respect for hard labor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The idea is to make the invisible visible: “The people who actually work in the field, on the street, in the back of the kitchen,” Liu says. “They need to be returned to their dignity, to be honored,” adding with a wry smile, “maybe more important than rich and famous people.”\u003c/p>\n\u003cp>“All work is beautiful, in its own way,” says curator Nora Grant, adding that Liu “animates and enlarges” the struggle of the lives she depicts, “creating a new kind of truth.”\u003c/p>\n\u003cfigure id=\"attachment_12856909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12856909 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg\" alt=\"Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu's pieces in "We Who Work" depict women. "They suffer, but they also stand for their dignity."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu’s pieces in “We Who Work” depict women. “They suffer, but they also stand for their dignity.” \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If that’s the intended effect, it worked for those I talked to visiting the exhibition. Cynthia Begin of Santa Cruz describes Liu’s work as “Profound. I see pain and perseverance, and humanity’s ability to move out of that and create beauty. That’s what she’s [Liu’s] doing.”\u003c/p>\n\u003ch3>An immigrant “like so many immigrants.”\u003c/h3>\n\u003cp>Born in China in 1948, Liu grew up during Chairman Mao’s regime. During the Cultural Revolution, she worked in rice fields for four years. She immigrated to California in 1984 to study at UC San Diego.\u003c/p>\n\u003cp>Now a celebrated artist, her works have been collected by the San Francisco Museum of Modern Art, the Metropolitan Museum of Art and the Whitney Museum of American Art, among others.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/311005606″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/311005606″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>We Who Work\u003c/em> is not Liu’s first foray into political communication through art, but she feels a heightened sense of urgency in this political moment, when the Trump Administration is cracking down on a variety of immigrants.\u003c/p>\n\u003cp>“I’m an immigrant,” says Liu, who’s an American citizen now. “I’m part of the country, like so many immigrants from all over the world. We made [the U.S.] home.”\u003c/p>\n\u003cfigure id=\"attachment_12856908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg\" alt=\"Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut.jpg 1269w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015). \u003ccite>(Photo: Courtesy of Edward Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu says she feels responsible as an American citizen to use her tools as an artist to influence the political discussion over the value of immigrant labor. “Labor issues overall is human issues, especially in this time.”\u003c/p>\n\u003ch3>Physical labor doesn’t just happen overseas.\u003c/h3>\n\u003cp>The museum has paired Liu’s work with photographs of working people from Santa Cruz County, along with a table full of their tools, and statistics explaining who they are and how they’re treated — and mistreated — by employers.\u003c/p>\n\u003cp>That’s all courtesy of \u003ca href=\"https://workingfordignity.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Working for Dignity\u003c/a>, an advocacy group at UC Santa Cruz. Associate Sociology Professor Steve McKay directs the \u003ca href=\"https://labor.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Labor Studies\u003c/a> there.\u003c/p>\n\u003cp>“The numbers tell a certain story, but images of workers move people, humanizing this kind of invisible work,” McKay says. “People see that this is our community.”\u003c/p>\n\u003cfigure id=\"attachment_12856910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg\" alt=\"Window washer Augustin Garcia says "Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter's education."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Window washer Augustin Garcia says, “Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter’s education.” \u003ccite>(Photo Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The truth of that statement is not just limited to the artifacts on the walls and tables. Some of those visiting the exhibition can attest to life on the lower rungs of the economic ladder.\u003c/p>\n\u003cp>UC Santa Cruz sociology student Danielle Spahr has worked in restaurants where she’s been denied her legally mandated rest breaks, one of the hardships detailed on the walls in the museum. Staring at the statistic that 50 percent of working people surveyed have been denied their rest breaks, she nods her head. “Unfortunately, that’s how it is right now.”\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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Who Work’ runs through Sunday, June 25. More info \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-unlikely-marriage-of-crochet-and-climate-change",
"title": "The Unlikely Marriage of Crochet and Climate Change",
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"headTitle": "The Unlikely Marriage of Crochet and Climate Change | KQED",
