window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_12781533": {
"type": "attachments",
"id": "arts_12781533",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12781533",
"found": true
},
"parent": 12781345,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ARTS_THATHEY.00_00_47_01.Still001-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ARTS_THATHEY.00_00_47_01.Still001-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ARTS_THATHEY.00_00_47_01.Still001-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ARTS_THATHEY.00_00_47_01.Still001-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ARTS_THATHEY.00_00_47_01.Still001-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ARTS_THATHEY.00_00_47_01.Still001-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ARTS_THATHEY.00_00_47_01.Still001.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ARTS_THATHEY.00_00_47_01.Still001-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ARTS_THATHEY.00_00_47_01.Still001-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ARTS_THATHEY.00_00_47_01.Still001-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ARTS_THATHEY.00_00_47_01.Still001-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ARTS_THATHEY.00_00_47_01.Still001-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ARTS_THATHEY.00_00_47_01.Still001-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ARTS_THATHEY.00_00_47_01.Still001-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ARTS_THATHEY.00_00_47_01.Still001-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ARTS_THATHEY.00_00_47_01.Still001-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ARTS_THATHEY.00_00_47_01.Still001-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ARTS_THATHEY.00_00_47_01.Still001-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ARTS_THATHEY.00_00_47_01.Still001-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ARTS_THATHEY.00_00_47_01.Still001-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ARTS_THATHEY.00_00_47_01.Still001-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1487375007,
"modified": 1487375007,
"caption": null,
"description": null,
"title": "ARTS_THATHEY.00_00_47_01.Still001",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12794218": {
"type": "attachments",
"id": "arts_12794218",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12794218",
"found": true
},
"parent": 12794217,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER.jpg",
"width": 1920,
"height": 1079
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Double_HeavyCOVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1487623973,
"modified": 1487624228,
"caption": "Kristina Lewis, 'Double Heavy, Full of Holes,' 2017. Ultracal 30, fiberglass, pigment, polymer varnish.",
"description": "Kristina Lewis, 'Double Heavy, Full of Holes,' 2017. Ultracal 30, fiberglass, pigment, polymer varnish.",
"title": "Double_HeavyCOVER",
"credit": "Courtesy of the artist and Sweeney Kaye",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12781142": {
"type": "attachments",
"id": "arts_12781142",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12781142",
"found": true
},
"parent": 12781139,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/kuruma-e1487369235563-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/kuruma-e1487369235563-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/kuruma-e1487369235563-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/kuruma-e1487369235563-960x542.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 542
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/kuruma-e1487369235563-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/kuruma-e1487369235563-375x212.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 212
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/kuruma-e1487369235563.jpg",
"width": 2022,
"height": 1141
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/kuruma-e1487369235563-1020x576.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 576
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/kuruma-e1487369235563-1180x666.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 666
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/kuruma-e1487369235563-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/kuruma-e1487369235563-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/kuruma-e1487369235563-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/kuruma-e1487369235563-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/kuruma-e1487369235563-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/kuruma-e1487369235563-1920x1083.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1083
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/kuruma-e1487369235563-1180x666.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 666
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/kuruma-e1487369235563-1920x1083.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1083
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/kuruma-e1487369235563-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/kuruma-e1487369235563-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/kuruma-e1487369235563-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/kuruma-e1487369235563-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1487369190,
"modified": 1487571083,
"caption": "Rachel Kuruma poses for Dorothea Lange on Apr. 20, 1942. A few days later, she and her family were sent away to prison camp. ",
"description": "Rachel Kuruma poses for Dorothea Lange on Apr. 20, 1942. A few days later, she and her family were sent away to prison camp. ",
"title": "kuruma",
"credit": "Photo: Dorothea Lange Courtesy of National Archives",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12768476": {
"type": "attachments",
"id": "arts_12768476",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12768476",
"found": true
},
"parent": 12768472,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Screen-Shot-2017-02-13-at-10.52.44-ق.د.-520x293.png",
"width": 520,
"mimeType": "image/png",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Screen-Shot-2017-02-13-at-10.52.44-ق.د.-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Screen-Shot-2017-02-13-at-10.52.44-ق.د.-160x90.png",
"width": 160,
"mimeType": "image/png",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Screen-Shot-2017-02-13-at-10.52.44-ق.د.-960x542.png",
"width": 960,
"mimeType": "image/png",
"height": 542
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Screen-Shot-2017-02-13-at-10.52.44-ق.د.-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Screen-Shot-2017-02-13-at-10.52.44-ق.د.-375x212.png",
"width": 375,
"mimeType": "image/png",
"height": 212
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Screen-Shot-2017-02-13-at-10.52.44-ق.د..png",
"width": 2048,
"height": 1155
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Screen-Shot-2017-02-13-at-10.52.44-ق.د.-1020x575.png",
"width": 1020,
"mimeType": "image/png",
"height": 575
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Screen-Shot-2017-02-13-at-10.52.44-ق.د.-1180x666.png",
"width": 1180,
"mimeType": "image/png",
"height": 666
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Screen-Shot-2017-02-13-at-10.52.44-ق.د.-50x50.png",
"width": 50,
"mimeType": "image/png",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Screen-Shot-2017-02-13-at-10.52.44-ق.د.-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Screen-Shot-2017-02-13-at-10.52.44-ق.د.-800x451.png",
"width": 800,
"mimeType": "image/png",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Screen-Shot-2017-02-13-at-10.52.44-ق.د.-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Screen-Shot-2017-02-13-at-10.52.44-ق.د.-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Screen-Shot-2017-02-13-at-10.52.44-ق.د.-1920x1083.png",
"width": 1920,
"mimeType": "image/png",
"height": 1083
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Screen-Shot-2017-02-13-at-10.52.44-ق.د.-1180x666.png",
"width": 1180,
"mimeType": "image/png",
"height": 666
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Screen-Shot-2017-02-13-at-10.52.44-ق.د.-1920x1083.png",
"width": 1920,
"mimeType": "image/png",
"height": 1083
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Screen-Shot-2017-02-13-at-10.52.44-ق.د.-150x150.png",
"width": 150,
"mimeType": "image/png",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Screen-Shot-2017-02-13-at-10.52.44-ق.د.-768x433.png",
"width": 768,
"mimeType": "image/png",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Screen-Shot-2017-02-13-at-10.52.44-ق.د.-128x128.png",
"width": 128,
"mimeType": "image/png",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Screen-Shot-2017-02-13-at-10.52.44-ق.د.-240x135.png",
"width": 240,
"mimeType": "image/png",
"height": 135
}
},
"publishDate": 1487119909,
"modified": 1487197907,
"caption": "Minoosh Zomorodinia and Zulfikar Ali Bhutto performing 'Side by Side' in front of San Francisco City Hall. ",
"description": "Minoosh Zomorodinia and Zulfikar Ali Bhutto performing 'Side by Side' in front of San Francisco City Hall. ",
"title": "side by side 1",
"credit": "Christopher Rubey",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12772090": {
"type": "attachments",
"id": "arts_12772090",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12772090",
"found": true
},
"parent": 12772088,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/COVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1487191443,
"modified": 1487192899,
"caption": "Sahar Khoury in her Oakland studio.",
"description": "Sahar Khoury in her Oakland studio.",
"title": "COVER",
"credit": "Photo by Graham Holoch / KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12768077": {
"type": "attachments",
"id": "arts_12768077",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12768077",
"found": true
},
"parent": 12767689,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ChangingShapeofFilm_2009_HamburgerBahnhof-Berlin_GerdMittelbergPhotographerCOVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ChangingShapeofFilm_2009_HamburgerBahnhof-Berlin_GerdMittelbergPhotographerCOVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ChangingShapeofFilm_2009_HamburgerBahnhof-Berlin_GerdMittelbergPhotographerCOVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ChangingShapeofFilm_2009_HamburgerBahnhof-Berlin_GerdMittelbergPhotographerCOVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ChangingShapeofFilm_2009_HamburgerBahnhof-Berlin_GerdMittelbergPhotographerCOVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ChangingShapeofFilm_2009_HamburgerBahnhof-Berlin_GerdMittelbergPhotographerCOVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ChangingShapeofFilm_2009_HamburgerBahnhof-Berlin_GerdMittelbergPhotographerCOVER.jpg",
"width": 1152,
"height": 648
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ChangingShapeofFilm_2009_HamburgerBahnhof-Berlin_GerdMittelbergPhotographerCOVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ChangingShapeofFilm_2009_HamburgerBahnhof-Berlin_GerdMittelbergPhotographerCOVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ChangingShapeofFilm_2009_HamburgerBahnhof-Berlin_GerdMittelbergPhotographerCOVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ChangingShapeofFilm_2009_HamburgerBahnhof-Berlin_GerdMittelbergPhotographerCOVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ChangingShapeofFilm_2009_HamburgerBahnhof-Berlin_GerdMittelbergPhotographerCOVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ChangingShapeofFilm_2009_HamburgerBahnhof-Berlin_GerdMittelbergPhotographerCOVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ChangingShapeofFilm_2009_HamburgerBahnhof-Berlin_GerdMittelbergPhotographerCOVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ChangingShapeofFilm_2009_HamburgerBahnhof-Berlin_GerdMittelbergPhotographerCOVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ChangingShapeofFilm_2009_HamburgerBahnhof-Berlin_GerdMittelbergPhotographerCOVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ChangingShapeofFilm_2009_HamburgerBahnhof-Berlin_GerdMittelbergPhotographerCOVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1487113787,
"modified": 1487113872,
"caption": "Barbara Hammer performing 'Changing the Shape of Film,' 2009 at Hamburger Bahnhof, Berlin.",
"description": "Barbara Hammer performing 'Changing the Shape of Film,' 2009 at Hamburger Bahnhof, Berlin.",
"title": "ChangingShapeofFilm_2009_HamburgerBahnhof Berlin_GerdMittelbergPhotographerCOVER",
"credit": "Photo by Gerd Mittelberg; Courtesy of Barbara Hammer",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12762642": {
"type": "attachments",
"id": "arts_12762642",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12762642",
"found": true
},
"parent": 12762640,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ap_16355526985677_custom-67075110a0eb047700a08affd6231f90f3ea4647-e1487028266701-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ap_16355526985677_custom-67075110a0eb047700a08affd6231f90f3ea4647-e1487028266701-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ap_16355526985677_custom-67075110a0eb047700a08affd6231f90f3ea4647-e1487028266701-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ap_16355526985677_custom-67075110a0eb047700a08affd6231f90f3ea4647-e1487028266701-960x541.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 541
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ap_16355526985677_custom-67075110a0eb047700a08affd6231f90f3ea4647-e1487028266701-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ap_16355526985677_custom-67075110a0eb047700a08affd6231f90f3ea4647-e1487028266701-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ap_16355526985677_custom-67075110a0eb047700a08affd6231f90f3ea4647-e1487028266701.jpg",
"width": 1499,
"height": 844
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ap_16355526985677_custom-67075110a0eb047700a08affd6231f90f3ea4647-e1487028266701-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ap_16355526985677_custom-67075110a0eb047700a08affd6231f90f3ea4647-e1487028266701-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ap_16355526985677_custom-67075110a0eb047700a08affd6231f90f3ea4647-e1487028266701-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ap_16355526985677_custom-67075110a0eb047700a08affd6231f90f3ea4647-e1487028266701-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ap_16355526985677_custom-67075110a0eb047700a08affd6231f90f3ea4647-e1487028266701-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ap_16355526985677_custom-67075110a0eb047700a08affd6231f90f3ea4647-e1487028266701-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ap_16355526985677_custom-67075110a0eb047700a08affd6231f90f3ea4647-e1487028266701-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ap_16355526985677_custom-67075110a0eb047700a08affd6231f90f3ea4647-1920x2623.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 2623
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ap_16355526985677_custom-67075110a0eb047700a08affd6231f90f3ea4647-e1487028266701-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ap_16355526985677_custom-67075110a0eb047700a08affd6231f90f3ea4647-1920x2623.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 2623
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ap_16355526985677_custom-67075110a0eb047700a08affd6231f90f3ea4647-e1487028266701-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ap_16355526985677_custom-67075110a0eb047700a08affd6231f90f3ea4647-e1487028266701-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ap_16355526985677_custom-67075110a0eb047700a08affd6231f90f3ea4647-e1487028266701-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/ap_16355526985677_custom-67075110a0eb047700a08affd6231f90f3ea4647-e1487028266701-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1487008340,
"modified": 1487028294,
"caption": "World Press Photo awarded its top honor to Burhan Ozbilici's image of a man with a gun standing over the slain Russian ambassador in Ankara in December.",
"description": "World Press Photo awarded its top honor to Burhan Ozbilici's image of a man with a gun standing over the slain Russian ambassador in Ankara in December.",
"title": "World Press Photo awarded its top honor to Burhan Ozbilici's image of a man with a gun standing over the slain Russian ambassador in Ankara in December.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12763248": {
"type": "attachments",
"id": "arts_12763248",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12763248",
"found": true
},
"parent": 12763245,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/featured-image-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/featured-image-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/featured-image-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/featured-image-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/featured-image.jpg",
"width": 800,
"height": 450
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/featured-image-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/featured-image-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/featured-image-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/featured-image-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/featured-image-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/featured-image-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/featured-image-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/featured-image-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/featured-image-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1487019083,
"modified": 1487019083,
"caption": null,
"description": null,
"title": "featured image",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12727377": {
"type": "attachments",
"id": "arts_12727377",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12727377",
"found": true
},
"parent": 12727003,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24034_Photo-Jan-26-1-32-19-PM-qut-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24034_Photo-Jan-26-1-32-19-PM-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24034_Photo-Jan-26-1-32-19-PM-qut-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24034_Photo-Jan-26-1-32-19-PM-qut-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24034_Photo-Jan-26-1-32-19-PM-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24034_Photo-Jan-26-1-32-19-PM-qut-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24034_Photo-Jan-26-1-32-19-PM-qut.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24034_Photo-Jan-26-1-32-19-PM-qut-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24034_Photo-Jan-26-1-32-19-PM-qut-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24034_Photo-Jan-26-1-32-19-PM-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24034_Photo-Jan-26-1-32-19-PM-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24034_Photo-Jan-26-1-32-19-PM-qut-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24034_Photo-Jan-26-1-32-19-PM-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24034_Photo-Jan-26-1-32-19-PM-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24034_Photo-Jan-26-1-32-19-PM-qut-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24034_Photo-Jan-26-1-32-19-PM-qut-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24034_Photo-Jan-26-1-32-19-PM-qut-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24034_Photo-Jan-26-1-32-19-PM-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24034_Photo-Jan-26-1-32-19-PM-qut-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24034_Photo-Jan-26-1-32-19-PM-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24034_Photo-Jan-26-1-32-19-PM-qut-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1486347199,
"modified": 1486756556,
"caption": "Drue Kataoka has turned an iconic poster she created for the Hillary Clinton presidential campaign into a virtual reality space that people can use as a backdrop for conversation, \"a first-of-its-kind convergence of social VR and virtual reality art.\"",
"description": "Drue Kataoka has turned an iconic poster she created for the Hillary Clinton presidential campaign into a virtual reality space that people can use as a backdrop for conversation, \"a first-of-its-kind convergence of social VR and virtual reality art.\"",
"title": "RS24034_Photo Jan 26, 1 32 19 PM-qut",
"credit": "Photo: Rachael Myrow/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12709112": {
"type": "attachments",
"id": "arts_12709112",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12709112",
"found": true
},
"parent": 12708718,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1485988136,
"modified": 1485988157,
"caption": "Detail of \"Den of Iniquity\" by San Francisco visual artist Mark Harris. \"Whenever you tell a cultural group that they can't tell their own story, that's how things get whitewashed,\" Harris says.",
"description": "Detail of \"Den of Iniquity\" by San Francisco visual artist Mark Harris. \"Whenever you tell a cultural group that they can't tell their own story, that's how things get whitewashed,\" Harris says.",
"title": "RS23971_Den of Iniquity-001-qut",
"credit": "Photo: Courtesy of Mark Harris",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12740796": {
"type": "attachments",
"id": "arts_12740796",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12740796",
"found": true
},
"parent": 12740605,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Mixed-Messages-COVER-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Mixed-Messages-COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Mixed-Messages-COVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Mixed-Messages-COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Mixed-Messages-COVER-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Mixed-Messages-COVER.jpg",
"width": 1000,
"height": 563
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Mixed-Messages-COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Mixed-Messages-COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Mixed-Messages-COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Mixed-Messages-COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Mixed-Messages-COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Mixed-Messages-COVER-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Mixed-Messages-COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Mixed-Messages-COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Mixed-Messages-COVER-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1486600240,
"modified": 1486600289,
"caption": "Chris Eckert and John Green, 'Mixed Messages,' 2016.",
"description": "Chris Eckert and John Green, 'Mixed Messages,' 2016.",
"title": "Mixed-Messages COVER",
"credit": "Courtesy of the artist",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12735608": {
"type": "attachments",
"id": "arts_12735608",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12735608",
"found": true
},
"parent": 12731471,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Candorville-2008-Voter-Suppression-520x237.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 237
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Candorville-2008-Voter-Suppression-160x73.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 73
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Candorville-2008-Voter-Suppression-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Candorville-2008-Voter-Suppression-375x171.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 171
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Candorville-2008-Voter-Suppression.jpg",
"width": 950,
"height": 433
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Candorville-2008-Voter-Suppression-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Candorville-2008-Voter-Suppression-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Candorville-2008-Voter-Suppression-800x365.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 365
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Candorville-2008-Voter-Suppression-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Candorville-2008-Voter-Suppression-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Candorville-2008-Voter-Suppression-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Candorville-2008-Voter-Suppression-768x350.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 350
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Candorville-2008-Voter-Suppression-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Candorville-2008-Voter-Suppression-240x109.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 109
}
},
"publishDate": 1486504342,
"modified": 1486533866,
"caption": "Darrin Bells Candorville tackled the issue of voter suppression in 2008.",
"description": "Darrin Bells Candorville tackled the issue of voter suppression in 2008",
"title": "Darrin Bells Candorville tackled the issue of voter suppression in 2008",
"credit": "Photo: Courtesy of Darrin Bell",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_12762640": {
"type": "authors",
"id": "byline_arts_12762640",
"meta": {
"override": true
},
"slug": "byline_arts_12762640",
"name": "Merrit Kennedy",
"isLoading": false
},
"cmusiker": {
"type": "authors",
"id": "32",
"meta": {
"index": "authors_1716337520",
"id": "32",
"found": true
},
"name": "Cy Musiker",
"firstName": "Cy",
"lastName": "Musiker",
"slug": "cmusiker",
"email": "cmusiker@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Cy Musiker is a former co-host of The Do List and a former reporter covering the arts for KQED News and The California Report. He loves live performance, especially great theater, jazz, roots music, anything by Mahler. Cy has an MJ from UC Berkeley's School of Journalism, and got his BA from Hampshire College. His work has been recognized by the Society for Professional Journalists with their Sigma Delta Chi Award for Public Service in Journalism. When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.",
"avatar": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Cy Musiker | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cmusiker"
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"kjones": {
"type": "authors",
"id": "93",
"meta": {
"index": "authors_1716337520",
"id": "93",
"found": true
},
"name": "Kevin L. Jones",
"firstName": "Kevin",
"lastName": "Jones",
"slug": "kjones",
"email": "kjones@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "styleguide",
"roles": [
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kevin L. Jones | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kjones"
},
"rachael-myrow": {
"type": "authors",
"id": "251",
"meta": {
"index": "authors_1716337520",
"id": "251",
"found": true
},
"name": "Rachael Myrow",
"firstName": "Rachael",
"lastName": "Myrow",
"slug": "rachael-myrow",
"email": "rmyrow@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Senior Editor of KQED's Silicon Valley News Desk",
"bio": "• I write and edit stories about how Silicon Valley power and policies shape everyday life in California. I’m also passionate about making Bay Area history and culture more accessible to a broad public. • I’ve been a journalist for most of my life, starting in high school with The Franklin Press in Los Angeles, where I grew up. While earning my first degree in English at UC Berkeley, I got my start in public radio at KALX-FM. After completing a second degree in journalism at Cal, I landed my first professional job at Marketplace, then moved on to KPCC (now LAist), and then KQED, where I hosted The California Report for more than seven years. • My reporting has appeared on NPR, The World, WBUR’s \u003ci>Here & Now\u003c/i>, and the BBC. I also guest host for KQED’s \u003ci>Forum\u003c/i>, as well as the Commonwealth Club in San Francisco. • I speak periodically on media, democracy and technology issues, and do voiceover work for documentaries and educational video projects. • Outside of the studio, you'll find me hiking Bay Area trails and whipping up Insta-ready meals in my kitchen. • I do not accept gifts, money, or favors from anyone connected to my reporting, I don't pay people for information, and I do not support or donate to political causes. • I strive to treat the people I report on with fairness, honesty, and respect. I also recognize there are often multiple sides to a story and work to verify information through multiple sources and documentation. If I get something wrong, I correct it.",
"avatar": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twitter": "rachaelmyrow",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": "https://www.linkedin.com/in/rachaelmyrow/",
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"edit_others_posts",
"editor"
]
},
{
"site": "futureofyou",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "stateofhealth",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"author"
]
}
],
"headData": {
"title": "Rachael Myrow | KQED",
"description": "Senior Editor of KQED's Silicon Valley News Desk",
"ogImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/rachael-myrow"
},
"cveltman": {
"type": "authors",
"id": "8608",
"meta": {
"index": "authors_1716337520",
"id": "8608",
"found": true
},
"name": "Chloe Veltman",
"firstName": "Chloe",
"lastName": "Veltman",
"slug": "cveltman",
"email": "cveltman@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Arts and Culture Reporter",
"bio": "Chloe Veltman is a former arts and culture reporter for KQED. Prior to joining the organization, she launched and led the arts bureau at Colorado Public Radio, served as the Bay Area's culture columnist for the New York Times, and was the founder, host and executive producer of VoiceBox, a national award-winning weekly podcast/radio show and live events series all about the human voice. Chloe is the recipient of numerous prizes, grants and fellowships including a Webby Award for her work on interactive storytelling, both the John S Knight Journalism Fellowship and Humanities Center Fellowship at Stanford University, the Sundance Arts Writing Fellowship and a Library of Congress Research Fellowship. She is the author of the book \"On Acting\" and has appeared as a guest lecturer at Yale University and the San Francisco Conservatory of Music among other institutions. She holds a BA in english literature from King's College, Cambridge, and a Masters in Dramaturgy from the Central School of Speech and Drama/Harvard Institute for Advanced Theater Training.\r\n\u003ca href=\"https://www.chloeveltman.com\">www.chloeveltman.com\u003c/a>",
"avatar": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twitter": "chloeveltman",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": []
}
],
"headData": {
"title": "Chloe Veltman | KQED",
"description": "Arts and Culture Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cveltman"
},
"cescobar": {
"type": "authors",
"id": "11241",
"meta": {
"index": "authors_1716337520",
"id": "11241",
"found": true
},
"name": "Claudia Escobar",
"firstName": "Claudia",
"lastName": "Escobar",
"slug": "cescobar",
"email": "cescobar@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Tropical latin visual story teller extraordinaire! bread maker apprentice.",
"avatar": "https://secure.gravatar.com/avatar/88fd5f70de3d9e639900002806a7a708?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"author"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Claudia Escobar | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/88fd5f70de3d9e639900002806a7a708?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/88fd5f70de3d9e639900002806a7a708?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cescobar"
},
"sburke": {
"type": "authors",
"id": "11323",
"meta": {
"index": "authors_1716337520",
"id": "11323",
"found": true
},
"name": "Sarah Burke",
"firstName": null,
"lastName": null,
"slug": "sburke",
"email": "sarahlburke@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Sarah Burke is a journalist, critic, and curator living and working in Oakland, California. She is a regular contributor to KQED's Culture Cue, for which she writes about topics at the intersection of art, culture, and identity. Her work has been recognized with first place awards from the American Association of Alternative Newsmedia and The Society of Professional Journalists. Previously, she served as Managing Editor at the \u003cem>East Bay Express\u003c/em>. Find her on twitter at \u003ca href=\"https://twitter.com/sarahlubyburke\">@sarahlubyburke. \u003c/a>",
"avatar": "https://secure.gravatar.com/avatar/5b8e5916a3929fc7156c3fa4463cc365?s=600&d=blank&r=g",
"twitter": "sarahlubyburke",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Sarah Burke | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/5b8e5916a3929fc7156c3fa4463cc365?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5b8e5916a3929fc7156c3fa4463cc365?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/sburke"
}
},
"pagesReducer": {
"arts_category_visualarts": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"score": 14.403156
},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"title": "Visual Arts",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 107
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=visualarts",
"seeMore": false,
"paginated": true,
"page": 107
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_12781345": {
"type": "posts",
"id": "arts_12781345",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12781345",
"score": null,
"sort": [
1487718025000
]
},
"guestAuthors": [],
"slug": "what-makes-a-city-free",
"title": "Queer and Free on the Streets of San Francisco",
"publishDate": 1487718025,
"format": "video",
"headTitle": "Queer and Free on the Streets of San Francisco | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003ci>This video is a co-production between KQED and Yerba Buena Center for the Arts, with footage from Heather Smith’s ‘That They,’ inspired by Peter Berlin’s ‘That Man.’\u003c/i>\u003c/p>\n\u003cp>Of all the years to spend talking in a small room about a thing as large and contentious as freedom with 30+ very different people, well… 2016 was a doozy.\u003c/p>\n\u003cp>As the year went on (and on, and on), I found myself thinking about ways that I’d seen freedom erode. I was in Boston during the Boston Marathon bombing, and saw how Homeland Security completely shut down a major city, supposedly to protect us from murderers who weren’t even that good at murdering. It was like being an involuntary extra in an action film, forced into the role of “scared townspeople.” (By the end of 2016, there was already a movie in theaters about the bombing; I assume the extras were paid this time.)\u003c/p>\n\u003cp>So the theater of security is used to constrict freedom. But if a theater of security exists, there’s also a theater of insecurity, and a perfect example is found in the films of Peter Berlin. Berlin made his two greatest films, \u003cem>Nights in Black Leather\u003c/em> and \u003cem>That Boy\u003c/em>, in 1973 and 1974, when the movement for queer rights was still coalescing. At the time, they were not even noteworthy enough to incite the type of backlash that the late ’70s would bring.\u003c/p>\n\u003cp>But Berlin’s films were a sign of things to come: a pornography of freedom even more than a pornography of sex. Freedom may begin with the simple desire to live in a different world, but in practice it’s something that you perform, until, eventually, that’s what you are.\u003c/p>\n\u003cp>[ad fullwidth]\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>Heather Smith is a founding member of the arts collective \u003ca href=\"http://www.shippingandreceiving.org/\" target=\"_blank\" rel=\"noopener\">Shipping + Receiving\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Freedom is more than just wanting a different world — it's something that you perform until, eventually, that’s what you are.",
"status": "publish",
"parent": 0,
"modified": 1726785736,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 322
},
"headData": {
"title": "Queer and Free on the Streets of San Francisco | KQED",
"description": "Freedom is more than just wanting a different world — it's something that you perform until, eventually, that’s what you are.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Queer and Free on the Streets of San Francisco",
"datePublished": "2017-02-21T15:00:25-08:00",
"dateModified": "2024-09-19T15:42:16-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"videoEmbed": "https://vimeo.com/204621552",
"sticky": false,
"path": "/arts/12781345/what-makes-a-city-free",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This video is a co-production between KQED and Yerba Buena Center for the Arts, with footage from Heather Smith’s ‘That They,’ inspired by Peter Berlin’s ‘That Man.’\u003c/i>\u003c/p>\n\u003cp>Of all the years to spend talking in a small room about a thing as large and contentious as freedom with 30+ very different people, well… 2016 was a doozy.\u003c/p>\n\u003cp>As the year went on (and on, and on), I found myself thinking about ways that I’d seen freedom erode. I was in Boston during the Boston Marathon bombing, and saw how Homeland Security completely shut down a major city, supposedly to protect us from murderers who weren’t even that good at murdering. It was like being an involuntary extra in an action film, forced into the role of “scared townspeople.” (By the end of 2016, there was already a movie in theaters about the bombing; I assume the extras were paid this time.)\u003c/p>\n\u003cp>So the theater of security is used to constrict freedom. But if a theater of security exists, there’s also a theater of insecurity, and a perfect example is found in the films of Peter Berlin. Berlin made his two greatest films, \u003cem>Nights in Black Leather\u003c/em> and \u003cem>That Boy\u003c/em>, in 1973 and 1974, when the movement for queer rights was still coalescing. At the time, they were not even noteworthy enough to incite the type of backlash that the late ’70s would bring.\u003c/p>\n\u003cp>But Berlin’s films were a sign of things to come: a pornography of freedom even more than a pornography of sex. Freedom may begin with the simple desire to live in a different world, but in practice it’s something that you perform, until, eventually, that’s what you are.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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>Heather Smith is a founding member of the arts collective \u003ca href=\"http://www.shippingandreceiving.org/\" target=\"_blank\" rel=\"noopener\">Shipping + Receiving\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12781345/what-makes-a-city-free",
"authors": [
"11241"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_3130",
"arts_1007"
],
"featImg": "arts_12781533",
"label": "arts"
},
"arts_12794217": {
"type": "posts",
"id": "arts_12794217",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12794217",
"score": null,
"sort": [
1487692830000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1487692830,
"format": "standard",
"title": "Kristina Lewis Gets ‘Heavy’ at Oakland's Sweeney Kaye",
"headTitle": "Kristina Lewis Gets ‘Heavy’ at Oakland’s Sweeney Kaye | KQED",
"content": "\u003cp>While commercial galleries flock to San Francisco’s Dogpatch and Bayview neighborhoods for ever-larger exhibition spaces, inside \u003ca href=\"http://macarthurannex.com/\" target=\"_blank\" rel=\"noopener\">a new office and small business compound\u003c/a> one block from Oakland’s MacArthur BART station, \u003ca href=\"http://instagram.com/sweeneykaye\" target=\"_blank\" rel=\"noopener\">Sweeney Kaye\u003c/a> proves a shipping container might be all the room you need.\u003c/p>\n\u003cp>San Francisco-based artist \u003ca href=\"http://www.kristinalewis.com/\" target=\"_blank\" rel=\"noopener\">Kristina Lewis\u003c/a>’ current solo show, \u003ci>Heavy Foam\u003c/i>, consists of just nine sculptures on sleek white shelves and six framed prints hung opposite them. The sculptures may look familiar. Each brightly colored, slightly textured form is culled from an assortment of packing foam, their shapes and contours determined by the objects that foam used to protect.\u003c/p>\n\u003cfigure id=\"attachment_12794219\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200.jpg\" alt=\"Left: Kristina Lewis, 'Hard Slab in Dome, No. 2,' 2017. Hydrocal, fiberglass, pigment, epoxy clay, polymer varnish; Right: Kristina Lewis, 'Void on Hard Waves,' 2017. Papier-mâché, pigment, polymer varnish.\" width=\"1200\" height=\"885\" class=\"size-full wp-image-12794219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-1180x870.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-960x708.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-375x277.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-520x384.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Kristina Lewis, ‘Hard Slab in Dome, No. 2,’ 2017. Hydrocal, fiberglass, pigment,\u003cbr>epoxy clay, polymer varnish; Right: Kristina Lewis, ‘Void on Hard Waves,’ 2017. Papier-mâché, pigment,\u003cbr>polymer varnish. \u003ccite>(Courtesy of the artist and Sweeney Kaye)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The interplay between positive and negative space is further compounded by the fact that Lewis’ sculptures are all cast objects, made with an impressive list of materials: hydrocal, fiberglass, papier-mâché, epoxy clay, polymer varnish. Titles like \u003ci>Double Heavy, Full of Holes\u003c/i> and \u003ci>Void on Hard Waves\u003c/i> further hint at the heft of these once lightweight forms. It’s hard to contain the desire to test their solidity.\u003c/p>\n\u003cp>Across the shipping container a series of archival pigment prints shed the sculpture’s playful colors to focus on positive and negative spaces against a black background. Removed from their original packaging and flattened into just two dimensions, the silhouettes in the prints become abstract units of composition. Lewis seems to enjoy symmetrical arrangements and jaunty angles. \u003c/p>\n\u003cfigure id=\"attachment_12794220\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200.jpg\" alt=\"Kristina Lewis, 'Heavy Listening, Three Movements,' 2017. Polyurethane, atomized brass, varnish.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12794220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kristina Lewis, ‘Heavy Listening, Three Movements,’ 2017. Polyurethane, atomized brass, varnish. \u003ccite>(Courtesy of the artist and Sweeney Kaye)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lewis’ show is the first in a year of all women artists, a fact gallery owner Andrew Berg is proud to point out. Sweeney Kaye is Berg’s first foray into exhibiting artists, but he’s also the owner of the frame shop \u003ca href=\"https://www.instagram.com/small.works.sf/\" target=\"_blank\" rel=\"noopener\">Small Works SF\u003c/a>, which helps explain the meticulous presentation of Lewis’ works. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If cavernous warehouse spaces have you reaching for the extra layer you carry around like a good Bay Area denizen, add Sweeney Kaye to your Temescal art-viewing loop (with equally cozy \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">Interface\u003c/a> and \u003ca href=\"http://www.royalnonesuchgallery.com/\" target=\"_blank\" rel=\"noopener\">Royal NoneSuch Gallery\u003c/a>) and enjoy getting up close and personal with Lewis’ \u003ci>Heavy Foam\u003c/i>. Just keep your hands in your pockets. \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>Heavy Foam\u003c/b> is on view inside 644 40th Street, Oakland through March 1, Sundays 12-5pm and by appointment. For more information visit \u003ca href=\"http://instagram.com/sweeneykaye\" target=\"_blank\" rel=\"noopener\">instagram.com/sweeneykaye\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 446,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705031490,