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"content": "\u003cp>All hail the Pussy Hat, the charming, knitted-or-crocheted pink cap,\u003ca href=\"https://ww2.kqed.org/news/2017/01/17/l-a-s-pussyhat-project-crafts-a-political-statement/\" target=\"_blank\" rel=\"noopener\"> designed\u003c/a> to raise awareness of women’s rights.\u003c/p>\n\u003cp>It’s hard to point to anything that has so captured the global imagination and sung the praises of needlecraft at the same time. An exception may be \u003ca href=\"http://ias.ucsc.edu/content/2017/crochet-coral-reef-co2ca-co2la-mary-porter-sesnon-art-gallery\" target=\"_blank\" rel=\"noopener\">\u003cem>Crochet Coral Reef: CO2CA-CO2LA Ocean\u003c/em>\u003c/a>, an exhibition by twin sisters which runs through May 6 at the University of California, Santa Cruz (UCSC).\u003c/p>\n\u003cp>Margaret Wertheim is a science writer. Her sister Christine Wertheim teaches at the \u003ca href=\"https://directory.calarts.edu/directory/christine-wertheim\" target=\"_blank\" rel=\"noopener\">California Institute for the Arts\u003c/a>. They both grew up in Queensland, Australia, home of the the Great Barrier Reef.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=soxS8VtMi9E]\u003c/p>\n\u003cp>\u003cem>Crochet Coral Reef\u003c/em> is a massive collection of individual works of art: corals, anemones, sponges, and other colorful sea-life forms. The artists crocheted the pieces not just from yarn and thread, but also from a cornucopia of flotsam — plastic bags, ties, can flip-tops, videotape, ribbon, and tinsel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003cem>Crochet Coral Reef\u003c/em> project has been exhibited all around the world over the past 10 years, at places like the the \u003ca href=\"https://naturalhistory.si.edu/\" target=\"_blank\" rel=\"noopener\">Smithsonian National Museum of Natural History\u003c/a> in Washington, D.C., the \u003ca href=\"https://www.cooperhewitt.org/\" target=\"_blank\" rel=\"noopener\">Cooper-Hewitt National Design Museum\u003c/a> in New York, and the\u003ca href=\"https://www.southbankcentre.co.uk/venues/hayward-gallery\" target=\"_blank\" rel=\"noopener\"> Hayward Gallery\u003c/a> in London.\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>The materials the artists use to create the work may be soft in feel, but the reef sends out a strong activist message. “My sister and I started the project with the direct intention of bringing attention to the plight of coral reefs, which have been devastated by global warming,” Margaret Wertheim says. “You do get to have a conversation about what’s happening.”\u003c/p>\n\u003cp>Crochet may not seem like the most obvious medium to make a point about the devastating effects of climate change on reefs. But “\u003ca href=\"http://crochetcoralreef.org/contributors/daina_taimina.php\" target=\"_blank\" rel=\"noopener\">hyperbolic crochet\u003c/a>,” as discovered by Cornell University mathematician Daina Taimina, is a remarkably effective way to demonstrate mathematics as it appears in nature. Loopy “kelps,” fringed “anemones,” crenelated “sea slugs,” and curlicued “corals” all model algorithms.\u003c/p>\n\u003cfigure id=\"attachment_12812404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12812404 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-800x450.jpg\" alt=\"The Crochet Coral Reef, by Margaret & Christine Wertheim and the Institute For Figuring, as installed at UC Santa Cruz, sponsored by the Institute of the Arts and Sciences in partnership with the Mary Porter Sesnon Art Gallery.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut.jpg 1279w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crochet Coral Reef, by Margaret & Christine Wertheim and the Institute For Figuring, as installed at UC Santa Cruz, sponsored by the Institute of the Arts and Sciences in partnership with the Mary Porter Sesnon Art Gallery. \u003ccite>(Photo: Courtesy of Steve Kurtz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A Collective Project\u003c/h3>\n\u003cp>Part of the project’s continuing appeal is the community aspect. Wherever the \u003cem>Crochet Coral Reef\u003c/em> travels, exhibition organizers wrangle members of the local community to crochet an auxiliary reef of their own. This includes Santa Cruz, where the exhibition is a co-production of the \u003ca href=\"http://art.ucsc.edu/galleries/sesnon/current\" target=\"_blank\" rel=\"noopener\">Mary Porter Sesnon Art Gallery\u003c/a> and UCSC’s \u003ca href=\"http://ias.ucsc.edu/\" target=\"_blank\" rel=\"noopener\">Institute of the Arts and Sciences\u003c/a>.\u003c/p>\n\u003cp>The gallery hosts a selection of what’s been created before in each city. The Institute is coordinating crocheting circles on campus, in downtown Santa Cruz and at the \u003ca href=\"http://seymourcenter.ucsc.edu/\" target=\"_blank\" rel=\"noopener\">Seymour Marine Discovery Center\u003c/a>, where UC Santa Cruz’s “satellite reef” will be presented in May.\u003c/p>\n\u003cp>Almost 300 people have gotten involved so far, including the \u003ca href=\"https://santacruzknittingguild.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Santa Cruz Knitting Guild\u003c/a>, \u003ca href=\"https://thefabrica.org/\" target=\"_blank\" rel=\"noopener\">The Fábrica\u003c/a>, and Rachel Nelson, curator and program manager of the Institute. \u003cspan style=\"color: #000000\">There are monthly workshops at the Seymour Marine Discovery Center, and weekly workshops on campus.\u003c/span>\u003cb> \u003c/b>“I quickly had to learn, so I could help teach people how to crochet,” Nelson says, adding that community members have mostly relieved her of her teaching duties. “This is the first project I’ve been on that has had this level of community engagement.”\u003c/p>\n\u003cfigure id=\"attachment_12809316\" class=\"wp-caption aligncenter\" style=\"max-width: 639px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12809316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut.jpg\" alt=\"Detail of The Crochet Coral Reef, on view the Mary Porter Sesnon Art Gallery at UC Santa Cruz. The Crochet Coral Reef is a massive collection of individual works of art: corals, anemones, kelps, sponges, nudibranchs, flatworms and slugs, crocheted not just from yarn and thread, but from plastic bags, ties, can flip tops, videotape, ribbon, and tinsel. \" width=\"639\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut.jpg 639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-520x293.jpg 520w\" sizes=\"(max-width: 639px) 100vw, 639px\">\u003cfigcaption class=\"wp-caption-text\">Detail of The Crochet Coral Reef, on view the Mary Porter Sesnon Art Gallery at UC Santa Cruz. The Crochet Coral Reef is a massive collection of individual works of art: corals, anemones, kelps, sponges — crocheted not just from yarn and thread, but from plastic bags, ties, videotape, ribbon, and tinsel. \u003ccite>(Photo: Courtesy of Steve Kurtz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Mimicking Mother Nature\u003c/h3>\n\u003cp>Besides fostering community and conversation, the “many hands” approach is meant to make a statement about Mother Nature. “It takes hundreds, sometimes thousands of people to build these community reefs,” Margaret Wertheim says. “That’s exactly how corals work. Each polyp alone has no power on its own. But collectively, they can build the great barrier reef. When we act together, we can really do extraordinary things.”