"excerpt": "Trade cavernous warehouses for a more intimate art viewing experience in a converted shipping container. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Trade cavernous warehouses for a more intimate art viewing experience in a converted shipping container. ",
"title": "Kristina Lewis Gets ‘Heavy’ at Oakland's Sweeney Kaye | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Kristina Lewis Gets ‘Heavy’ at Oakland's Sweeney Kaye",
"datePublished": "2017-02-21T08:00:30-08:00",
"dateModified": "2024-01-11T19:51:30-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "kristina-lewis-gets-heavy-at-oaklands-sweeney-kaye",
"status": "publish",
"sticky": false,
"path": "/arts/12794217/kristina-lewis-gets-heavy-at-oaklands-sweeney-kaye",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While commercial galleries flock to San Francisco’s Dogpatch and Bayview neighborhoods for ever-larger exhibition spaces, inside \u003ca href=\"http://macarthurannex.com/\" target=\"_blank\" rel=\"noopener\">a new office and small business compound\u003c/a> one block from Oakland’s MacArthur BART station, \u003ca href=\"http://instagram.com/sweeneykaye\" target=\"_blank\" rel=\"noopener\">Sweeney Kaye\u003c/a> proves a shipping container might be all the room you need.\u003c/p>\n\u003cp>San Francisco-based artist \u003ca href=\"http://www.kristinalewis.com/\" target=\"_blank\" rel=\"noopener\">Kristina Lewis\u003c/a>’ current solo show, \u003ci>Heavy Foam\u003c/i>, consists of just nine sculptures on sleek white shelves and six framed prints hung opposite them. The sculptures may look familiar. Each brightly colored, slightly textured form is culled from an assortment of packing foam, their shapes and contours determined by the objects that foam used to protect.\u003c/p>\n\u003cfigure id=\"attachment_12794219\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200.jpg\" alt=\"Left: Kristina Lewis, 'Hard Slab in Dome, No. 2,' 2017. Hydrocal, fiberglass, pigment, epoxy clay, polymer varnish; Right: Kristina Lewis, 'Void on Hard Waves,' 2017. Papier-mâché, pigment, polymer varnish.\" width=\"1200\" height=\"885\" class=\"size-full wp-image-12794219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-1180x870.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-960x708.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-375x277.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Slab_Dome_No.2_1200-520x384.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Kristina Lewis, ‘Hard Slab in Dome, No. 2,’ 2017. Hydrocal, fiberglass, pigment,\u003cbr>epoxy clay, polymer varnish; Right: Kristina Lewis, ‘Void on Hard Waves,’ 2017. Papier-mâché, pigment,\u003cbr>polymer varnish. \u003ccite>(Courtesy of the artist and Sweeney Kaye)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The interplay between positive and negative space is further compounded by the fact that Lewis’ sculptures are all cast objects, made with an impressive list of materials: hydrocal, fiberglass, papier-mâché, epoxy clay, polymer varnish. Titles like \u003ci>Double Heavy, Full of Holes\u003c/i> and \u003ci>Void on Hard Waves\u003c/i> further hint at the heft of these once lightweight forms. It’s hard to contain the desire to test their solidity.\u003c/p>\n\u003cp>Across the shipping container a series of archival pigment prints shed the sculpture’s playful colors to focus on positive and negative spaces against a black background. Removed from their original packaging and flattened into just two dimensions, the silhouettes in the prints become abstract units of composition. Lewis seems to enjoy symmetrical arrangements and jaunty angles. \u003c/p>\n\u003cfigure id=\"attachment_12794220\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200.jpg\" alt=\"Kristina Lewis, 'Heavy Listening, Three Movements,' 2017. Polyurethane, atomized brass, varnish.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12794220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Heavy_Listening1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kristina Lewis, ‘Heavy Listening, Three Movements,’ 2017. Polyurethane, atomized brass, varnish. \u003ccite>(Courtesy of the artist and Sweeney Kaye)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lewis’ show is the first in a year of all women artists, a fact gallery owner Andrew Berg is proud to point out. Sweeney Kaye is Berg’s first foray into exhibiting artists, but he’s also the owner of the frame shop \u003ca href=\"https://www.instagram.com/small.works.sf/\" target=\"_blank\" rel=\"noopener\">Small Works SF\u003c/a>, which helps explain the meticulous presentation of Lewis’ works. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If cavernous warehouse spaces have you reaching for the extra layer you carry around like a good Bay Area denizen, add Sweeney Kaye to your Temescal art-viewing loop (with equally cozy \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">Interface\u003c/a> and \u003ca href=\"http://www.royalnonesuchgallery.com/\" target=\"_blank\" rel=\"noopener\">Royal NoneSuch Gallery\u003c/a>) and enjoy getting up close and personal with Lewis’ \u003ci>Heavy Foam\u003c/i>. Just keep your hands in your pockets. \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>Heavy Foam\u003c/b> is on view inside 644 40th Street, Oakland through March 1, Sundays 12-5pm and by appointment. For more information visit \u003ca href=\"http://instagram.com/sweeneykaye\" target=\"_blank\" rel=\"noopener\">instagram.com/sweeneykaye\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12794217/kristina-lewis-gets-heavy-at-oaklands-sweeney-kaye",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769",
"arts_1334"
],
"featImg": "arts_12794218",
"label": "arts_140"
},
"arts_12781139": {
"type": "posts",
"id": "arts_12781139",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12781139",
"score": null,
"sort": [
1487606416000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1487606416,
"format": "audio",
"title": "Dorothea Lange Photos Lead Historians to Japanese Camp Survivors",
"headTitle": "Dorothea Lange Photos Lead Historians to Japanese Camp Survivors | KQED",
"content": "\u003cp>There are nearly 200 photographs in Michael Williams and Richard Cahan’s new book \u003cem>Un-American: The Incarceration of Japanese Americans During World War Two\u003c/em>. But one in particular stands out for Cahan. “The photograph of Rachel, in my opinion, was the most compelling and beautiful photograph in the book,” Cahan says. “Dorothea Lange had this unique ability to get so close to people, even people that were strangers, and look into their eyes.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/308876410″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>Lange’s portrait of Rachel Kuruma is startling in its simplicity: The 11-year-old San Francisco schoolkid looks into the camera, smiling quietly, in a cute, floral-print dress. The shock comes at the fact that only days after Lange shot this photo at Raphael Weill Elementary School on April 20, 1942, Kuruma and her family were bundled off to prison camp.\u003c/p>\n\u003ch3>Awakening long-lost memories\u003c/h3>\n\u003cp>Fast forward 75 years, and Kuruma is back at her former school for the very first time since Lange took her picture in 1942. Cahan and Kuruma have become friends since he tracked her down for his book project last year, and we’re there to see if the surroundings might help jog childhood memories for Kuruma. But the school, which is now called Rosa Parks Elementary, has changed almost beyond recognition since she was a student. And the spry, 85-year-old has absolutely no recollection of posing for Lange.\u003c/p>\n\u003cfigure id=\"attachment_12781144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12781144\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-800x450.jpg\" alt=\"Rachel Kuruma returns to Raphael Weill Elementary School, now called Rosa Parks Elementary, on Jan. 24, 2017. It was her first time back since Dorothea Lange took her picture in 1942.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Kuruma returns to Raphael Weill Elementary School, now called Rosa Parks Elementary, on Jan. 24, 2017. It was her first time back since Dorothea Lange took her picture there in 1942. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cahan has brought a copy of Lange’s photo along. Being at the school and looking at the picture gradually brings back distant memories for Kuruma of the three-plus years she spent living in the prison camps at Tanforan, California, and Topaz, Utah as a girl. “The toilets, none of them had doors,” she says. “So you tried to pick one that was facing against the wall, preferably the one in the corner so you have some privacy.”\u003c/p>\n\u003ch3>Executive order 9066\u003c/h3>\n\u003cp>On Feb. 19, 1942, in response to the Japanese attack on Pearl Harbor, President Franklin D. Roosevelt signed Executive Order 9066. This led to the incarceration of 120,000 Japanese Americans during World War II at prison camps across the western United States.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=62o1QuAE0Iw\">https://www.youtube.com/watch?v=62o1QuAE0Iw\u003c/a>\u003c/p>\n\u003cp>Roosevelt’s government hired photographers like Lange to show off the camps in their best light. But she and some of the other hired guns ended up exposing what life in the dusty, hastily-built enclaves was really like. As a result, Cahan says, some of her images were locked away during the war. “They were impounded primarily because they gave away ‘military secrets’ — that guards were using machine guns and that there was barbed wire around the camp,” Cahan says.\u003c/p>\n\u003ch3>Tracking down survivors\u003c/h3>\n\u003cp>After the war, the photos ended up in the National Archives in Washington, D.C, where the collection can still be found today. (It’s also available \u003ca href=\"https://www.archives.gov/news/japanese-american-internment\" target=\"_blank\" rel=\"noopener\">online\u003c/a>.) Many more photos from the approx. 7,500-image collection have appeared in publications since the war years. But Cahan and his co-author decided they wanted to go deeper, to truly get people to understand what innocent Japanese Americans went through during the war. So they set about capturing the personal stories of as many of the people in the pictures as they could.\u003c/p>\n\u003cfigure id=\"attachment_12781146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12781146\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-800x452.jpg\" alt=\"Rachel Kuruma poses for Richard Cahan in roughly the same spot where Dorothea Lange took Kurumas picture on Apr. 20, 1942.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988.jpg 1986w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Kuruma poses for Richard Cahan in roughly the same spot where Dorothea Lange took Kurumas picture on Apr. 20, 1942. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The book lets you hear the words of the people who were picked up,” Cahan says. “When you see a person 75 years earlier and hear them talk about that very picture and that very day and what happened to them, I think it has great power. I think that there’s an emotional hole that it fills that really has not been filled before.”\u003c/p>\n\u003cp>Cahan says tracking down survivors wasn’t easy. In Kuruma’s case, her name was misspelled in the records — as “Rachael Kurumi” instead of “Rachel Kuruma.” “I had the list of all of the survivors of the camps,” Cahan says. “There was no ‘Rachael’ spelled that way, and there was no ‘Kurumi’ spelled that way.”\u003c/p>\n\u003cfigure id=\"attachment_12781258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12781258\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-800x450.jpg\" alt=\"Rachel Kuruma hung up the phone when Richard Cahan called her for the first time. Now the prison camp survivor and photo journalist are friends.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Kuruma hung up the phone when Richard Cahan first called her. Now the prison camp survivor and photojournalist are friends. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A search on the genealogy website \u003ca href=\"https://www.ancestry.com/\" target=\"_blank\" rel=\"noopener\">Ancestry.com\u003c/a> led Cahan to a 1949 yearbook photo of Kuruma as a student at Lowell High School. He did more poking around on Google. Then, one day, he got hold of her phone number. But Kuruma thought the caller was trying to sell her something. “I called her, and she picked up the phone,” Cahan says. “I said ‘My name is Rich Cahan and I’m a…’ and before I had said ‘journalist’ she hung up the phone.”\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>Cahan was persistent. Eventually, he managed to meet Kuruma. She says she rarely thinks or talks about the prison camps, and had no idea the photograph existed until the day Cahan showed it to her. “He’s talking about this picture. I say, what picture?” Kuruma says. “So he brought it over and I looked. It was kind of interesting.”\u003c/p>\n\u003ch3>The past as a catalyst for present-day activism\u003c/h3>\n\u003cp>Some of the people the authors approached weren’t so taken by surprise when Cahan got in touch. Berkeley psychotherapist, filmmaker and activist Satsuki Ina was born in a maximum security prison camp in Tule Lake, California in 1944, after her parents were labeled as dissidents for refusing to swear unqualified allegiance to the United States. She’s studied the National Archives photo collection. The arresting image in Cahan and Williams’ book of a young woman standing in line in San Francisco, waiting to hear news of her fate, is one Ina knows very well.\u003c/p>\n\u003cfigure id=\"attachment_12781329\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12781329 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-800x451.jpg\" alt=\"Shizuko Ina waits in line in San Francisco to hear news of her fate in the wake of President Franklin D. Roosevelt signing Executive Order 9066.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987.jpg 1996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shizuko Ina waits in line in San Francisco to hear news of her fate in the wake of President Franklin D. Roosevelt signing Executive Order 9066. \u003ccite>(Photo: Dorothea Lange Courtesy of National Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is a photo of my mother,” she says, looking at the picture in \u003cem>Un-American\u003c/em>. “She had no idea what this was going to lead to, where they were going to be and for how long. So I see that expression on her face. It captures the confusion and the fear that she wrote about in her diary.”\u003c/p>\n\u003cp>Ina has made a study of her parents’ diaries and letters from the camp. She shows me her mother’s original journals, segments of which she gave Cahan and Williams permission to use in their book. Ina locates the entry dated Friday, Apr. 24, 1942, from right before Lange took that photo of her mother.\u003c/p>\n\u003cp>She reads it aloud, and the reality of this young woman’s predicament, as she waits to receive her marching orders, suddenly feels three-dimensional: “Twelve noon today our evacuation order is effective,” Ina reads. “Every corner of the block has a notice on it. There are so many people that we’ve been waiting almost three hours to get a slip of appointment for tomorrow.”\u003c/p>\n\u003cfigure id=\"attachment_12781334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12781334 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-800x507.jpg\" alt=\"Satsuki Ina reads her mothers journal at home in Berkeley.\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-1920x1216.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-1180x747.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-960x608.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-520x329.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Satsuki Ina reads her mother’s journal at home in Berkeley. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ina has made documentary films based on the diaries and other memorabilia, and is at work on a book. Like others from her community, she sees a worrying link between how the U.S. government treated Japanese Americans during the Second World War and recent calls by the Trump administration for a Muslim registry. “People were hysterical about Japan attacking the U.S.,” she says. “So today of course that resonates with the same kind of mass hysteria that is being rung up about terrorism.”\u003c/p>\n\u003cp>Like Cahan, Ina says she wants to do everything she can to teach people about this irredeemable chapter of American history — to prevent the same horrors from happening again.\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>Editor’s note: Although the phrase “internment camps” is most commonly used in this country to describe the sites where 120,000 people of Japanese ancestry were incarcerated during the WWII, many members of the Japanese community believe that “internment” is not an accurate descriptor for the camps. Members of the Japanese community believe they were wrongfully imprisoned, and many use the terms “incarceration camps” or “prison camps” to describe the sites where they were detained against their will. We opted to use these terms in lieu of the more common term out of respect for the community.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1576,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1705031496,
"excerpt": "Rachel Kuruma was 11 when Dorothea Lange took her picture at school in San Francisco, days before being sent to a WWII incarceration camp for Japanese Americans. Seventy-five years later, she returned.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Rachel Kuruma was 11 when Dorothea Lange took her picture at school in San Francisco, days before being sent to a WWII incarceration camp for Japanese Americans. Seventy-five years later, she returned.",
"title": "Dorothea Lange Photos Lead Historians to Japanese Camp Survivors | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Dorothea Lange Photos Lead Historians to Japanese Camp Survivors",
"datePublished": "2017-02-20T08:00:16-08:00",
"dateModified": "2024-01-11T19:51:36-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "dorothea-lange-photos-lead-researchers-to-prison-camp-survivors",
"status": "publish",
"sticky": false,
"guestFields": "0",
"path": "/arts/12781139/dorothea-lange-photos-lead-researchers-to-prison-camp-survivors",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are nearly 200 photographs in Michael Williams and Richard Cahan’s new book \u003cem>Un-American: The Incarceration of Japanese Americans During World War Two\u003c/em>. But one in particular stands out for Cahan. “The photograph of Rachel, in my opinion, was the most compelling and beautiful photograph in the book,” Cahan says. “Dorothea Lange had this unique ability to get so close to people, even people that were strangers, and look into their eyes.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/308876410″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/308876410″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Lange’s portrait of Rachel Kuruma is startling in its simplicity: The 11-year-old San Francisco schoolkid looks into the camera, smiling quietly, in a cute, floral-print dress. The shock comes at the fact that only days after Lange shot this photo at Raphael Weill Elementary School on April 20, 1942, Kuruma and her family were bundled off to prison camp.\u003c/p>\n\u003ch3>Awakening long-lost memories\u003c/h3>\n\u003cp>Fast forward 75 years, and Kuruma is back at her former school for the very first time since Lange took her picture in 1942. Cahan and Kuruma have become friends since he tracked her down for his book project last year, and we’re there to see if the surroundings might help jog childhood memories for Kuruma. But the school, which is now called Rosa Parks Elementary, has changed almost beyond recognition since she was a student. And the spry, 85-year-old has absolutely no recollection of posing for Lange.\u003c/p>\n\u003cfigure id=\"attachment_12781144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12781144\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-800x450.jpg\" alt=\"Rachel Kuruma returns to Raphael Weill Elementary School, now called Rosa Parks Elementary, on Jan. 24, 2017. It was her first time back since Dorothea Lange took her picture in 1942.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-3-e1487369507174.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Kuruma returns to Raphael Weill Elementary School, now called Rosa Parks Elementary, on Jan. 24, 2017. It was her first time back since Dorothea Lange took her picture there in 1942. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cahan has brought a copy of Lange’s photo along. Being at the school and looking at the picture gradually brings back distant memories for Kuruma of the three-plus years she spent living in the prison camps at Tanforan, California, and Topaz, Utah as a girl. “The toilets, none of them had doors,” she says. “So you tried to pick one that was facing against the wall, preferably the one in the corner so you have some privacy.”\u003c/p>\n\u003ch3>Executive order 9066\u003c/h3>\n\u003cp>On Feb. 19, 1942, in response to the Japanese attack on Pearl Harbor, President Franklin D. Roosevelt signed Executive Order 9066. This led to the incarceration of 120,000 Japanese Americans during World War II at prison camps across the western United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=62o1QuAE0Iw\">https://www.youtube.com/watch?v=62o1QuAE0Iw\u003c/a>\u003c/p>\n\u003cp>Roosevelt’s government hired photographers like Lange to show off the camps in their best light. But she and some of the other hired guns ended up exposing what life in the dusty, hastily-built enclaves was really like. As a result, Cahan says, some of her images were locked away during the war. “They were impounded primarily because they gave away ‘military secrets’ — that guards were using machine guns and that there was barbed wire around the camp,” Cahan says.\u003c/p>\n\u003ch3>Tracking down survivors\u003c/h3>\n\u003cp>After the war, the photos ended up in the National Archives in Washington, D.C, where the collection can still be found today. (It’s also available \u003ca href=\"https://www.archives.gov/news/japanese-american-internment\" target=\"_blank\" rel=\"noopener\">online\u003c/a>.) Many more photos from the approx. 7,500-image collection have appeared in publications since the war years. But Cahan and his co-author decided they wanted to go deeper, to truly get people to understand what innocent Japanese Americans went through during the war. So they set about capturing the personal stories of as many of the people in the pictures as they could.\u003c/p>\n\u003cfigure id=\"attachment_12781146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12781146\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-800x452.jpg\" alt=\"Rachel Kuruma poses for Richard Cahan in roughly the same spot where Dorothea Lange took Kurumas picture on Apr. 20, 1942.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-4-e1487369841988.jpg 1986w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Kuruma poses for Richard Cahan in roughly the same spot where Dorothea Lange took Kurumas picture on Apr. 20, 1942. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The book lets you hear the words of the people who were picked up,” Cahan says. “When you see a person 75 years earlier and hear them talk about that very picture and that very day and what happened to them, I think it has great power. I think that there’s an emotional hole that it fills that really has not been filled before.”\u003c/p>\n\u003cp>Cahan says tracking down survivors wasn’t easy. In Kuruma’s case, her name was misspelled in the records — as “Rachael Kurumi” instead of “Rachel Kuruma.” “I had the list of all of the survivors of the camps,” Cahan says. “There was no ‘Rachael’ spelled that way, and there was no ‘Kurumi’ spelled that way.”\u003c/p>\n\u003cfigure id=\"attachment_12781258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12781258\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-800x450.jpg\" alt=\"Rachel Kuruma hung up the phone when Richard Cahan called her for the first time. Now the prison camp survivor and photo journalist are friends.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kuruma-2-e1487370215976.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Kuruma hung up the phone when Richard Cahan first called her. Now the prison camp survivor and photojournalist are friends. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A search on the genealogy website \u003ca href=\"https://www.ancestry.com/\" target=\"_blank\" rel=\"noopener\">Ancestry.com\u003c/a> led Cahan to a 1949 yearbook photo of Kuruma as a student at Lowell High School. He did more poking around on Google. Then, one day, he got hold of her phone number. But Kuruma thought the caller was trying to sell her something. “I called her, and she picked up the phone,” Cahan says. “I said ‘My name is Rich Cahan and I’m a…’ and before I had said ‘journalist’ she hung up the phone.”\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>Cahan was persistent. Eventually, he managed to meet Kuruma. She says she rarely thinks or talks about the prison camps, and had no idea the photograph existed until the day Cahan showed it to her. “He’s talking about this picture. I say, what picture?” Kuruma says. “So he brought it over and I looked. It was kind of interesting.”\u003c/p>\n\u003ch3>The past as a catalyst for present-day activism\u003c/h3>\n\u003cp>Some of the people the authors approached weren’t so taken by surprise when Cahan got in touch. Berkeley psychotherapist, filmmaker and activist Satsuki Ina was born in a maximum security prison camp in Tule Lake, California in 1944, after her parents were labeled as dissidents for refusing to swear unqualified allegiance to the United States. She’s studied the National Archives photo collection. The arresting image in Cahan and Williams’ book of a young woman standing in line in San Francisco, waiting to hear news of her fate, is one Ina knows very well.\u003c/p>\n\u003cfigure id=\"attachment_12781329\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12781329 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-800x451.jpg\" alt=\"Shizuko Ina waits in line in San Francisco to hear news of her fate in the wake of President Franklin D. Roosevelt signing Executive Order 9066.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ina-e1487370421987.jpg 1996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shizuko Ina waits in line in San Francisco to hear news of her fate in the wake of President Franklin D. Roosevelt signing Executive Order 9066. \u003ccite>(Photo: Dorothea Lange Courtesy of National Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is a photo of my mother,” she says, looking at the picture in \u003cem>Un-American\u003c/em>. “She had no idea what this was going to lead to, where they were going to be and for how long. So I see that expression on her face. It captures the confusion and the fear that she wrote about in her diary.”\u003c/p>\n\u003cp>Ina has made a study of her parents’ diaries and letters from the camp. She shows me her mother’s original journals, segments of which she gave Cahan and Williams permission to use in their book. Ina locates the entry dated Friday, Apr. 24, 1942, from right before Lange took that photo of her mother.\u003c/p>\n\u003cp>She reads it aloud, and the reality of this young woman’s predicament, as she waits to receive her marching orders, suddenly feels three-dimensional: “Twelve noon today our evacuation order is effective,” Ina reads. “Every corner of the block has a notice on it. There are so many people that we’ve been waiting almost three hours to get a slip of appointment for tomorrow.”\u003c/p>\n\u003cfigure id=\"attachment_12781334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12781334 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-800x507.jpg\" alt=\"Satsuki Ina reads her mothers journal at home in Berkeley.\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-1920x1216.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-1180x747.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-960x608.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404-520x329.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Tsatsuki-Ina-1-e1487370541404.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Satsuki Ina reads her mother’s journal at home in Berkeley. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ina has made documentary films based on the diaries and other memorabilia, and is at work on a book. Like others from her community, she sees a worrying link between how the U.S. government treated Japanese Americans during the Second World War and recent calls by the Trump administration for a Muslim registry. “People were hysterical about Japan attacking the U.S.,” she says. “So today of course that resonates with the same kind of mass hysteria that is being rung up about terrorism.”\u003c/p>\n\u003cp>Like Cahan, Ina says she wants to do everything she can to teach people about this irredeemable chapter of American history — to prevent the same horrors from happening again.\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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Editor’s note: Although the phrase “internment camps” is most commonly used in this country to describe the sites where 120,000 people of Japanese ancestry were incarcerated during the WWII, many members of the Japanese community believe that “internment” is not an accurate descriptor for the camps. Members of the Japanese community believe they were wrongfully imprisoned, and many use the terms “incarceration camps” or “prison camps” to describe the sites where they were detained against their will. We opted to use these terms in lieu of the more common term out of respect for the community.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12781139/dorothea-lange-photos-lead-researchers-to-prison-camp-survivors",
"authors": [
"8608"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1642",
"arts_1037",
"arts_1119",
"arts_1118",
"arts_596"
],
"featImg": "arts_12781142",
"label": "arts"
},
"arts_12768472": {
"type": "posts",
"id": "arts_12768472",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12768472",
"score": null,
"sort": [
1487286025000
]
},
"guestAuthors": [],
"slug": "a-prayformance-confronting-islamophobia-stakes-claim-for-common-ground",
"title": "A ‘Prayformance’ Confronts Islamophobia, Claims Common Ground",
"publishDate": 1487286025,
"format": "standard",
"headTitle": "A ‘Prayformance’ Confronts Islamophobia, Claims Common Ground | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003ca href=\"http://www.rahelehzomorodinia.com/index.html\" target=\"_blank\" rel=\"noopener\">Minoosh Zomorodinia\u003c/a> and \u003ca href=\"https://zulfikaralibhuttoart.com/\" target=\"_blank\" rel=\"noopener\">Zulfikar Ali Bhutto\u003c/a> chose the plaza right outside of the Castro Muni station, at the top of the busy staircase, right in front of the entrance to the local SoulCycle. There, the two Bay Area artists — who are both Muslim — each took two corners of a green cloth and laid it over the sidewalk next to a Brownie Scout’s cookie-selling station. Then, joined by a small group of allies, they knelt to the ground and began to pray.\u003c/p>\n\u003cp>The “prayformance” (Bhutto’s word) was the sixth iteration of \u003ci>Side by Side\u003c/i>, an ongoing collaboration between Bhutto and Zomorodinia in which the duo pray together in public spaces.\u003c/p>\n\u003cp>The simple act is intended to force passersby to confront the unfairly contested nature of the Muslim body in American culture, and the multitudes of stereotypes, fears, and desires projected onto Muslim people.\u003c/p>\n\u003cfigure id=\"attachment_12768481\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12768481 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/IMG_9332-800x533.jpg\" alt=\"'Side by Side' at Harvey Milk Plaza.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Side by Side’ at Harvey Milk Plaza. \u003ccite>(Sarah Burke )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bhutto had the idea for the series in 2014, during his first semester at the San Francisco Art Institute. He was raised in Pakistan in an intensely political family (his grandfather founded the People’s Party of Pakistan), and earned two degrees at the University of Edinburgh in Scotland. Although he had experience being an ethnic minority by the time he arrived in San Francisco, he found that being a minority in the United States was more complicated than it had been in the United Kingdom.\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>[ad fullwidth]\u003c/p>\n\u003cp>“I felt like I was a minority politically,” he says. “I felt like I was a minority in the sense that I was a threatened individual — or I posed a threat.”\u003c/p>\n\u003cp>The feeling was exacerbated when San Francisco buses appeared with \u003ca href=\"https://www.rt.com/usa/222823-islamophobia-ads-san-francisco/\" target=\"_blank\" rel=\"noopener\">advertisements\u003c/a> paid for by the American Freedom Defense Initiative asserting that Islamophobia didn’t exist and implying that Muslims were inherently dangerous. What was perhaps worse, however, to Bhutto, was that non-Muslim locals barely seemed to notice the ads.\u003c/p>\n\u003cp>“We very much felt Islamophobia, and many Muslims felt Islamophobia,” says Bhutto. “But everybody else felt very comfortable.”\u003c/p>\n\u003cp>Bhutto also found that he felt a pressure to hide his religion in order to avoid the stereotypes of Muslim men being violent, sexist and homophobic. “I went to a Muslim mosque in the South once and I very much felt like — this may be a controversial thing to say — like I was in a gay bar in the 1950s,” he reflected.\u003c/p>\n\u003cfigure id=\"attachment_12768480\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12768480 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/IMG_1996-800x600.jpg\" alt=\"'Side by Side' at the San Francisco Art Institute. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_1996-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_1996-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_1996-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_1996-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_1996-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_1996-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_1996-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_1996-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_1996-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_1996.jpg 1453w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Side by Side’ at the San Francisco Art Institute. \u003ccite>(Ana Maria Montenegro Jaramillo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, he devised \u003ci>Side by Side\u003c/i> as a way to become as unapologetically Muslim in public space as possible, and in doing so expose some of the ways that the Muslim identity is politicized in America. He met Zomorodinia, a video artist originally from Iran, and asked if she would join him in the ongoing piece. So far, they’ve performed iterations of the series at Washington Square Park in San Francisco, SFAI, Civic Center Plaza, Union Square, the intersection of Powell and Market Streets and Harvey Milk Plaza.\u003c/p>\n\u003cp>“Who really makes a Muslim?” he explains. “The Muslim is always seen in opposition to something. The Muslim is seen in opposition to American society.”\u003c/p>\n\u003cp>At their most recent performance in the Castro, which was part of \u003ca href=\"https://100daysaction.net/\" target=\"_blank\" rel=\"noopener\">100 Days Action\u003c/a>, a series of \u003ca href=\"https://ww2.kqed.org/arts/2017/01/20/local-artists-organize-100-day-calendar-of-creative-resistance/\" target=\"_blank\" rel=\"noopener\">artistic actions in resistance\u003c/a> to President Donald Trump’s 100-day plan, Zomorodinia wore a hijab and Bhutto sported a rainbow pin that read “QUEER MUSLIM PROUD.” Passersby looked for a moment, then quickly turned away or scurried past to not interrupt.\u003c/p>\n\u003cp>For the most part, people appeared slightly uncomfortable, but not disdainful. The artist duo also pointed out that the number of participants and supporters who showed up to the most recent performance was much higher than any other iteration — a surge in support they attributed to Trump’s executive order which, \u003ca href=\"https://www.washingtonpost.com/news/the-fix/wp/2017/01/29/trump-asked-for-a-muslim-ban-giuliani-says-and-ordered-a-commission-to-do-it-legally/?utm_term=.4a84486ded11\" target=\"_blank\" rel=\"noopener\">according to his own adviser Rudy Giuliani\u003c/a>, was conceived as a Muslim ban.\u003c/p>\n\u003cfigure id=\"attachment_12768479\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12768479 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/6-800x450.jpg\" alt=\"'Side by Side' at Union Square in San Francisco, during Santa Con. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/6-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/6-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/6-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/6-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/6-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/6-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Side by Side’ at Powell and Market Streets in San Francisco, during SantaCon. \u003ccite>(Ana Maria Montenegro Jaramillo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Thank you for standing on our side,” Zoromodinia said to the crowd as she ended the prayer.\u003c/p>\n\u003cp>The piece is not only meant to confront Islamophobia. It’s also meant to challenge Islamic tradition which requires women to pray behind men, and doesn’t allow them to lead prayer. Although Zomorodinia said that she prefers not to make political statements, when she prays next to Bhutto, she’s the one leading — a radical assertion of gender equality.\u003c/p>\n\u003cp>“In many ways, it’s important for us to pray side by side and it’s important for people to join us,” says Bhutto, “because, in my belief, if we keep on separating on the basis of, ‘man and woman are separate, Muslim and non-Muslim are separate, queer and straight are separate,’ then our struggle is never truly unified.”\u003c/p>\n\u003cp>“We know that our experiences of the world are very different,” he says, “but in a moment like this, it’s equally important to see our common ground.”\u003c/p>\n\u003cp>\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\n",
"blocks": [],
"excerpt": "With the ongoing collaboration 'Side by Side,' local artists Minoosh Zomorodinia and Zulfikar Ali Bhutto pray together in public space, confronting the stereotypes, fears, and desires projected onto Muslim people.",
"status": "publish",
"parent": 0,
"modified": 1726701357,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 894
},
"headData": {
"title": "A ‘Prayformance’ Confronts Islamophobia, Claims Common Ground | KQED",
"description": "With the ongoing collaboration 'Side by Side,' local artists Minoosh Zomorodinia and Zulfikar Ali Bhutto pray together in public space, confronting the stereotypes, fears, and desires projected onto Muslim people.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A ‘Prayformance’ Confronts Islamophobia, Claims Common Ground",
"datePublished": "2017-02-16T15:00:25-08:00",