\u003c/p>\n\u003cp>Margaret Wertheim says the Mary Porter Sesnon Gallery is much smaller than the other spaces the Wertheims have worked with in the past. This forced the sisters to get creative. “How can we make something fabulous for this particular space?” Marget Wertheim says.\u003c/p>\n\u003cp>One idea the Wertheim sisters came up with was to use the aerial space in the gallery. Suspended from the ceiling, “The Midden” is a fishing net filled with four years’ worth of domestic trash. “Every bottle, every piece of wrapping that we used in our daily lives,” Margaret Wertheim says. The work is meant to be a reflection of the \u003ca href=\"http://www.nationalgeographic.org/encyclopedia/great-pacific-garbage-patch/\" target=\"_blank\" rel=\"noopener\">Great Pacific Garbage Patch\u003c/a>, seen from a “fish’s eye view.” \u003cstrong> \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12809902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12809902 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-800x450.jpg\" alt=\"Visitors explore an “undersea grove” of miniature coral “Pod Worlds” featuring plastic bottle anemones by Nadia Severns and Vanessa Garcia. These sculptures are sitting on a bed of plastic “sand” from the Great Pacific Garbage Patch, gathered on Kamillo Beach Hawaii by Captain Charles Moore of the Algalita Foundation.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut.jpg 1279w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors explore an ‘undersea grove’ of miniature coral ‘Pod Worlds’ featuring plastic bottle anemones by Nadia Severns and Vanessa Garcia. These sculptures are sitting on a bed of plastic ‘sand’ from the Great Pacific Garbage Patch, gathered on Kamillo Beach Hawaii by Captain Charles Moore of the Algalita Foundation. \u003ccite>(Photo: Courtesy of Steve Kurtz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As global warming accelerates, “It’s now very, very clear that we are in deep trouble,” Margaret Wertheim says. “What’s needed is to keep on pushing, whether gently or aggressively, the notion that climate change is caused by humans. I think our project has done it, in a way that’s gentle and accessible to people.”\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>\u003cem>‘Crochet Coral Reef: CO2CA-CO2LA Ocean’ runs through Saturday, May 6, 2017 at the Mary Porter Sesnon Gallery on the UC Santa Cruz campus. More info \u003cstrong>\u003ca href=\"http://art.ucsc.edu/galleries/sesnon/current\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To join one or more of the crocheting workshops, check out the schedule \u003cstrong>\u003ca href=\"http://ias.ucsc.edu/events/2017/uc-santa-cruz-satellite-reef-crocheting-workshops-winter-schedule\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"title": "The Unlikely Marriage of Crochet and Climate Change | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All hail the Pussy Hat, the charming, knitted-or-crocheted pink cap,\u003ca href=\"https://ww2.kqed.org/news/2017/01/17/l-a-s-pussyhat-project-crafts-a-political-statement/\" target=\"_blank\" rel=\"noopener\"> designed\u003c/a> to raise awareness of women’s rights.\u003c/p>\n\u003cp>It’s hard to point to anything that has so captured the global imagination and sung the praises of needlecraft at the same time. An exception may be \u003ca href=\"http://ias.ucsc.edu/content/2017/crochet-coral-reef-co2ca-co2la-mary-porter-sesnon-art-gallery\" target=\"_blank\" rel=\"noopener\">\u003cem>Crochet Coral Reef: CO2CA-CO2LA Ocean\u003c/em>\u003c/a>, an exhibition by twin sisters which runs through May 6 at the University of California, Santa Cruz (UCSC).\u003c/p>\n\u003cp>Margaret Wertheim is a science writer. Her sister Christine Wertheim teaches at the \u003ca href=\"https://directory.calarts.edu/directory/christine-wertheim\" target=\"_blank\" rel=\"noopener\">California Institute for the Arts\u003c/a>. They both grew up in Queensland, Australia, home of the the Great Barrier Reef.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/soxS8VtMi9E'\n title='//www.youtube.com/embed/soxS8VtMi9E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Crochet Coral Reef\u003c/em> is a massive collection of individual works of art: corals, anemones, sponges, and other colorful sea-life forms. The artists crocheted the pieces not just from yarn and thread, but also from a cornucopia of flotsam — plastic bags, ties, can flip-tops, videotape, ribbon, and tinsel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003cem>Crochet Coral Reef\u003c/em> project has been exhibited all around the world over the past 10 years, at places like the the \u003ca href=\"https://naturalhistory.si.edu/\" target=\"_blank\" rel=\"noopener\">Smithsonian National Museum of Natural History\u003c/a> in Washington, D.C., the \u003ca href=\"https://www.cooperhewitt.org/\" target=\"_blank\" rel=\"noopener\">Cooper-Hewitt National Design Museum\u003c/a> in New York, and the\u003ca href=\"https://www.southbankcentre.co.uk/venues/hayward-gallery\" target=\"_blank\" rel=\"noopener\"> Hayward Gallery\u003c/a> in London.