"dateModified": "2024-09-18T16:15:57-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12768472/a-prayformance-confronting-islamophobia-stakes-claim-for-common-ground",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.rahelehzomorodinia.com/index.html\" target=\"_blank\" rel=\"noopener\">Minoosh Zomorodinia\u003c/a> and \u003ca href=\"https://zulfikaralibhuttoart.com/\" target=\"_blank\" rel=\"noopener\">Zulfikar Ali Bhutto\u003c/a> chose the plaza right outside of the Castro Muni station, at the top of the busy staircase, right in front of the entrance to the local SoulCycle. There, the two Bay Area artists — who are both Muslim — each took two corners of a green cloth and laid it over the sidewalk next to a Brownie Scout’s cookie-selling station. Then, joined by a small group of allies, they knelt to the ground and began to pray.\u003c/p>\n\u003cp>The “prayformance” (Bhutto’s word) was the sixth iteration of \u003ci>Side by Side\u003c/i>, an ongoing collaboration between Bhutto and Zomorodinia in which the duo pray together in public spaces.\u003c/p>\n\u003cp>The simple act is intended to force passersby to confront the unfairly contested nature of the Muslim body in American culture, and the multitudes of stereotypes, fears, and desires projected onto Muslim people.\u003c/p>\n\u003cfigure id=\"attachment_12768481\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12768481 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/IMG_9332-800x533.jpg\" alt=\"'Side by Side' at Harvey Milk Plaza.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9332.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Side by Side’ at Harvey Milk Plaza. \u003ccite>(Sarah Burke )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bhutto had the idea for the series in 2014, during his first semester at the San Francisco Art Institute. He was raised in Pakistan in an intensely political family (his grandfather founded the People’s Party of Pakistan), and earned two degrees at the University of Edinburgh in Scotland. Although he had experience being an ethnic minority by the time he arrived in San Francisco, he found that being a minority in the United States was more complicated than it had been in the United Kingdom.\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>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I felt like I was a minority politically,” he says. “I felt like I was a minority in the sense that I was a threatened individual — or I posed a threat.”\u003c/p>\n\u003cp>The feeling was exacerbated when San Francisco buses appeared with \u003ca href=\"https://www.rt.com/usa/222823-islamophobia-ads-san-francisco/\" target=\"_blank\" rel=\"noopener\">advertisements\u003c/a> paid for by the American Freedom Defense Initiative asserting that Islamophobia didn’t exist and implying that Muslims were inherently dangerous. What was perhaps worse, however, to Bhutto, was that non-Muslim locals barely seemed to notice the ads.\u003c/p>\n\u003cp>“We very much felt Islamophobia, and many Muslims felt Islamophobia,” says Bhutto. “But everybody else felt very comfortable.”\u003c/p>\n\u003cp>Bhutto also found that he felt a pressure to hide his religion in order to avoid the stereotypes of Muslim men being violent, sexist and homophobic. “I went to a Muslim mosque in the South once and I very much felt like — this may be a controversial thing to say — like I was in a gay bar in the 1950s,” he reflected.\u003c/p>\n\u003cfigure id=\"attachment_12768480\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12768480 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/IMG_1996-800x600.jpg\" alt=\"'Side by Side' at the San Francisco Art Institute. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_1996-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_1996-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_1996-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_1996-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_1996-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_1996-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_1996-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_1996-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_1996-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_1996.jpg 1453w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Side by Side’ at the San Francisco Art Institute. \u003ccite>(Ana Maria Montenegro Jaramillo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, he devised \u003ci>Side by Side\u003c/i> as a way to become as unapologetically Muslim in public space as possible, and in doing so expose some of the ways that the Muslim identity is politicized in America. He met Zomorodinia, a video artist originally from Iran, and asked if she would join him in the ongoing piece. So far, they’ve performed iterations of the series at Washington Square Park in San Francisco, SFAI, Civic Center Plaza, Union Square, the intersection of Powell and Market Streets and Harvey Milk Plaza.\u003c/p>\n\u003cp>“Who really makes a Muslim?” he explains. “The Muslim is always seen in opposition to something. The Muslim is seen in opposition to American society.”\u003c/p>\n\u003cp>At their most recent performance in the Castro, which was part of \u003ca href=\"https://100daysaction.net/\" target=\"_blank\" rel=\"noopener\">100 Days Action\u003c/a>, a series of \u003ca href=\"https://ww2.kqed.org/arts/2017/01/20/local-artists-organize-100-day-calendar-of-creative-resistance/\" target=\"_blank\" rel=\"noopener\">artistic actions in resistance\u003c/a> to President Donald Trump’s 100-day plan, Zomorodinia wore a hijab and Bhutto sported a rainbow pin that read “QUEER MUSLIM PROUD.” Passersby looked for a moment, then quickly turned away or scurried past to not interrupt.\u003c/p>\n\u003cp>For the most part, people appeared slightly uncomfortable, but not disdainful. The artist duo also pointed out that the number of participants and supporters who showed up to the most recent performance was much higher than any other iteration — a surge in support they attributed to Trump’s executive order which, \u003ca href=\"https://www.washingtonpost.com/news/the-fix/wp/2017/01/29/trump-asked-for-a-muslim-ban-giuliani-says-and-ordered-a-commission-to-do-it-legally/?utm_term=.4a84486ded11\" target=\"_blank\" rel=\"noopener\">according to his own adviser Rudy Giuliani\u003c/a>, was conceived as a Muslim ban.\u003c/p>\n\u003cfigure id=\"attachment_12768479\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12768479 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/6-800x450.jpg\" alt=\"'Side by Side' at Union Square in San Francisco, during Santa Con. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/6-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/6-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/6-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/6-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/6-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/6-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Side by Side’ at Powell and Market Streets in San Francisco, during SantaCon. \u003ccite>(Ana Maria Montenegro Jaramillo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Thank you for standing on our side,” Zoromodinia said to the crowd as she ended the prayer.\u003c/p>\n\u003cp>The piece is not only meant to confront Islamophobia. It’s also meant to challenge Islamic tradition which requires women to pray behind men, and doesn’t allow them to lead prayer. Although Zomorodinia said that she prefers not to make political statements, when she prays next to Bhutto, she’s the one leading — a radical assertion of gender equality.\u003c/p>\n\u003cp>“In many ways, it’s important for us to pray side by side and it’s important for people to join us,” says Bhutto, “because, in my belief, if we keep on separating on the basis of, ‘man and woman are separate, Muslim and non-Muslim are separate, queer and straight are separate,’ then our struggle is never truly unified.”\u003c/p>\n\u003cp>“We know that our experiences of the world are very different,” he says, “but in a moment like this, it’s equally important to see our common ground.”\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12768472/a-prayformance-confronting-islamophobia-stakes-claim-for-common-ground",
"authors": [
"11323"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1642",
"arts_1119",
"arts_1118",
"arts_596"
],
"featImg": "arts_12768476",
"label": "arts"
},
"arts_12772088": {
"type": "posts",
"id": "arts_12772088",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12772088",
"score": null,
"sort": [
1487277056000
]
},
"guestAuthors": [],
"slug": "bay-area-sculpture-right-now-sahar-khoury-balances-hard-and-soft",
"title": "Bay Area Sculpture Right Now: Sahar Khoury Revels in Rupture",
"publishDate": 1487277056,
"format": "image",
"headTitle": "Bay Area Sculpture Right Now: Sahar Khoury Revels in Rupture | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Behind \u003ca href=\"http://www.sahar-khoury.com/\" target=\"_blank\" rel=\"noopener\">Sahar Khoury\u003c/a>’s Oakland home, her studio is filled with works in progress for the sculptor’s upcoming solo show at the Luggage Store Gallery. With the opening just a few weeks away when we meet, Khoury’s working space is expanded beyond the 15-by-18-foot studio to include nearly every room of the home she shares with her partner, artist Alicia McCarthy.\u003c/p>\n\u003cp>And while any solo show would be cause for a focused period of intense making, this exhibition occupies a special place in Khoury’s personal trajectory as an artist. It was one of the first San Francisco galleries she would visit regularly, along with \u003ca href=\"http://www.jackhanley.com/\" target=\"_blank\" rel=\"noopener\">Jack Hanley Gallery\u003c/a> and \u003ca href=\"https://www.gallery16.com/\" target=\"_blank\" rel=\"noopener\">Gallery 16\u003c/a>. “I feel like it’s a really neat full circle,” she says. “I’m really proud to show there; it’s a sentimental show in many ways.”\u003c/p>\n\u003cfigure id=\"attachment_12772093\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772093\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6.jpg\" alt=\"Looking out from Khoury's studio; a concrete sculpture outside.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-520x385.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Looking out from Khoury’s studio; a concrete sculpture outside.\u003c/figcaption>\u003c/figure>\n\u003cp>Khoury’s sculptural works — made with papier-mâché, concrete, ceramic and textiles — open in the Luggage Store’s third floor gallery on Feb. 18; a simultaneous solo exhibition by Oakland artist \u003ca href=\"http://annewalshjr.org/\" target=\"_blank\" rel=\"noopener\">Anne Walsh\u003c/a> will occupy the second floor. The two exhibitions share one title, \u003ci>\u003ca href=\"http://www.luggagestoregallery.org/2017/02/they-featuring-sahar-khoury-anne-walsh/\" target=\"_blank\" rel=\"noopener\">THEY\u003c/a>\u003c/i>, a word Khoury says fits her need to understand what’s happened in the United States since the Nov. 8 election.\u003c/p>\n\u003cp>“I’m just trying to understand people’s fears rather than hate them for it.” Otherwise, she says, “I can get very very angry.”\u003c/p>\n\u003cp>Khoury studied anthropology in college, arriving at visual art through printmaking classes at the \u003ca href=\"http://www.missionculturalcenter.org/\" target=\"_blank\" rel=\"noopener\">Mission Cultural Center for Latino Arts\u003c/a>. Under Michael Roman’s tutelage, she began learning screen printing and monotype techniques. “I made these huge bed sheets,” she says, remembering her space-saving techniques in her first studio at 16th and Mission. “You could silkscreen this huge thing and then fold it up and put it away.”\u003c/p>\n\u003cfigure id=\"attachment_12772095\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772095\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28.jpg\" alt=\"Chair in Khoury's studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chair in Khoury’s studio. \u003ccite>(Photo by Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She looks around her current studio, where almost all the sculptures and wall reliefs contain clothing or other domestic textiles. “It’s funny,” she says, “as much as you think your art is changing, it’s not changing at all.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The clothes and fabrics come from friends, from McCarthy, from Khoury’s own closet. “It feels like the closest thing I’m going to get to a self-portrait,” she says. “That gives me some pleasure.”\u003c/p>\n\u003cp>Khoury balances hard and soft elements in a practice she compares to painting. Much like a painter’s canvas becomes the vehicle for a personal vision, Khoury’s sculptures build a new reality around her. Structural and material decisions happen as she works, leading to process she calls “creative repair,” like a broken tail light fixed with duct tape.\u003c/p>\n\u003cfigure id=\"attachment_12772097\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32.jpg\" alt=\"Woven and artist-made vessels.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-520x385.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Woven and artist-made vessels. \u003ccite>(Photo by Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one finished piece, a narrow strip of beige carpet sits on top of an L-shaped shelf of rough concrete and rebar. Above that, a rugged arc supports a two-handled vessel covered in patchwork scraps of leather and woven fabric, the seams and hems still visible.\u003c/p>\n\u003cp>Khoury’s forms open up to the viewer; many look like they’ve been cut down the middle as part of a scientific cross-section. Khoury describes them not as unfinished, but coming into themselves. “I like that moment where you get to see how the thing is made and you can see the interior of the piece,” she says.\u003c/p>\n\u003cp>“I’m an obvious materialist,” she says. “The material is the message and that’s all I want to say about the work.”\u003c/p>\n\u003cfigure id=\"attachment_12772092\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772092\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5.jpg\" alt=\"Concrete mask piece; a papier-mâché cat.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-520x385.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Concrete mask piece; a papier-mâché cat. \u003ccite>(Photo by Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She states this emphatically, but Khoury’s work can’t be reduced to simple material explorations. Against the wall of her studio stand a series of tall thin numbers supported by concrete bases. Their tubular shape comes from rolling copies of \u003ci>The New York Times\u003c/i> around an armature and stacking them three high until they reach the same height as Khoury herself. Just as the Luggage Store is a marker on Khoury’s artistic timeline, these numbers mark important dates in Khoury’s family history.\u003c/p>\n\u003cp>“I’m going to choose the moments in history that brought me here, by way of my parents and their struggles,” she says. 1979 is for the Iranian Revolution; her mother fled Iran a few years prior. 1948 is for her Jordanian Palestinian father — the year of the Nakba, when over 700,000 Palestinians fled or were expelled from their homes during the 1948 Palestine war. To Khoury, these dates are significant not just in the context of her family’s personal narrative and the history of the Middle East, but as moments that help explain the state of global politics today.\u003c/p>\n\u003cfigure id=\"attachment_12772096\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772096\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29.jpg\" alt=\"A conglomeration of texture and pattern on Khoury's clothing; papier-mâché numbers made from rolled-up New York Times.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-520x385.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A conglomeration of texture and pattern on Khoury’s clothing; papier-mâché numbers made from rolled-up New York Times. \u003ccite>(Photo by Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’s hesitant to make public the significance of the dates. “No one needs to know that, I’m not going to tell anyone that,” she says. “I just kind of feel like, if we want to talk about Middle East turmoil, let’s really think about the specific moments in history when colonial powers and imperialism have played a part in shaping that history.”\u003c/p>\n\u003cp>As resistant as she is to assigning meaning to her work, Khoury admits things have changed since Nov. 8. More than ever, she sees sculptures as demolished, hurt and wounded. The concrete reminds her of rubble.\u003c/p>\n\u003cfigure id=\"attachment_12772668\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39.jpg\" alt=\"On Khoury's porch; in the living room-turned-temporary studio.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-520x385.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">On Khoury’s porch; in the living room-turned-temporary studio. \u003ccite>(Photo by Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m abstract to the core. I love it, that can’t change, but I just feel like I’m making so many destructive pieces,” she says. “Some of them are hard for me to look at.”\u003c/p>\n\u003cp>But that doesn’t mean she’ll change her process or her approach to artmaking. “I just don’t think we’re in a pure society, so I don’t know how my art can be very pure,” she says. “I like the clashing of things that aren’t supposed to go together, because that feels truer to my experience than something that’s all pure.”\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>\u003ci>Sahar Khoury and Anne Walsh’s solo shows are on view at the Luggage Store in San Francisco Feb. 18-March 18, 2017. For more information visit \u003ca href=\"http://www.luggagestoregallery.org/2017/02/they-featuring-sahar-khoury-anne-walsh/\" target=\"_blank\" rel=\"noopener\">luggagestoregallery.org\u003c/a>.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Oakland artist prepares for a solo exhibition at the Luggage Store Gallery working with a process-based practice she calls \"creative repair.\"",
"status": "publish",
"parent": 0,
"modified": 1726703161,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 21,
"wordCount": 1176
},
"headData": {
"title": "Bay Area Sculpture Right Now: Sahar Khoury Revels in Rupture | KQED",
"description": "The Oakland artist prepares for a solo exhibition at the Luggage Store Gallery working with a process-based practice she calls "creative repair."",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bay Area Sculpture Right Now: Sahar Khoury Revels in Rupture",
"datePublished": "2017-02-16T12:30:56-08:00",
"dateModified": "2024-09-18T16:46:01-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12772088/bay-area-sculpture-right-now-sahar-khoury-balances-hard-and-soft",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Behind \u003ca href=\"http://www.sahar-khoury.com/\" target=\"_blank\" rel=\"noopener\">Sahar Khoury\u003c/a>’s Oakland home, her studio is filled with works in progress for the sculptor’s upcoming solo show at the Luggage Store Gallery. With the opening just a few weeks away when we meet, Khoury’s working space is expanded beyond the 15-by-18-foot studio to include nearly every room of the home she shares with her partner, artist Alicia McCarthy.\u003c/p>\n\u003cp>And while any solo show would be cause for a focused period of intense making, this exhibition occupies a special place in Khoury’s personal trajectory as an artist. It was one of the first San Francisco galleries she would visit regularly, along with \u003ca href=\"http://www.jackhanley.com/\" target=\"_blank\" rel=\"noopener\">Jack Hanley Gallery\u003c/a> and \u003ca href=\"https://www.gallery16.com/\" target=\"_blank\" rel=\"noopener\">Gallery 16\u003c/a>. “I feel like it’s a really neat full circle,” she says. “I’m really proud to show there; it’s a sentimental show in many ways.”\u003c/p>\n\u003cfigure id=\"attachment_12772093\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772093\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6.jpg\" alt=\"Looking out from Khoury's studio; a concrete sculpture outside.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-520x385.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Looking out from Khoury’s studio; a concrete sculpture outside.\u003c/figcaption>\u003c/figure>\n\u003cp>Khoury’s sculptural works — made with papier-mâché, concrete, ceramic and textiles — open in the Luggage Store’s third floor gallery on Feb. 18; a simultaneous solo exhibition by Oakland artist \u003ca href=\"http://annewalshjr.org/\" target=\"_blank\" rel=\"noopener\">Anne Walsh\u003c/a> will occupy the second floor. The two exhibitions share one title, \u003ci>\u003ca href=\"http://www.luggagestoregallery.org/2017/02/they-featuring-sahar-khoury-anne-walsh/\" target=\"_blank\" rel=\"noopener\">THEY\u003c/a>\u003c/i>, a word Khoury says fits her need to understand what’s happened in the United States since the Nov. 8 election.\u003c/p>\n\u003cp>“I’m just trying to understand people’s fears rather than hate them for it.” Otherwise, she says, “I can get very very angry.”\u003c/p>\n\u003cp>Khoury studied anthropology in college, arriving at visual art through printmaking classes at the \u003ca href=\"http://www.missionculturalcenter.org/\" target=\"_blank\" rel=\"noopener\">Mission Cultural Center for Latino Arts\u003c/a>. Under Michael Roman’s tutelage, she began learning screen printing and monotype techniques. “I made these huge bed sheets,” she says, remembering her space-saving techniques in her first studio at 16th and Mission. “You could silkscreen this huge thing and then fold it up and put it away.”\u003c/p>\n\u003cfigure id=\"attachment_12772095\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772095\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28.jpg\" alt=\"Chair in Khoury's studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chair in Khoury’s studio. \u003ccite>(Photo by Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She looks around her current studio, where almost all the sculptures and wall reliefs contain clothing or other domestic textiles. “It’s funny,” she says, “as much as you think your art is changing, it’s not changing at all.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The clothes and fabrics come from friends, from McCarthy, from Khoury’s own closet. “It feels like the closest thing I’m going to get to a self-portrait,” she says. “That gives me some pleasure.”\u003c/p>\n\u003cp>Khoury balances hard and soft elements in a practice she compares to painting. Much like a painter’s canvas becomes the vehicle for a personal vision, Khoury’s sculptures build a new reality around her. Structural and material decisions happen as she works, leading to process she calls “creative repair,” like a broken tail light fixed with duct tape.\u003c/p>\n\u003cfigure id=\"attachment_12772097\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32.jpg\" alt=\"Woven and artist-made vessels.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-520x385.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Woven and artist-made vessels. \u003ccite>(Photo by Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one finished piece, a narrow strip of beige carpet sits on top of an L-shaped shelf of rough concrete and rebar. Above that, a rugged arc supports a two-handled vessel covered in patchwork scraps of leather and woven fabric, the seams and hems still visible.\u003c/p>\n\u003cp>Khoury’s forms open up to the viewer; many look like they’ve been cut down the middle as part of a scientific cross-section. Khoury describes them not as unfinished, but coming into themselves. “I like that moment where you get to see how the thing is made and you can see the interior of the piece,” she says.\u003c/p>\n\u003cp>“I’m an obvious materialist,” she says. “The material is the message and that’s all I want to say about the work.”\u003c/p>\n\u003cfigure id=\"attachment_12772092\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772092\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5.jpg\" alt=\"Concrete mask piece; a papier-mâché cat.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-520x385.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Concrete mask piece; a papier-mâché cat. \u003ccite>(Photo by Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She states this emphatically, but Khoury’s work can’t be reduced to simple material explorations. Against the wall of her studio stand a series of tall thin numbers supported by concrete bases. Their tubular shape comes from rolling copies of \u003ci>The New York Times\u003c/i> around an armature and stacking them three high until they reach the same height as Khoury herself. Just as the Luggage Store is a marker on Khoury’s artistic timeline, these numbers mark important dates in Khoury’s family history.