\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>The materials the artists use to create the work may be soft in feel, but the reef sends out a strong activist message. “My sister and I started the project with the direct intention of bringing attention to the plight of coral reefs, which have been devastated by global warming,” Margaret Wertheim says. “You do get to have a conversation about what’s happening.”\u003c/p>\n\u003cp>Crochet may not seem like the most obvious medium to make a point about the devastating effects of climate change on reefs. But “\u003ca href=\"http://crochetcoralreef.org/contributors/daina_taimina.php\" target=\"_blank\" rel=\"noopener\">hyperbolic crochet\u003c/a>,” as discovered by Cornell University mathematician Daina Taimina, is a remarkably effective way to demonstrate mathematics as it appears in nature. Loopy “kelps,” fringed “anemones,” crenelated “sea slugs,” and curlicued “corals” all model algorithms.\u003c/p>\n\u003cfigure id=\"attachment_12812404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12812404 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-800x450.jpg\" alt=\"The Crochet Coral Reef, by Margaret & Christine Wertheim and the Institute For Figuring, as installed at UC Santa Cruz, sponsored by the Institute of the Arts and Sciences in partnership with the Mary Porter Sesnon Art Gallery.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut.jpg 1279w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crochet Coral Reef, by Margaret & Christine Wertheim and the Institute For Figuring, as installed at UC Santa Cruz, sponsored by the Institute of the Arts and Sciences in partnership with the Mary Porter Sesnon Art Gallery. \u003ccite>(Photo: Courtesy of Steve Kurtz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A Collective Project\u003c/h3>\n\u003cp>Part of the project’s continuing appeal is the community aspect. Wherever the \u003cem>Crochet Coral Reef\u003c/em> travels, exhibition organizers wrangle members of the local community to crochet an auxiliary reef of their own. This includes Santa Cruz, where the exhibition is a co-production of the \u003ca href=\"http://art.ucsc.edu/galleries/sesnon/current\" target=\"_blank\" rel=\"noopener\">Mary Porter Sesnon Art Gallery\u003c/a> and UCSC’s \u003ca href=\"http://ias.ucsc.edu/\" target=\"_blank\" rel=\"noopener\">Institute of the Arts and Sciences\u003c/a>.\u003c/p>\n\u003cp>The gallery hosts a selection of what’s been created before in each city. The Institute is coordinating crocheting circles on campus, in downtown Santa Cruz and at the \u003ca href=\"http://seymourcenter.ucsc.edu/\" target=\"_blank\" rel=\"noopener\">Seymour Marine Discovery Center\u003c/a>, where UC Santa Cruz’s “satellite reef” will be presented in May.\u003c/p>\n\u003cp>Almost 300 people have gotten involved so far, including the \u003ca href=\"https://santacruzknittingguild.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Santa Cruz Knitting Guild\u003c/a>, \u003ca href=\"https://thefabrica.org/\" target=\"_blank\" rel=\"noopener\">The Fábrica\u003c/a>, and Rachel Nelson, curator and program manager of the Institute. \u003cspan style=\"color: #000000\">There are monthly workshops at the Seymour Marine Discovery Center, and weekly workshops on campus.\u003c/span>\u003cb> \u003c/b>“I quickly had to learn, so I could help teach people how to crochet,” Nelson says, adding that community members have mostly relieved her of her teaching duties. “This is the first project I’ve been on that has had this level of community engagement.”\u003c/p>\n\u003cfigure id=\"attachment_12809316\" class=\"wp-caption aligncenter\" style=\"max-width: 639px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12809316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut.jpg\" alt=\"Detail of The Crochet Coral Reef, on view the Mary Porter Sesnon Art Gallery at UC Santa Cruz. The Crochet Coral Reef is a massive collection of individual works of art: corals, anemones, kelps, sponges, nudibranchs, flatworms and slugs, crocheted not just from yarn and thread, but from plastic bags, ties, can flip tops, videotape, ribbon, and tinsel. \" width=\"639\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut.jpg 639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-520x293.jpg 520w\" sizes=\"(max-width: 639px) 100vw, 639px\">\u003cfigcaption class=\"wp-caption-text\">Detail of The Crochet Coral Reef, on view the Mary Porter Sesnon Art Gallery at UC Santa Cruz. The Crochet Coral Reef is a massive collection of individual works of art: corals, anemones, kelps, sponges — crocheted not just from yarn and thread, but from plastic bags, ties, videotape, ribbon, and tinsel. \u003ccite>(Photo: Courtesy of Steve Kurtz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Mimicking Mother Nature\u003c/h3>\n\u003cp>Besides fostering community and conversation, the “many hands” approach is meant to make a statement about Mother Nature. “It takes hundreds, sometimes thousands of people to build these community reefs,” Margaret Wertheim says. “That’s exactly how corals work. Each polyp alone has no power on its own. But collectively, they can build the great barrier reef. When we act together, we can really do extraordinary things.”\u003c/p>\n\u003cp>Margaret Wertheim says the Mary Porter Sesnon Gallery is much smaller than the other spaces the Wertheims have worked with in the past. This forced the sisters to get creative. “How can we make something fabulous for this particular space?” Marget Wertheim says.\u003c/p>\n\u003cp>One idea the Wertheim sisters came up with was to use the aerial space in the gallery. Suspended from the ceiling, “The Midden” is a fishing net filled with four years’ worth of domestic trash. “Every bottle, every piece of wrapping that we used in our daily lives,” Margaret Wertheim says. The work is meant to be a reflection of the \u003ca href=\"http://www.nationalgeographic.org/encyclopedia/great-pacific-garbage-patch/\" target=\"_blank\" rel=\"noopener\">Great Pacific Garbage Patch\u003c/a>, seen from a “fish’s eye view.” \u003cstrong> \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12809902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12809902 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-800x450.jpg\" alt=\"Visitors explore an “undersea grove” of miniature coral “Pod Worlds” featuring plastic bottle anemones by Nadia Severns and Vanessa Garcia. These sculptures are sitting on a bed of plastic “sand” from the Great Pacific Garbage Patch, gathered on Kamillo Beach Hawaii by Captain Charles Moore of the Algalita Foundation.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut.jpg 1279w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors explore an ‘undersea grove’ of miniature coral ‘Pod Worlds’ featuring plastic bottle anemones by Nadia Severns and Vanessa Garcia. These sculptures are sitting on a bed of plastic ‘sand’ from the Great Pacific Garbage Patch, gathered on Kamillo Beach Hawaii by Captain Charles Moore of the Algalita Foundation. \u003ccite>(Photo: Courtesy of Steve Kurtz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As global warming accelerates, “It’s now very, very clear that we are in deep trouble,” Margaret Wertheim says. “What’s needed is to keep on pushing, whether gently or aggressively, the notion that climate change is caused by humans. I think our project has done it, in a way that’s gentle and accessible to people.”\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>\u003cem>‘Crochet Coral Reef: CO2CA-CO2LA Ocean’ runs through Saturday, May 6, 2017 at the Mary Porter Sesnon Gallery on the UC Santa Cruz campus. More info \u003cstrong>\u003ca href=\"http://art.ucsc.edu/galleries/sesnon/current\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To join one or more of the crocheting workshops, check out the schedule \u003cstrong>\u003ca href=\"http://ias.ucsc.edu/events/2017/uc-santa-cruz-satellite-reef-crocheting-workshops-winter-schedule\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Latino Cartoonist Says 'You Have to Laugh' in Uncertain Times",
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"content": "\u003cp>With what can seem like a nonstop torrent of complex political news coming at Americans on a daily basis, many people are craving humor as a way to escape — and make sense of — everything that’s happening.\u003c/p>\n\u003cp>“I’ve gotten so many messages from people saying, ‘We need you now more than ever!'” says cartoonist Lalo Alcaraz.\u003c/p>\n\u003cp>People are turning to Alcaraz because he’s used his cartoons — including \u003ca href=\"http://www.gocomics.com/lacucaracha/\" target=\"_blank\" rel=\"noopener\">La Cucaracha\u003c/a>, the first nationally-syndicated, politically-themed Latino daily comic strip — to talk about issues for more than two decades. His work is the subject of a new book, “\u003ca href=\"http://www.upress.state.ms.us/books/2019\" target=\"_blank\" rel=\"noopener\">Lalo Alcaraz: Political Cartooning in the Latino Community\u003c/a>” by Hector D. Fernandez L’Hoeste.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/tcrmag/2017/03/2017-03-03a-tcrmag.mp3\" Image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Alcaraz-960x782.jpg\" Title=\"Latino Cartoonist Says 'You Have to Laugh' in Uncertain Times\" program=\"The California Report\"]\u003c/p>\n\u003cp>Lately he’s turned his focus to President Donald Trump’s administration and its impact on the Latino community in particular.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He says his family taught him the importance of seeing humor even in times of fear. “You have to laugh at your tragic life or else you’re going to be crying all day long,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11342710\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11342710\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-800x1038.jpg\" alt=\"One of several comics by Lalo Alcaraz focusing on the election of President Donald Trump.\" width=\"800\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-800x1038.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-375x486.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-520x674.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of several comics by Lalo Alcaraz focusing on the election of President Donald Trump. \u003ccite>(Courtesy of Lalo Alcaraz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alcaraz has lived and worked in Los Angeles for years, but he grew up in San Diego regularly crossing the border. Alcaraz says his mother lived in Tijuana for 10 years and was originally undocumented when she immigrated to the United States.\u003c/p>\n\u003cp>“It completely shaped my outlook,” he says of his time living on the border. “I have that dual outlook of being a \u003cem>po\u003c/em>\u003cem>cho\u003c/em>, not being an American enough for the U.S. and not being Mexican enough for Mexico.”\u003c/p>\n\u003cp>In addition to his daily comic strip, Alcaraz also served as a contributing producer and writer on the 2016 Fox animated series “\u003ca href=\"http://www.fox.com/bordertown\" target=\"_blank\" rel=\"noopener\">Bordertown\u003c/a>” about the fictional border city of Mexifornia.\u003c/p>\n\u003cp>“Growing up on the border, we all make fun of immigration because it’s a way of coping with a strange reality,” he says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=etVt4TV_bIQ\u003c/p>\n\u003cp>While his humor has a new target — the Trump administration — the immigration topics like the border and immigrants taking American jobs have stayed more or less the same since he started 25 years ago.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can take one of my old cartoons from the late ’80s or ’90s and just change the date and they would pretty much apply today,” he says. “I’m hoping it was just preparation to fight this hopefully one last time.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With what can seem like a nonstop torrent of complex political news coming at Americans on a daily basis, many people are craving humor as a way to escape — and make sense of — everything that’s happening.