\u003c/p>\n\u003cp>“I’m going to choose the moments in history that brought me here, by way of my parents and their struggles,” she says. 1979 is for the Iranian Revolution; her mother fled Iran a few years prior. 1948 is for her Jordanian Palestinian father — the year of the Nakba, when over 700,000 Palestinians fled or were expelled from their homes during the 1948 Palestine war. To Khoury, these dates are significant not just in the context of her family’s personal narrative and the history of the Middle East, but as moments that help explain the state of global politics today.\u003c/p>\n\u003cfigure id=\"attachment_12772096\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772096\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29.jpg\" alt=\"A conglomeration of texture and pattern on Khoury's clothing; papier-mâché numbers made from rolled-up New York Times.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-520x385.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A conglomeration of texture and pattern on Khoury’s clothing; papier-mâché numbers made from rolled-up New York Times. \u003ccite>(Photo by Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’s hesitant to make public the significance of the dates. “No one needs to know that, I’m not going to tell anyone that,” she says. “I just kind of feel like, if we want to talk about Middle East turmoil, let’s really think about the specific moments in history when colonial powers and imperialism have played a part in shaping that history.”\u003c/p>\n\u003cp>As resistant as she is to assigning meaning to her work, Khoury admits things have changed since Nov. 8. More than ever, she sees sculptures as demolished, hurt and wounded. The concrete reminds her of rubble.\u003c/p>\n\u003cfigure id=\"attachment_12772668\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39.jpg\" alt=\"On Khoury's porch; in the living room-turned-temporary studio.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-520x385.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">On Khoury’s porch; in the living room-turned-temporary studio. \u003ccite>(Photo by Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m abstract to the core. I love it, that can’t change, but I just feel like I’m making so many destructive pieces,” she says. “Some of them are hard for me to look at.”\u003c/p>\n\u003cp>But that doesn’t mean she’ll change her process or her approach to artmaking. “I just don’t think we’re in a pure society, so I don’t know how my art can be very pure,” she says. “I like the clashing of things that aren’t supposed to go together, because that feels truer to my experience than something that’s all pure.”\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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Sahar Khoury and Anne Walsh’s solo shows are on view at the Luggage Store in San Francisco Feb. 18-March 18, 2017. For more information visit \u003ca href=\"http://www.luggagestoregallery.org/2017/02/they-featuring-sahar-khoury-anne-walsh/\" target=\"_blank\" rel=\"noopener\">luggagestoregallery.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12772088/bay-area-sculpture-right-now-sahar-khoury-balances-hard-and-soft",
"authors": [
"61"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"featImg": "arts_12772090",
"label": "arts"
},
"arts_12767689": {
"type": "posts",
"id": "arts_12767689",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12767689",
"score": null,
"sort": [
1487174400000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1487174400,
"format": "standard",
"title": "Canyon Cinema Turns 50, Showers Bay Area with a Year of Cinematic Riches",
"headTitle": "Canyon Cinema Turns 50, Showers Bay Area with a Year of Cinematic Riches | KQED",
"content": "\u003cp>The traditional marker of a fiftieth anniversary is gold, but this year, \u003ca href=\"http://canyoncinema.com/\" target=\"_blank\" rel=\"noopener\">Canyon Cinema\u003c/a> celebrates five decades of existence with all things silver screen. Incorporated as a film distribution business in 1967 by a group of avant-garde, underground and experimental filmmakers (among them, \u003ca href=\"https://ww2.kqed.org/arts/2016/10/28/bruce-conner-artist-who-twice-declared-himself-dead-lives-on-at-sfmoma/\" target=\"_blank\" rel=\"noopener\">Bruce Conner\u003c/a>), Canyon Cinema is now a nonprofit foundation dedicated to the preservation and presentation of non-commercial artist-made moving images. \u003c/p>\n\u003cp>\u003ca href=\"http://canyoncinema50.org/\" target=\"_blank\" rel=\"noopener\">Canyon Cinema 50\u003c/a>, a year-long program celebrating the organization’s past, present and future, kicks off at 7pm on Feb. 15, with “\u003ca href=\"http://canyoncinema50.org/events/upcoming-events/2-15-17-inside-and-out-more-or-less-of-me-presented-by-mark-street/\" target=\"_blank\" rel=\"noopener\">Inside and Out: More or Less of Me\u003c/a>,” a presentation by New York-based artist Mark Street at California College of the Arts. Street’s work ranges from material explorations of 16mm film to urban “essays” to an upcoming documentary tracing economic cycles in North Dakota oil country. “I’m inspired by filmmakers whose artistic journey begins with their quotidian life and takes us into uncharted terrain,” Street says. Along with his own work, Street will screen 16mm shorts from the Canyon Cinema archive, films by Gunvor Nelson, Robert Breer and Paula Froehle.\u003c/p>\n\u003cfigure id=\"attachment_12768080\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Street_2_1200.jpg\" alt=\"Mark Street\" width=\"1200\" height=\"675\" class=\"size-full wp-image-12768080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Street_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Street_2_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Street_2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Street_2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Street_2_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Street_2_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Street_2_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Street_2_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Street_2_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Street_2_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Mark Street \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Street’s presentation whets your appetite for “uncharted terrain,” but you’re looking to stretch your legs \u003ci>and\u003c/i> watch experimental film, head to the Exploratorium’s Kanbar Forum on Feb. 16, 7:30pm. “\u003ca href=\"http://canyoncinema50.org/events/upcoming-events/2-16-17-changing-the-shape-of-film-an-evening-with-barbara-hammer/\" target=\"_blank\" rel=\"noopener\">Changing the Shape of Film: An Evening with Barbara Hammer\u003c/a>” introduces audiences to two examples of “transmuted cinema” from the filmmaker’s 40-plus-year career. By making a weather balloon a projection surface or putting a 16mm projector in motion, Hammer’s works question the formal arrangement between projector, audience and screen, sometimes forcing viewers to negotiate new vantage points lest they miss out on the action. After the screenings, Hammer, a pioneer of queer cinema with over 80 moving images under her belt, holds court for an intimate conversation with her audience.\u003c/p>\n\u003cfigure id=\"attachment_12768084\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979.jpg\" alt=\"Barbara Hammer performing 'Available Apace' at A Space, Toronto, 1979.\" width=\"2048\" height=\"1578\" class=\"size-full wp-image-12768084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979-1920x1480.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979-1180x909.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979-960x740.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979-375x289.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979-520x401.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Hammer performing ‘Available Apace’ at A Space, Toronto, 1979. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Canyon Cinema 50 screening series continues for the rest of 2017, with yet-to-be-announced events at partner institutions the Exploratorium, Pro Arts, BAMPFA, the San Francisco Film Society and San Francisco Cinematheque. If there seems to be very little to look forward to in the year(s) to come, Canyon Cinema proves the avant-garde, underground and experimental can and will survive despite political climates that would rather see such artistic practices discredited, defunded and dissolved. Long may it survive as well.\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>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cstrong>Canyon Cinema 50\u003c/strong> begins Wednesday, Feb. 15 and continues throughout 2017. For more information on the series, visit \u003ca href=\"http://canyoncinema50.org\" target=\"_blank\" rel=\"noopener\">canyoncinema50.org\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 459,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705031544,
"excerpt": "The venerable nonprofit celebrates five decades of supporting experimental artist-made moving images with two events this week and more to come.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The venerable nonprofit celebrates five decades of supporting experimental artist-made moving images with two events this week and more to come.",
"title": "Canyon Cinema Turns 50, Showers Bay Area with a Year of Cinematic Riches | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Canyon Cinema Turns 50, Showers Bay Area with a Year of Cinematic Riches",
"datePublished": "2017-02-15T08:00:00-08:00",
"dateModified": "2024-01-11T19:52:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "canyon-cinema-turns-50-showers-bay-area-with-a-year-of-cinematic-gifts",
"status": "publish",
"sticky": false,
"path": "/arts/12767689/canyon-cinema-turns-50-showers-bay-area-with-a-year-of-cinematic-gifts",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The traditional marker of a fiftieth anniversary is gold, but this year, \u003ca href=\"http://canyoncinema.com/\" target=\"_blank\" rel=\"noopener\">Canyon Cinema\u003c/a> celebrates five decades of existence with all things silver screen. Incorporated as a film distribution business in 1967 by a group of avant-garde, underground and experimental filmmakers (among them, \u003ca href=\"https://ww2.kqed.org/arts/2016/10/28/bruce-conner-artist-who-twice-declared-himself-dead-lives-on-at-sfmoma/\" target=\"_blank\" rel=\"noopener\">Bruce Conner\u003c/a>), Canyon Cinema is now a nonprofit foundation dedicated to the preservation and presentation of non-commercial artist-made moving images. \u003c/p>\n\u003cp>\u003ca href=\"http://canyoncinema50.org/\" target=\"_blank\" rel=\"noopener\">Canyon Cinema 50\u003c/a>, a year-long program celebrating the organization’s past, present and future, kicks off at 7pm on Feb. 15, with “\u003ca href=\"http://canyoncinema50.org/events/upcoming-events/2-15-17-inside-and-out-more-or-less-of-me-presented-by-mark-street/\" target=\"_blank\" rel=\"noopener\">Inside and Out: More or Less of Me\u003c/a>,” a presentation by New York-based artist Mark Street at California College of the Arts. Street’s work ranges from material explorations of 16mm film to urban “essays” to an upcoming documentary tracing economic cycles in North Dakota oil country. “I’m inspired by filmmakers whose artistic journey begins with their quotidian life and takes us into uncharted terrain,” Street says. Along with his own work, Street will screen 16mm shorts from the Canyon Cinema archive, films by Gunvor Nelson, Robert Breer and Paula Froehle.\u003c/p>\n\u003cfigure id=\"attachment_12768080\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Street_2_1200.jpg\" alt=\"Mark Street\" width=\"1200\" height=\"675\" class=\"size-full wp-image-12768080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Street_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Street_2_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Street_2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Street_2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Street_2_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Street_2_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Street_2_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Street_2_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Street_2_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Street_2_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Mark Street \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Street’s presentation whets your appetite for “uncharted terrain,” but you’re looking to stretch your legs \u003ci>and\u003c/i> watch experimental film, head to the Exploratorium’s Kanbar Forum on Feb. 16, 7:30pm. “\u003ca href=\"http://canyoncinema50.org/events/upcoming-events/2-16-17-changing-the-shape-of-film-an-evening-with-barbara-hammer/\" target=\"_blank\" rel=\"noopener\">Changing the Shape of Film: An Evening with Barbara Hammer\u003c/a>” introduces audiences to two examples of “transmuted cinema” from the filmmaker’s 40-plus-year career. By making a weather balloon a projection surface or putting a 16mm projector in motion, Hammer’s works question the formal arrangement between projector, audience and screen, sometimes forcing viewers to negotiate new vantage points lest they miss out on the action. After the screenings, Hammer, a pioneer of queer cinema with over 80 moving images under her belt, holds court for an intimate conversation with her audience.\u003c/p>\n\u003cfigure id=\"attachment_12768084\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979.jpg\" alt=\"Barbara Hammer performing 'Available Apace' at A Space, Toronto, 1979.\" width=\"2048\" height=\"1578\" class=\"size-full wp-image-12768084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979-1920x1480.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979-1180x909.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979-960x740.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979-375x289.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Available-Space-@ASpaceToronto_1979-520x401.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Hammer performing ‘Available Apace’ at A Space, Toronto, 1979. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Canyon Cinema 50 screening series continues for the rest of 2017, with yet-to-be-announced events at partner institutions the Exploratorium, Pro Arts, BAMPFA, the San Francisco Film Society and San Francisco Cinematheque. If there seems to be very little to look forward to in the year(s) to come, Canyon Cinema proves the avant-garde, underground and experimental can and will survive despite political climates that would rather see such artistic practices discredited, defunded and dissolved. Long may it survive as well.\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>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cstrong>Canyon Cinema 50\u003c/strong> begins Wednesday, Feb. 15 and continues throughout 2017. For more information on the series, visit \u003ca href=\"http://canyoncinema50.org\" target=\"_blank\" rel=\"noopener\">canyoncinema50.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12767689/canyon-cinema-turns-50-showers-bay-area-with-a-year-of-cinematic-gifts",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74",
"arts_70"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596",
"arts_752"
],
"featImg": "arts_12768077",
"label": "arts_140"
},
"arts_12762640": {
"type": "posts",
"id": "arts_12762640",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12762640",
"score": null,
"sort": [
1487028312000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1487028312,
"format": "standard",
"title": "'Explosive' Image of an Assassination Wins World Press Photo of the Year",
"headTitle": "‘Explosive’ Image of an Assassination Wins World Press Photo of the Year | KQED",
"content": "\u003cp>The winning image of the 2017 World Press Photo of the Year award was described by one jury member as the “face of hatred.”\u003c/p>\n\u003cp>It shows a shouting, suit-clad gunman standing in an art gallery in Turkey’s capital, one hand holding a weapon, the other pointing to the sky. On the ground next to him is the crumpled body of his victim, Russian Ambassador Andrei Karlov.\u003c/p>\n\u003cp>Associated Press photographer Burhan Ozbilici, who happened to stop in at the gallery in Ankara on his way home from work on Dec. 19, 2016, was just a few feet away from the shooting and documented the harrowing event.\u003c/p>\n\u003cp>“I remember thinking: ‘I might be killed or injured, but the Russian ambassador has been shot. This is very big news, so as a journalist it is my responsibility to stand and do my work,'” Ozbilici said in an interview with World Press Photo’s \u003ca href=\"https://witness.worldpressphoto.org/photographing-an-assassination-b188572a80f5#.44lxsgzbs\" target=\"_blank\" rel=\"noopener\">Witness magazine\u003c/a>. “Even if I was killed, there would still be photos.”\u003c/p>\n\u003cp>Jury members made it clear there was a difficult debate over whether selecting the photo might send the wrong message.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In the end we felt that the picture of the Year was an explosive image that really spoke to the hatred of our times,” jury member Mary Calvert \u003ca href=\"https://www.worldpressphoto.org/news/2017-02-13/world-press-photo-announces-winners-2017-contests\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a>. “Every time it came on the screen you almost had to move back because it’s such an explosive image and we really felt that it epitomizes the definition of what the World Press Photo of the Year is and means.”\u003c/p>\n\u003cp>For juror João Silva, this photo gives a sense of the current global moment: “I feel that what is happening in Europe, what is happening in America, what is happening in the Far East, Middle East, Syria, and this image to me talks of it. It is the face of hatred.”\u003c/p>\n\u003cp>But the jury’s chairman, Stuart Franklin, has publicly stated that he found the choice morally problematic. In an opinion piece \u003ca href=\"https://www.theguardian.com/commentisfree/2017/feb/13/world-press-photo-year-turkey-russian-assassination?CMP=twt_gu\" target=\"_blank\" rel=\"noopener\">published in The Guardian\u003c/a>, he said he admires Ozbilici’s bravery and skill, but voted against his image. Franklin says his reasons highlight a debate that dates back millennia:\u003c/p>\n\u003cblockquote>\n\u003cp>“Placing the photograph on this high pedestal is an invitation to those contemplating such staged spectaculars: it reaffirms the compact between martyrdom and publicity. …\u003c/p>\n\u003cp>“To be clear, my moral position is not that the well-intentioned photographer should be denied the credit he deserves; rather that I feared we’d be amplifying a terrorist’s message through the additional publicity that the top prize attracts.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Calvert \u003ca href=\"https://lens.blogs.nytimes.com/2017/02/13/the-worlds-best-photo-world-press-awards/?_r=0\" target=\"_blank\" rel=\"noopener\">told The New York Times\u003c/a> that jury was “rewarding the photographer, not rewarding the crime” — and the image is a powerful, historically relevant record of our current moment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ozbilici told Witness that his work “represented a long tradition of good, independent journalism and good news photos.” And that makes him “happy and proud — proud of all good journalists, those living and those who have been killed doing their work, at a time when people are trying to manipulate the media, and the quality of journalism is often ignored.”\u003ca href=\"https://www.theguardian.com/commentisfree/2017/feb/13/world-press-photo-year-turkey-russian-assassination?CMP=twt_gu#img-2\" target=\"_blank\" rel=\"noopener\">\u003c/a> \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=%27Explosive%27+Image+Of+An+Assassination+Wins+World+Press+Photo+Of+The+Year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 559,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705031566,
"excerpt": "Photographer Burhan Ozbilici's image of the killing of Russia's ambassador to Turkey was described by one jury member as the \"face of hatred.\" Jurors have made it clear that it was a heated debate.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Photographer Burhan Ozbilici's image of the killing of Russia's ambassador to Turkey was described by one jury member as the "face of hatred." Jurors have made it clear that it was a heated debate.",
"title": "'Explosive' Image of an Assassination Wins World Press Photo of the Year | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Explosive' Image of an Assassination Wins World Press Photo of the Year",
"datePublished": "2017-02-13T15:25:12-08:00",
"dateModified": "2024-01-11T19:52:46-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "explosive-image-of-an-assassination-wins-world-press-photo-of-the-year",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=514970163&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Merrit Kennedy",
"nprStoryDate": "Mon, 13 Feb 2017 11:05:00 -0500",
"nprLastModifiedDate": "Mon, 13 Feb 2017 11:05:07 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2017/02/13/514970163/explosive-image-of-an-assassination-wins-world-press-photo-of-the-year?ft=nprml&f=",
"nprImageAgency": "AP",
"nprImageCredit": "Burhan Ozbilici",
"nprStoryId": "514970163",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 13 Feb 2017 11:04:00 -0500",