\u003c/p>\n\u003cp>“I’ve gotten so many messages from people saying, ‘We need you now more than ever!'” says cartoonist Lalo Alcaraz.\u003c/p>\n\u003cp>People are turning to Alcaraz because he’s used his cartoons — including \u003ca href=\"http://www.gocomics.com/lacucaracha/\" target=\"_blank\" rel=\"noopener\">La Cucaracha\u003c/a>, the first nationally-syndicated, politically-themed Latino daily comic strip — to talk about issues for more than two decades. His work is the subject of a new book, “\u003ca href=\"http://www.upress.state.ms.us/books/2019\" target=\"_blank\" rel=\"noopener\">Lalo Alcaraz: Political Cartooning in the Latino Community\u003c/a>” by Hector D. Fernandez L’Hoeste.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lately he’s turned his focus to President Donald Trump’s administration and its impact on the Latino community in particular.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He says his family taught him the importance of seeing humor even in times of fear. “You have to laugh at your tragic life or else you’re going to be crying all day long,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11342710\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11342710\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-800x1038.jpg\" alt=\"One of several comics by Lalo Alcaraz focusing on the election of President Donald Trump.\" width=\"800\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-800x1038.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-375x486.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-520x674.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of several comics by Lalo Alcaraz focusing on the election of President Donald Trump. \u003ccite>(Courtesy of Lalo Alcaraz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alcaraz has lived and worked in Los Angeles for years, but he grew up in San Diego regularly crossing the border. Alcaraz says his mother lived in Tijuana for 10 years and was originally undocumented when she immigrated to the United States.\u003c/p>\n\u003cp>“It completely shaped my outlook,” he says of his time living on the border. “I have that dual outlook of being a \u003cem>po\u003c/em>\u003cem>cho\u003c/em>, not being an American enough for the U.S. and not being Mexican enough for Mexico.”\u003c/p>\n\u003cp>In addition to his daily comic strip, Alcaraz also served as a contributing producer and writer on the 2016 Fox animated series “\u003ca href=\"http://www.fox.com/bordertown\" target=\"_blank\" rel=\"noopener\">Bordertown\u003c/a>” about the fictional border city of Mexifornia.\u003c/p>\n\u003cp>“Growing up on the border, we all make fun of immigration because it’s a way of coping with a strange reality,” he says.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/etVt4TV_bIQ'\n title='//www.youtube.com/embed/etVt4TV_bIQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While his humor has a new target — the Trump administration — the immigration topics like the border and immigrants taking American jobs have stayed more or less the same since he started 25 years ago.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can take one of my old cartoons from the late ’80s or ’90s and just change the date and they would pretty much apply today,” he says. “I’m hoping it was just preparation to fight this hopefully one last time.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Gustav Metzger, Whose Creations Were Works of Destruction, Dies at 90",
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"content": "\u003cp>At the heart of Gustav Metzger’s best-known work rests a seeming contradiction: The truest work of creation contains within itself the seeds of its own destruction. Working with acids and liquid crystals, Metzger often made his art to fall apart, break down or disappear entirely — and in doing so, better reflect the crumbling world around it.\u003c/p>\n\u003cp>Metzger, the inventor of “auto-destructive art,” died Wednesday in London at the age of 90. But long before his final days, he regularly confronted the implications of death in both his art and ecological activism.\u003c/p>\n\u003cp>“Gustav always maintained that an artist is not so much a creator as a destroyer; that the artist’s role is not to add something to the world of objects but to make fewer things,” Hans Ulrich Obrist, Metzger’s friend and curator of the Serpentine Gallery, \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/03/gustav-metzger-art-revolutionary-human-being-capitalism\" target=\"_blank\" rel=\"noopener\">writes for The Guardian\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12846565\" 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/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-800x600.jpg\" alt=\"Metzger wears a gas mask while painting three nylon curtains with hydrochloric acid, causing them to disintegrate, in 1961\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12846565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metzger wears a gas mask while painting three nylon curtains with hydrochloric acid, causing them to disintegrate, in 1961 \u003ccite>(Photo: Keystone/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The roots of Metzger’s artistic inclinations lay partly in the tragedy of his youth. Born to Jewish parents in Germany shortly before the rise of Adolf Hitler, Metzger and his brother emigrated to the U.K. in 1939 as refugees in the \u003ca href=\"https://www.ushmm.org/wlc/en/article.php?ModuleId=10005260\" target=\"_blank\" rel=\"noopener\">kindertransport program\u003c/a>. His parents — and much of the rest of his family — disappeared in the Holocaust by 1943.\u003c/p>\n\u003cp>In the years that followed Metzger would often refer to himself as “stateless” or as “escaped Jew,” \u003ca href=\"https://www.washingtonpost.com/entertainment/museums/gustav-metzger-provocative-artist-who-developed-auto-destructive-art-dies-at-90/2017/03/02/0ef43478-ff6d-11e6-8ebe-6e0dbe4f2bca_story.html\" target=\"_blank\" rel=\"noopener\">according to The Washington Post\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though he began his career as a painter, he turned to more destructive forms in 1959 partly as a means of registering stark dissent. “When I saw the Nazis march, I saw machine-like people and the power of the Nazi state,” he told \u003ca href=\"https://www.theguardian.com/artanddesign/2012/nov/26/gustav-metzger-null-object-robot\" target=\"_blank\" rel=\"noopener\">The Guardian in 2012\u003c/a>. “Auto-destructive art is to do with rejecting power” — and in the process, creating new perspectives.\u003c/p>\n\u003cp>Take one of his most famous works, for instance: After stretching a sheet of nylon in a frame, he sprayed acid onto this blank surface, allowing the corrosive chemicals to eat away at a material other artists might have adorned with paint.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9nzzLdiI9eg\u003c/p>\n\u003cp>“The important thing about burning a hole in that sheet,” he said in 2012, “was that it opened up a new view across the Thames of St Paul’s cathedral [in London]. Auto-destructive art was never merely destructive. Destroy a canvas and you create shapes.”\u003c/p>\n\u003cp>So it went with much of Metzger’s work. From decomposing liquid crystals, he created grand psychedelic tableaux of shifting colors; from discarded newspapers, he arranged a series of images as complex as they were vulnerable to fading.\u003c/p>\n\u003cp>And, as the \u003cem>Post\u003c/em> notes, from a bag of garbage he created a museum installation — which, in turn, was taken again for just another bag of garbage. “One evening,” the paper says, “a janitor tossed it out with the trash.”\u003c/p>\n\u003cfigure id=\"attachment_12846773\" 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/Metzger-piece-800x411.jpg\" alt=\"A woman looks at Metzger's 'Liquid Crystal Environment', part of a 2009 retrospective of his work at London's Serpentine Gallery\" width=\"800\" height=\"411\" class=\"size-medium wp-image-12846773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-768x395.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-240x123.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-520x267.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman looks at Metzger’s ‘Liquid Crystal Environment’, part of a 2009 retrospective of his work at London’s Serpentine Gallery \u003ccite>(AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Metzger, the aesthetic was never far from the political, and the one was just about as likely to get him in trouble as the other. \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/03/gustav-metzger-obituary\" target=\"_blank\" rel=\"noopener\">The Guardian reports\u003c/a> that during his 1966 \u003ca href=\"http://www.tate.org.uk/whats-on/tate-britain/exhibition/art-60s-was-tomorrow/exhibition-themes/destruction-art-symposium\" target=\"_blank\" rel=\"noopener\">Destruction in Art Symposium\u003c/a>, which also featured a young Yoko Ono, Metzger was fined 100 pounds for obscenity in one of the exhibits.\u003c/p>\n\u003cp>“Hermann Nitsch’s 21st Action, the crucifixion of an eviscerated lamb with film of a man’s penis being manipulated by strings was stopped by the police,” the British paper recalls.\u003c/p>\n\u003cp>The police were just as receptive to some of his activism, as he was also jailed for his protests against nuclear weapons five years earlier.\u003c/p>\n\u003cp>But one notable rock star saw things differently.\u003c/p>\n\u003cp>“He had a profound effect on me,” Pete Townshend of The Who told the Guardian in 1998, according to the \u003cem>Post\u003c/em>. Townshend explained:\u003c/p>\n\u003cblockquote>\n\u003cp>“I took it as an excuse to smash my new Rickenbacker [guitar] that I had just [hocked] myself to the eyebrows to buy. I really believed it was my responsibility to start a rock band that would only last three months, an auto-destructive rock group. The Who would have been the first punk band except that we had a hit.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Still it seems Metzger, a Marxist, saw this art as more than an excuse. He saw it as a challenge leveled at a culture of consumerism that was always prepared to turn his artwork into a marketable object.\u003c/p>\n\u003cp>As he told London’s Tate museum in 2008, his work was meant less as an object than an undiluted glimpse of society — both its beauties and its horrors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is the world,” he said. “Look at it, and deal with it.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gustav+Metzger%2C+Whose+Creations+Were+Works+Of+Destruction%2C+Dies+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the heart of Gustav Metzger’s best-known work rests a seeming contradiction: The truest work of creation contains within itself the seeds of its own destruction. Working with acids and liquid crystals, Metzger often made his art to fall apart, break down or disappear entirely — and in doing so, better reflect the crumbling world around it.\u003c/p>\n\u003cp>Metzger, the inventor of “auto-destructive art,” died Wednesday in London at the age of 90. But long before his final days, he regularly confronted the implications of death in both his art and ecological activism.