"path": "/arts/12762640/explosive-image-of-an-assassination-wins-world-press-photo-of-the-year",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The winning image of the 2017 World Press Photo of the Year award was described by one jury member as the “face of hatred.”\u003c/p>\n\u003cp>It shows a shouting, suit-clad gunman standing in an art gallery in Turkey’s capital, one hand holding a weapon, the other pointing to the sky. On the ground next to him is the crumpled body of his victim, Russian Ambassador Andrei Karlov.\u003c/p>\n\u003cp>Associated Press photographer Burhan Ozbilici, who happened to stop in at the gallery in Ankara on his way home from work on Dec. 19, 2016, was just a few feet away from the shooting and documented the harrowing event.\u003c/p>\n\u003cp>“I remember thinking: ‘I might be killed or injured, but the Russian ambassador has been shot. This is very big news, so as a journalist it is my responsibility to stand and do my work,'” Ozbilici said in an interview with World Press Photo’s \u003ca href=\"https://witness.worldpressphoto.org/photographing-an-assassination-b188572a80f5#.44lxsgzbs\" target=\"_blank\" rel=\"noopener\">Witness magazine\u003c/a>. “Even if I was killed, there would still be photos.”\u003c/p>\n\u003cp>Jury members made it clear there was a difficult debate over whether selecting the photo might send the wrong message.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In the end we felt that the picture of the Year was an explosive image that really spoke to the hatred of our times,” jury member Mary Calvert \u003ca href=\"https://www.worldpressphoto.org/news/2017-02-13/world-press-photo-announces-winners-2017-contests\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a>. “Every time it came on the screen you almost had to move back because it’s such an explosive image and we really felt that it epitomizes the definition of what the World Press Photo of the Year is and means.”\u003c/p>\n\u003cp>For juror João Silva, this photo gives a sense of the current global moment: “I feel that what is happening in Europe, what is happening in America, what is happening in the Far East, Middle East, Syria, and this image to me talks of it. It is the face of hatred.”\u003c/p>\n\u003cp>But the jury’s chairman, Stuart Franklin, has publicly stated that he found the choice morally problematic. In an opinion piece \u003ca href=\"https://www.theguardian.com/commentisfree/2017/feb/13/world-press-photo-year-turkey-russian-assassination?CMP=twt_gu\" target=\"_blank\" rel=\"noopener\">published in The Guardian\u003c/a>, he said he admires Ozbilici’s bravery and skill, but voted against his image. Franklin says his reasons highlight a debate that dates back millennia:\u003c/p>\n\u003cblockquote>\n\u003cp>“Placing the photograph on this high pedestal is an invitation to those contemplating such staged spectaculars: it reaffirms the compact between martyrdom and publicity. …\u003c/p>\n\u003cp>“To be clear, my moral position is not that the well-intentioned photographer should be denied the credit he deserves; rather that I feared we’d be amplifying a terrorist’s message through the additional publicity that the top prize attracts.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Calvert \u003ca href=\"https://lens.blogs.nytimes.com/2017/02/13/the-worlds-best-photo-world-press-awards/?_r=0\" target=\"_blank\" rel=\"noopener\">told The New York Times\u003c/a> that jury was “rewarding the photographer, not rewarding the crime” — and the image is a powerful, historically relevant record of our current moment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ozbilici told Witness that his work “represented a long tradition of good, independent journalism and good news photos.” And that makes him “happy and proud — proud of all good journalists, those living and those who have been killed doing their work, at a time when people are trying to manipulate the media, and the quality of journalism is often ignored.”\u003ca href=\"https://www.theguardian.com/commentisfree/2017/feb/13/world-press-photo-year-turkey-russian-assassination?CMP=twt_gu#img-2\" target=\"_blank\" rel=\"noopener\">\u003c/a> \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=%27Explosive%27+Image+Of+An+Assassination+Wins+World+Press+Photo+Of+The+Year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12762640/explosive-image-of-an-assassination-wins-world-press-photo-of-the-year",
"authors": [
"byline_arts_12762640"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12762642",
"label": "arts_137"
},
"arts_12763245": {
"type": "posts",
"id": "arts_12763245",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12763245",
"score": null,
"sort": [
1487026829000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1487026829,
"format": "standard",
"title": "Bay Area Love: Our Bay Area-Themed Valentines for 2017",
"headTitle": "Bay Area Love: Our Bay Area-Themed Valentines for 2017 | KQED",
"content": "\u003cp>Valentine’s Day is almost here, and we understand if the romance-focused holiday has suddenly snuck up on you. That’s why, since 2015, we here at KQED Arts have commissioned artists to create Bay Area-themed Valentines for those scrambling to find something cute for their loved ones at the last minute. They might not be diamond rings, but we promise these new works are smile-inducing. \u003c/p>\n\u003cp>Please feel free to download and share with anyone you want.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Hella.jpg\" alt=\"Hella\" width=\"600\" height=\"600\" class=\"aligncenter size-full wp-image-12763250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>First up, here’s “You Had Me At Hella” by local muralist Kristin Farr. Farr is a former KQED employee — she’s the creator of our wonderful \u003ca href=\"https://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">\u003ci>Art School\u003c/i>\u003c/a> video series — who now works at both Facebook and \u003cem>Juxtapoz Magazine.\u003c/em> In her spare time she travels to far off locations like the Philippines and Hawaii to paint humongous murals in her mission to make the world a more beautiful place. Check out more of her work at her website, \u003ca href=\"http://www.kristinfarr.com/\" target=\"_blank\" rel=\"noopener\">kristinfarr.com\u003c/a>. Her husband, sign painter Jeff Meadows, helped with the valentine and his work can be seen at \u003ca href=\"http://www.jeff-meadows.com/\" target=\"_blank\" rel=\"noopener\">jeff-meadows.com.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Cameron.jpg\" alt=\"Cameron\" width=\"600\" height=\"600\" class=\"aligncenter size-full wp-image-12763247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Next is “You’re the Bay to my Breakers” by Menlo Park native Cameron Murfit. Murfit is a portrait artist and surface designer living in San Francisco’s SOMA neighborhood, and her valentine is a tribute to her favorite (uniquely San Franciscan) event. Visit her website \u003ca href=\"http://www.crookedhillsf.com/\" target=\"_blank\" rel=\"noopener\">crookedhillsf.com\u003c/a> to see more of her work. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/heartquake_nash_600.jpg\" alt=\"heartquake_nash_600\" width=\"600\" height=\"600\" class=\"aligncenter size-full wp-image-12763249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Ken Nash, who describes himself as “full service media agency,” has created work for important organizations such as UNICEF and the World Wildlife Fund. He was kind enough to donate the wonderful work above, “My Heart Quakes For You.” Make sure to take a moment and check out his website at \u003ca href=\"http://www.kennash.com\" target=\"_blank\" rel=\"noopener\">kennash.com\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01.jpg\" alt=\"KQED Valentines Card-01\" width=\"601\" height=\"601\" class=\"aligncenter size-full wp-image-12763251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01.jpg 601w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01-150x150.jpg 150w\" sizes=\"(max-width: 601px) 100vw, 601px\">\u003c/p>\n\u003cp>Kim Roth of Oakland made our next Valentine, “You Are the Treasure on my Island.” She runs Bright Room Studio, a boutique stationery studio that creates paper goods “for life’s biggest and best moments.” See more of her fantastic work at her website, \u003ca href=\"https://www.brightroomstudiodesign.com/\" target=\"_blank\" rel=\"noopener\">brightroomstudiodesign.com\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod.jpg\" alt=\"SutroHeart_EllenSherrod\" width=\"600\" height=\"600\" class=\"aligncenter size-full wp-image-12763253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Ellen Sherrod is an San Francisco based graphic designer. She watched the Sutro Tower construction from her living room window when she was a little kid. The tower is forever in her heart. See her work at her website, \u003ca href=\"http://ellensherrod.com/\" target=\"_blank\" rel=\"noopener\">ellensherrod.com\u003c/a>. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2.jpg\" alt=\"KQED_4DollaToast_V2\" width=\"600\" height=\"600\" class=\"aligncenter size-full wp-image-12763252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Our sixth valentine is an illustration called “You are the Butter on my $4.00 Toast” from artist Carolyn Wachnicki, who recently moved to the Bay Area. In the past she’s worked with a diverse range of clientele, from Monster Energy Drink to comedian Eugene Mirman. To see more of her work, her portfolio is at \u003ca href=\"http://rockpaperc.xyz/\" target=\"_blank\" rel=\"noopener\">rockpaperc.xyz\u003c/a>. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you would like to create a Valentine for 2018, please email kjones(at)kqed.org with “Valentine 2018” in the subject.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 484,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705031568,
"excerpt": "Six more Bay Area-themed Valentines to send your loved ones, plus a bonus GIF!",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Six more Bay Area-themed Valentines to send your loved ones, plus a bonus GIF!",
"title": "Bay Area Love: Our Bay Area-Themed Valentines for 2017 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bay Area Love: Our Bay Area-Themed Valentines for 2017",
"datePublished": "2017-02-13T15:00:29-08:00",
"dateModified": "2024-01-11T19:52:48-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bay-area-love-our-bay-area-themed-valentines-for-2017",
"status": "publish",
"sticky": false,
"path": "/arts/12763245/bay-area-love-our-bay-area-themed-valentines-for-2017",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Valentine’s Day is almost here, and we understand if the romance-focused holiday has suddenly snuck up on you. That’s why, since 2015, we here at KQED Arts have commissioned artists to create Bay Area-themed Valentines for those scrambling to find something cute for their loved ones at the last minute. They might not be diamond rings, but we promise these new works are smile-inducing. \u003c/p>\n\u003cp>Please feel free to download and share with anyone you want.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Hella.jpg\" alt=\"Hella\" width=\"600\" height=\"600\" class=\"aligncenter size-full wp-image-12763250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Hella-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>First up, here’s “You Had Me At Hella” by local muralist Kristin Farr. Farr is a former KQED employee — she’s the creator of our wonderful \u003ca href=\"https://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">\u003ci>Art School\u003c/i>\u003c/a> video series — who now works at both Facebook and \u003cem>Juxtapoz Magazine.\u003c/em> In her spare time she travels to far off locations like the Philippines and Hawaii to paint humongous murals in her mission to make the world a more beautiful place. Check out more of her work at her website, \u003ca href=\"http://www.kristinfarr.com/\" target=\"_blank\" rel=\"noopener\">kristinfarr.com\u003c/a>. Her husband, sign painter Jeff Meadows, helped with the valentine and his work can be seen at \u003ca href=\"http://www.jeff-meadows.com/\" target=\"_blank\" rel=\"noopener\">jeff-meadows.com.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Cameron.jpg\" alt=\"Cameron\" width=\"600\" height=\"600\" class=\"aligncenter size-full wp-image-12763247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cameron-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Next is “You’re the Bay to my Breakers” by Menlo Park native Cameron Murfit. Murfit is a portrait artist and surface designer living in San Francisco’s SOMA neighborhood, and her valentine is a tribute to her favorite (uniquely San Franciscan) event. Visit her website \u003ca href=\"http://www.crookedhillsf.com/\" target=\"_blank\" rel=\"noopener\">crookedhillsf.com\u003c/a> to see more of her work. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/heartquake_nash_600.jpg\" alt=\"heartquake_nash_600\" width=\"600\" height=\"600\" class=\"aligncenter size-full wp-image-12763249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/heartquake_nash_600-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Ken Nash, who describes himself as “full service media agency,” has created work for important organizations such as UNICEF and the World Wildlife Fund. He was kind enough to donate the wonderful work above, “My Heart Quakes For You.” Make sure to take a moment and check out his website at \u003ca href=\"http://www.kennash.com\" target=\"_blank\" rel=\"noopener\">kennash.com\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01.jpg\" alt=\"KQED Valentines Card-01\" width=\"601\" height=\"601\" class=\"aligncenter size-full wp-image-12763251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01.jpg 601w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED-Valentines-Card-01-150x150.jpg 150w\" sizes=\"(max-width: 601px) 100vw, 601px\">\u003c/p>\n\u003cp>Kim Roth of Oakland made our next Valentine, “You Are the Treasure on my Island.” She runs Bright Room Studio, a boutique stationery studio that creates paper goods “for life’s biggest and best moments.” See more of her fantastic work at her website, \u003ca href=\"https://www.brightroomstudiodesign.com/\" target=\"_blank\" rel=\"noopener\">brightroomstudiodesign.com\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod.jpg\" alt=\"SutroHeart_EllenSherrod\" width=\"600\" height=\"600\" class=\"aligncenter size-full wp-image-12763253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SutroHeart_EllenSherrod-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Ellen Sherrod is an San Francisco based graphic designer. She watched the Sutro Tower construction from her living room window when she was a little kid. The tower is forever in her heart. See her work at her website, \u003ca href=\"http://ellensherrod.com/\" target=\"_blank\" rel=\"noopener\">ellensherrod.com\u003c/a>. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2.jpg\" alt=\"KQED_4DollaToast_V2\" width=\"600\" height=\"600\" class=\"aligncenter size-full wp-image-12763252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KQED_4DollaToast_V2-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Our sixth valentine is an illustration called “You are the Butter on my $4.00 Toast” from artist Carolyn Wachnicki, who recently moved to the Bay Area. In the past she’s worked with a diverse range of clientele, from Monster Energy Drink to comedian Eugene Mirman. To see more of her work, her portfolio is at \u003ca href=\"http://rockpaperc.xyz/\" target=\"_blank\" rel=\"noopener\">rockpaperc.xyz\u003c/a>. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you would like to create a Valentine for 2018, please email kjones(at)kqed.org with “Valentine 2018” in the subject.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12763245/bay-area-love-our-bay-area-themed-valentines-for-2017",
"authors": [
"93"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1118",
"arts_596"
],
"featImg": "arts_12763248",
"label": "arts"
},
"arts_12727003": {
"type": "posts",
"id": "arts_12727003",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12727003",
"score": null,
"sort": [
1486767652000
]
},
"guestAuthors": [],
"slug": "silicon-valley-artist-drue-kataoka-uses-vr-to-highlight-female-firsts",
"title": "Silicon Valley Artist Drue Kataoka Uses VR to Highlight Female 'Firsts'",
"publishDate": 1486767652,
"format": "standard",
"headTitle": "Silicon Valley Artist Drue Kataoka Uses VR to Highlight Female ‘Firsts’ | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Silicon Valley-based conceptual artist \u003ca href=\"http://www.drue.net/\" target=\"_blank\" rel=\"noopener\">Drue Kataoka\u003c/a> has a habit of placing herself at the visible edge of emerging technologies and using her position to talk about social issues.\u003c/p>\n\u003cp>Take \u003ca href=\"http://www.yesnowisthetime.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Yes! Now Is The Time\u003c/em>\u003c/a>. It’s an interactive version of an originally two-dimensional poster created as a gift for Hillary Clinton’s recent presidential campaign. The bottom half of the hourglass details historic female “firsts.” The top half features firsts yet to happen (i.e. the first woman to go to Mars).\u003c/p>\n\u003cp>The Clinton campaign featured the poster at the Democratic National Convention (DNC) in Philadelphia. So many people came up to Kataoka at the DNC to share their firsts, she decided to make it possible for anybody to go to the website and add a first for herself, a friend or relative.\u003c/p>\n\u003cfigure id=\"attachment_12727378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12727378\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24035_57f26e591b00007f08ef40a0-qut-800x1044.jpg\" alt='Drue Kataoka on the iconic poster she created for the Hillary Clinton presidential campaign: \"I was thinking about how women’s accomplishments in history have been like grains of sand ― numerous yet almost invisible.\"' width=\"800\" height=\"1044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24035_57f26e591b00007f08ef40a0-qut-800x1044.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24035_57f26e591b00007f08ef40a0-qut-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24035_57f26e591b00007f08ef40a0-qut-768x1003.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24035_57f26e591b00007f08ef40a0-qut-960x1253.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24035_57f26e591b00007f08ef40a0-qut-240x313.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24035_57f26e591b00007f08ef40a0-qut-375x490.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24035_57f26e591b00007f08ef40a0-qut-520x679.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24035_57f26e591b00007f08ef40a0-qut.jpg 969w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drue Kataoka on the iconic poster she created for the Hillary Clinton presidential campaign: “I was thinking about how women’s accomplishments in history have been like grains of sand ― numerous yet almost invisible.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Kataoka’s turned the poster into a virtual reality space people can explore or use as a backdrop for conversation — “a first-of-its-kind convergence of social VR and virtual reality art,” as she puts it. Kataoka unveiled the concept earlier this year with a virtual reality panel discussion on \u003ca href=\"https://vimeo.com/201349389\" target=\"_blank\" rel=\"noopener\">Facebook Live\u003c/a>, featuring several women prominent in technology from Silicon Valley, Seattle and New York.\u003c/p>\n\u003cp>Virtual attendees included Kataoka’s co-host, Seattle-based entrepreneur Martina Welkhoff, as well as tech investor Frederique Dame, Microsoft software engineer \u003cspan class=\"fn\">\u003cspan class=\"full-name\" dir=\"auto\">Tammarrian Rogers, \u003c/span>\u003c/span>and \u003ca href=\"http://www.brookeellison.com/about-2/\" target=\"_blank\" rel=\"noopener\">Brooke Ellison\u003c/a>, Director of Education and Ethics at the Stony Brook University Stem Cell Research Facility Center.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The women hovered in and around a 20-foot, 3D virtual reality sculpture of \u003cem>Yes! Now Is The Time\u003c/em> and talked about the value of the technology.\u003c/p>\n\u003cfigure id=\"attachment_12727379\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12727379\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut-800x449.jpg\" alt=\"Drue Kataoka (second from left) holds forth in a virtual reality panel discussion about the place of women in the emerging medium. \" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drue Kataoka (second from left) holds forth in a virtual reality panel discussion about the place of women in the emerging medium. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Using a program called \u003ca href=\"http://www.plutovr.com/\" target=\"_blank\" rel=\"noopener\">Pluto\u003c/a>, the women are represented by disembodied avatar heads and hands, moving about as they do. It looks a lot like a meeting in the online virtual world \u003ca href=\"http://secondlife.com/\" target=\"_blank\" rel=\"noopener\">Second Life\u003c/a>. At one point, they even VR fist-bump.\u003c/p>\n\u003cp>Kataoka, a regular speaker on arts and culture at the \u003ca href=\"http://widgets.weforum.org/davos-arts/2016/\" target=\"_blank\" rel=\"noopener\">World Economic Forum\u003c/a> in Davos and easy to spot with her trademark glossy flapper’s bob and bright red lipstick, counts many tech industry top leaders among her friends. One such project is a \u003ca href=\"https://www.youtube.com/watch?v=stbRsJb8M54\">music video\u003c/a> she made extolling the un-sexiness of net neutrality, featuring Randi Zuckerberg (sister of Facebook founder Mark) and venture capitalist Tim Draper.\u003c/p>\n\u003cp>But it’s not lost on Kataoka that Silicon Valley has a way of sidelining its female talent. She believes it’s important to bring more women into virtual reality, especially now in the industry’s infancy. “I would like to make sure that we have women in this space, not just as objects, not objectified, but as builders, as leaders, as creators,” she says.\u003c/p>\n\u003cp>That thought took on an added dimension in the Facebook Live discussion, when Ellison, who is quadriplegic, talked about the technology’s capacity to be a “bias disruptor” for people who face discrimination in the physical world, of whatever kind.\u003c/p>\n\u003cfigure id=\"attachment_12727566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12727566 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut-800x451.jpg\" alt=\"Artist Drue Kataoka says virtual reality connects people in a deeper way than audio or video conferencing because the environment blocks out all distractions — including, ironically, social media.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Drue Kataoka says virtual reality connects people in a deeper way than audio or video conferencing because the environment blocks out all distractions — including, ironically, social media. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"blocks": [],