\u003c/p>\n\u003cp>“Gustav always maintained that an artist is not so much a creator as a destroyer; that the artist’s role is not to add something to the world of objects but to make fewer things,” Hans Ulrich Obrist, Metzger’s friend and curator of the Serpentine Gallery, \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/03/gustav-metzger-art-revolutionary-human-being-capitalism\" target=\"_blank\" rel=\"noopener\">writes for The Guardian\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12846565\" 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/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-800x600.jpg\" alt=\"Metzger wears a gas mask while painting three nylon curtains with hydrochloric acid, causing them to disintegrate, in 1961\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12846565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metzger wears a gas mask while painting three nylon curtains with hydrochloric acid, causing them to disintegrate, in 1961 \u003ccite>(Photo: Keystone/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The roots of Metzger’s artistic inclinations lay partly in the tragedy of his youth. Born to Jewish parents in Germany shortly before the rise of Adolf Hitler, Metzger and his brother emigrated to the U.K. in 1939 as refugees in the \u003ca href=\"https://www.ushmm.org/wlc/en/article.php?ModuleId=10005260\" target=\"_blank\" rel=\"noopener\">kindertransport program\u003c/a>. His parents — and much of the rest of his family — disappeared in the Holocaust by 1943.\u003c/p>\n\u003cp>In the years that followed Metzger would often refer to himself as “stateless” or as “escaped Jew,” \u003ca href=\"https://www.washingtonpost.com/entertainment/museums/gustav-metzger-provocative-artist-who-developed-auto-destructive-art-dies-at-90/2017/03/02/0ef43478-ff6d-11e6-8ebe-6e0dbe4f2bca_story.html\" target=\"_blank\" rel=\"noopener\">according to The Washington Post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though he began his career as a painter, he turned to more destructive forms in 1959 partly as a means of registering stark dissent. “When I saw the Nazis march, I saw machine-like people and the power of the Nazi state,” he told \u003ca href=\"https://www.theguardian.com/artanddesign/2012/nov/26/gustav-metzger-null-object-robot\" target=\"_blank\" rel=\"noopener\">The Guardian in 2012\u003c/a>. “Auto-destructive art is to do with rejecting power” — and in the process, creating new perspectives.\u003c/p>\n\u003cp>Take one of his most famous works, for instance: After stretching a sheet of nylon in a frame, he sprayed acid onto this blank surface, allowing the corrosive chemicals to eat away at a material other artists might have adorned with paint.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9nzzLdiI9eg'\n title='//www.youtube.com/embed/9nzzLdiI9eg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The important thing about burning a hole in that sheet,” he said in 2012, “was that it opened up a new view across the Thames of St Paul’s cathedral [in London]. Auto-destructive art was never merely destructive. Destroy a canvas and you create shapes.”\u003c/p>\n\u003cp>So it went with much of Metzger’s work. From decomposing liquid crystals, he created grand psychedelic tableaux of shifting colors; from discarded newspapers, he arranged a series of images as complex as they were vulnerable to fading.\u003c/p>\n\u003cp>And, as the \u003cem>Post\u003c/em> notes, from a bag of garbage he created a museum installation — which, in turn, was taken again for just another bag of garbage. “One evening,” the paper says, “a janitor tossed it out with the trash.”\u003c/p>\n\u003cfigure id=\"attachment_12846773\" 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/Metzger-piece-800x411.jpg\" alt=\"A woman looks at Metzger's 'Liquid Crystal Environment', part of a 2009 retrospective of his work at London's Serpentine Gallery\" width=\"800\" height=\"411\" class=\"size-medium wp-image-12846773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-768x395.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-240x123.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-520x267.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman looks at Metzger’s ‘Liquid Crystal Environment’, part of a 2009 retrospective of his work at London’s Serpentine Gallery \u003ccite>(AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Metzger, the aesthetic was never far from the political, and the one was just about as likely to get him in trouble as the other. \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/03/gustav-metzger-obituary\" target=\"_blank\" rel=\"noopener\">The Guardian reports\u003c/a> that during his 1966 \u003ca href=\"http://www.tate.org.uk/whats-on/tate-britain/exhibition/art-60s-was-tomorrow/exhibition-themes/destruction-art-symposium\" target=\"_blank\" rel=\"noopener\">Destruction in Art Symposium\u003c/a>, which also featured a young Yoko Ono, Metzger was fined 100 pounds for obscenity in one of the exhibits.\u003c/p>\n\u003cp>“Hermann Nitsch’s 21st Action, the crucifixion of an eviscerated lamb with film of a man’s penis being manipulated by strings was stopped by the police,” the British paper recalls.\u003c/p>\n\u003cp>The police were just as receptive to some of his activism, as he was also jailed for his protests against nuclear weapons five years earlier.\u003c/p>\n\u003cp>But one notable rock star saw things differently.\u003c/p>\n\u003cp>“He had a profound effect on me,” Pete Townshend of The Who told the Guardian in 1998, according to the \u003cem>Post\u003c/em>. Townshend explained:\u003c/p>\n\u003cblockquote>\n\u003cp>“I took it as an excuse to smash my new Rickenbacker [guitar] that I had just [hocked] myself to the eyebrows to buy. I really believed it was my responsibility to start a rock band that would only last three months, an auto-destructive rock group. The Who would have been the first punk band except that we had a hit.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Still it seems Metzger, a Marxist, saw this art as more than an excuse. He saw it as a challenge leveled at a culture of consumerism that was always prepared to turn his artwork into a marketable object.\u003c/p>\n\u003cp>As he told London’s Tate museum in 2008, his work was meant less as an object than an undiluted glimpse of society — both its beauties and its horrors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is the world,” he said. “Look at it, and deal with it.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gustav+Metzger%2C+Whose+Creations+Were+Works+Of+Destruction%2C+Dies+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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