"excerpt": "'Yes! Now Is The Time' develops a poster made for Hillary Clinton's campaign into virtual reality — a project continuing Kataoka's ongoing work at the intersection of tech and social issues. ",
"status": "publish",
"parent": 0,
"modified": 1726770952,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 630
},
"headData": {
"title": "Silicon Valley Artist Drue Kataoka Uses VR to Highlight Female 'Firsts' | KQED",
"description": "'Yes! Now Is The Time' develops a poster made for Hillary Clinton's campaign into virtual reality — a project continuing Kataoka's ongoing work at the intersection of tech and social issues. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Silicon Valley Artist Drue Kataoka Uses VR to Highlight Female 'Firsts'",
"datePublished": "2017-02-10T15:00:52-08:00",
"dateModified": "2024-09-19T11:35:52-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12727003/silicon-valley-artist-drue-kataoka-uses-vr-to-highlight-female-firsts",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Silicon Valley-based conceptual artist \u003ca href=\"http://www.drue.net/\" target=\"_blank\" rel=\"noopener\">Drue Kataoka\u003c/a> has a habit of placing herself at the visible edge of emerging technologies and using her position to talk about social issues.\u003c/p>\n\u003cp>Take \u003ca href=\"http://www.yesnowisthetime.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Yes! Now Is The Time\u003c/em>\u003c/a>. It’s an interactive version of an originally two-dimensional poster created as a gift for Hillary Clinton’s recent presidential campaign. The bottom half of the hourglass details historic female “firsts.” The top half features firsts yet to happen (i.e. the first woman to go to Mars).\u003c/p>\n\u003cp>The Clinton campaign featured the poster at the Democratic National Convention (DNC) in Philadelphia. So many people came up to Kataoka at the DNC to share their firsts, she decided to make it possible for anybody to go to the website and add a first for herself, a friend or relative.\u003c/p>\n\u003cfigure id=\"attachment_12727378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12727378\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24035_57f26e591b00007f08ef40a0-qut-800x1044.jpg\" alt='Drue Kataoka on the iconic poster she created for the Hillary Clinton presidential campaign: \"I was thinking about how women’s accomplishments in history have been like grains of sand ― numerous yet almost invisible.\"' width=\"800\" height=\"1044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24035_57f26e591b00007f08ef40a0-qut-800x1044.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24035_57f26e591b00007f08ef40a0-qut-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24035_57f26e591b00007f08ef40a0-qut-768x1003.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24035_57f26e591b00007f08ef40a0-qut-960x1253.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24035_57f26e591b00007f08ef40a0-qut-240x313.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24035_57f26e591b00007f08ef40a0-qut-375x490.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24035_57f26e591b00007f08ef40a0-qut-520x679.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24035_57f26e591b00007f08ef40a0-qut.jpg 969w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drue Kataoka on the iconic poster she created for the Hillary Clinton presidential campaign: “I was thinking about how women’s accomplishments in history have been like grains of sand ― numerous yet almost invisible.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Kataoka’s turned the poster into a virtual reality space people can explore or use as a backdrop for conversation — “a first-of-its-kind convergence of social VR and virtual reality art,” as she puts it. Kataoka unveiled the concept earlier this year with a virtual reality panel discussion on \u003ca href=\"https://vimeo.com/201349389\" target=\"_blank\" rel=\"noopener\">Facebook Live\u003c/a>, featuring several women prominent in technology from Silicon Valley, Seattle and New York.\u003c/p>\n\u003cp>Virtual attendees included Kataoka’s co-host, Seattle-based entrepreneur Martina Welkhoff, as well as tech investor Frederique Dame, Microsoft software engineer \u003cspan class=\"fn\">\u003cspan class=\"full-name\" dir=\"auto\">Tammarrian Rogers, \u003c/span>\u003c/span>and \u003ca href=\"http://www.brookeellison.com/about-2/\" target=\"_blank\" rel=\"noopener\">Brooke Ellison\u003c/a>, Director of Education and Ethics at the Stony Brook University Stem Cell Research Facility Center.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The women hovered in and around a 20-foot, 3D virtual reality sculpture of \u003cem>Yes! Now Is The Time\u003c/em> and talked about the value of the technology.\u003c/p>\n\u003cfigure id=\"attachment_12727379\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12727379\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut-800x449.jpg\" alt=\"Drue Kataoka (second from left) holds forth in a virtual reality panel discussion about the place of women in the emerging medium. \" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24032_FacebookLiveScreenShot-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drue Kataoka (second from left) holds forth in a virtual reality panel discussion about the place of women in the emerging medium. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Using a program called \u003ca href=\"http://www.plutovr.com/\" target=\"_blank\" rel=\"noopener\">Pluto\u003c/a>, the women are represented by disembodied avatar heads and hands, moving about as they do. It looks a lot like a meeting in the online virtual world \u003ca href=\"http://secondlife.com/\" target=\"_blank\" rel=\"noopener\">Second Life\u003c/a>. At one point, they even VR fist-bump.\u003c/p>\n\u003cp>Kataoka, a regular speaker on arts and culture at the \u003ca href=\"http://widgets.weforum.org/davos-arts/2016/\" target=\"_blank\" rel=\"noopener\">World Economic Forum\u003c/a> in Davos and easy to spot with her trademark glossy flapper’s bob and bright red lipstick, counts many tech industry top leaders among her friends. One such project is a \u003ca href=\"https://www.youtube.com/watch?v=stbRsJb8M54\">music video\u003c/a> she made extolling the un-sexiness of net neutrality, featuring Randi Zuckerberg (sister of Facebook founder Mark) and venture capitalist Tim Draper.\u003c/p>\n\u003cp>But it’s not lost on Kataoka that Silicon Valley has a way of sidelining its female talent. She believes it’s important to bring more women into virtual reality, especially now in the industry’s infancy. “I would like to make sure that we have women in this space, not just as objects, not objectified, but as builders, as leaders, as creators,” she says.\u003c/p>\n\u003cp>That thought took on an added dimension in the Facebook Live discussion, when Ellison, who is quadriplegic, talked about the technology’s capacity to be a “bias disruptor” for people who face discrimination in the physical world, of whatever kind.\u003c/p>\n\u003cfigure id=\"attachment_12727566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12727566 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut-800x451.jpg\" alt=\"Artist Drue Kataoka says virtual reality connects people in a deeper way than audio or video conferencing because the environment blocks out all distractions — including, ironically, social media.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24033_Photo-Jan-26-1-30-34-PM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Drue Kataoka says virtual reality connects people in a deeper way than audio or video conferencing because the environment blocks out all distractions — including, ironically, social media. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12727003/silicon-valley-artist-drue-kataoka-uses-vr-to-highlight-female-firsts",
"authors": [
"251"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"featImg": "arts_12727377",
"label": "arts"
},
"arts_12749365": {
"type": "posts",
"id": "arts_12749365",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12749365",
"score": null,
"sort": [
1486766217000
]
},
"guestAuthors": [],
"slug": "norcal-aclu-urges-san-jose-school-district-to-rehang-controversial-art",
"title": "NorCal ACLU Urges San Jose School District to Rehang Controversial Art",
"publishDate": 1486766217,
"format": "standard",
"headTitle": "NorCal ACLU Urges San Jose School District to Rehang Controversial Art | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The debate over the removal of controversial art from a San Jose school district office has reached the next level: lawyers. \u003c/p>\n\u003cp>[contextly_sidebar id=”jOg5mwMtH6yKPGD1zKCwfWFtS8IZOE3i”]\u003c/p>\n\u003cp>The American Civil Liberties Union (ACLU) of Northern California sent a letter Friday to the East Side Union High School District that urges its superintendent to rehang a series of 11 paintings by San Francisco artist Mark Harris. The pieces, which depict scenes of racial injustice and hung in celebration of Black History Month, were taken down after parents complained, \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/black-history-month-art-removed-after-parents-complain/\" target=\"_blank\" rel=\"noopener\">according to district administrators.\u003c/a> \u003c/p>\n\u003cp>“We’re demanding this art depicting racial injustice be returned to the walls,” \u003ca href=\"https://twitter.com/ACLU_NorCal/status/830125065295368192\" target=\"_blank\" rel=\"noopener\">the ACLU tweeted\u003c/a>. \u003c/p>\n\u003cp>In a post on its website, the ACLU of Northern California wrote that for the past three years, the school district has celebrated Black History Month by displaying art that does the same. This year, Reverend Jeff Moore, president of the San Jose/Silicon Valley Branch of the NAACP, chose Harris to provide some of his work for the exhibit, which he did. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“But the art was apparently intolerable for Superintendent Chris Funk. Despite lacking any school policy or constitutional basis for removal, he had 11 paintings removed just hours after they were displayed,” \u003ca href=\"https://www.aclunc.org/article/black-history-month-artwork-banned-san-jose-superintendent\" target=\"_blank\" rel=\"noopener\">the post read\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12709109\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-800x450.jpg\" alt='Detail of \"Proverbs 22 v6\" by San Francisco visual artist Mark Harris. This is one 11 paintings initially up in the administrative offices of the East Side Union High School District for African American History Month.' width=\"800\" height=\"450\" class=\"size-medium wp-image-12709109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Proverbs 22 v6” by San Francisco visual artist Mark Harris. This is one of 11 paintings initially up in the administrative offices of the East Side Union High School District for African American History Month. \u003ccite>(Photo: Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, Funk’s reasoning was that the district shouldn’t take a political stance, which Harris called “ridiculous.” Harris described the work as “agitprop” and intended the display to be thought-provoking.\u003c/p>\n\u003cp>“It’s not something you’re going to walk by and not have a second thought about,” Harris said.\u003c/p>\n\u003cp>In response, Funk said he was sorry that Harris was “caught up in a situation where Mr. Moore was not upfront” and that Harris was a talented artist.\u003c/p>\n\u003cp>“I didn’t have a chance to review the art beforehand. It was just — smack, hit you in the face — when you walked in. That’s why I took it down,” Funk said.\u003c/p>\n\u003cp>The ACLU’s letter said that the organization appreciates the district’s celebration of Black History Month, but Funk determining which views of African American life are “acceptable” is censorship. \u003c/p>\n\u003cp>“Given the richness of that history and the diversity of perspectives that experience has engendered, however, there is no one ‘acceptable’ way to represent this truth,” the ACLU’s letter read. “Additionally, it is unacceptable to refuse to permit speech or expression because it might offend some.”\u003c/p>\n\u003cp>Beyond sending the letter to the school district, the \u003ca href=\"https://twitter.com/ACLU_NorCal/status/830147228350046208\" target=\"_blank\" rel=\"noopener\">ACLU has called\u003c/a> on the public to phone Funk and tell him “that he doesn’t get to decide what the black experience looks like.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/20170210-ncac_aclu_letter_to_superintendent_funk.pdf\">Read the ACLU’s letter to the East Side Union High School District.\u003c/a>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The ACLU stepped in to help settle a dispute over art in a school district office that depicts racial injustice.",
"status": "publish",
"parent": 0,
"modified": 1726707893,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 525
},
"headData": {
"title": "NorCal ACLU Urges San Jose School District to Rehang Controversial Art | KQED",
"description": "The ACLU stepped in to help settle a dispute over art in a school district office that depicts racial injustice.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "NorCal ACLU Urges San Jose School District to Rehang Controversial Art",
"datePublished": "2017-02-10T14:36:57-08:00",
"dateModified": "2024-09-18T18:04:53-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12749365/norcal-aclu-urges-san-jose-school-district-to-rehang-controversial-art",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The debate over the removal of controversial art from a San Jose school district office has reached the next level: lawyers. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The American Civil Liberties Union (ACLU) of Northern California sent a letter Friday to the East Side Union High School District that urges its superintendent to rehang a series of 11 paintings by San Francisco artist Mark Harris. The pieces, which depict scenes of racial injustice and hung in celebration of Black History Month, were taken down after parents complained, \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/black-history-month-art-removed-after-parents-complain/\" target=\"_blank\" rel=\"noopener\">according to district administrators.\u003c/a> \u003c/p>\n\u003cp>“We’re demanding this art depicting racial injustice be returned to the walls,” \u003ca href=\"https://twitter.com/ACLU_NorCal/status/830125065295368192\" target=\"_blank\" rel=\"noopener\">the ACLU tweeted\u003c/a>. \u003c/p>\n\u003cp>In a post on its website, the ACLU of Northern California wrote that for the past three years, the school district has celebrated Black History Month by displaying art that does the same. This year, Reverend Jeff Moore, president of the San Jose/Silicon Valley Branch of the NAACP, chose Harris to provide some of his work for the exhibit, which he did. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“But the art was apparently intolerable for Superintendent Chris Funk. Despite lacking any school policy or constitutional basis for removal, he had 11 paintings removed just hours after they were displayed,” \u003ca href=\"https://www.aclunc.org/article/black-history-month-artwork-banned-san-jose-superintendent\" target=\"_blank\" rel=\"noopener\">the post read\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12709109\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-800x450.jpg\" alt='Detail of \"Proverbs 22 v6\" by San Francisco visual artist Mark Harris. This is one 11 paintings initially up in the administrative offices of the East Side Union High School District for African American History Month.' width=\"800\" height=\"450\" class=\"size-medium wp-image-12709109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Proverbs 22 v6” by San Francisco visual artist Mark Harris. This is one of 11 paintings initially up in the administrative offices of the East Side Union High School District for African American History Month. \u003ccite>(Photo: Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, Funk’s reasoning was that the district shouldn’t take a political stance, which Harris called “ridiculous.” Harris described the work as “agitprop” and intended the display to be thought-provoking.\u003c/p>\n\u003cp>“It’s not something you’re going to walk by and not have a second thought about,” Harris said.\u003c/p>\n\u003cp>In response, Funk said he was sorry that Harris was “caught up in a situation where Mr. Moore was not upfront” and that Harris was a talented artist.\u003c/p>\n\u003cp>“I didn’t have a chance to review the art beforehand. It was just — smack, hit you in the face — when you walked in. That’s why I took it down,” Funk said.\u003c/p>\n\u003cp>The ACLU’s letter said that the organization appreciates the district’s celebration of Black History Month, but Funk determining which views of African American life are “acceptable” is censorship. \u003c/p>\n\u003cp>“Given the richness of that history and the diversity of perspectives that experience has engendered, however, there is no one ‘acceptable’ way to represent this truth,” the ACLU’s letter read. “Additionally, it is unacceptable to refuse to permit speech or expression because it might offend some.”\u003c/p>\n\u003cp>Beyond sending the letter to the school district, the \u003ca href=\"https://twitter.com/ACLU_NorCal/status/830147228350046208\" target=\"_blank\" rel=\"noopener\">ACLU has called\u003c/a> on the public to phone Funk and tell him “that he doesn’t get to decide what the black experience looks like.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/20170210-ncac_aclu_letter_to_superintendent_funk.pdf\">Read the ACLU’s letter to the East Side Union High School District.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12749365/norcal-aclu-urges-san-jose-school-district-to-rehang-controversial-art",
"authors": [
"93"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1448",
"arts_596"
],
"featImg": "arts_12709112",
"label": "arts"
},
"arts_12740605": {
"type": "posts",
"id": "arts_12740605",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12740605",
"score": null,
"sort": [
1486756822000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1486756822,
"format": "standard",
"title": "Chris Eckert's 'Mixed Messages' Transforms News into Morse Code",
"headTitle": "Chris Eckert’s ‘Mixed Messages’ Transforms News into Morse Code | KQED",
"content": "\u003cp>Many artists can identify with \u003ca href=\"http://chriseckert.com/\" target=\"_blank\" rel=\"noopener\">Chris Eckert\u003c/a>, whose long hours in the studio making work and listening to public radio left him feeling overwhelmed and frustrated. “The topics are complex and nuanced without simple answers,” Eckert says. “I don’t pretend to have solutions for any of these issues, but I feel their weight.”\u003c/p>\n\u003cp>So Eckert decided to turn that sensory overload into artistic fodder. The kinetic sculptor’s piece \u003ci>Mixed Messages\u003c/i>, made in collaboration with John Green and currently on view at \u003ca href=\"http://sfmcd.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s Museum of Craft and and Design\u003c/a>, reduces the signal of news to almost pure noise.\u003c/p>\n\u003cp>At a bank of 24 artist-made telegraph machines labelled with the Twitter handles of different news organizations, tweets become Morse code in real time, tapping out (unintelligible to most) updates with machined precision.\u003c/p>\n\u003cp>https://youtu.be/r_Iw47JFCzQ\u003c/p>\n\u003cp>Western Union sent its last telegram \u003ca href=\"http://www.nytimes.com/2006/02/06/technology/telegram-falls-silent-stop-era-ends-stop.html\" target=\"_blank\" rel=\"noopener\">over a decade ago\u003c/a>, long after its 1929 peak when more than 200 million telegrams zipped around the globe. Like Twitter, telegrams, paid for by the word, fostered a specialized syntax of cost-effective short phrases and abbreviations.\u003c/p>\n\u003cp>[ad fullwidth]\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>In the contemporary news cycle, the intermediary — the Morse code operators, and later, the Telex machine — disappears. News flows almost unfiltered from various outlets into our eyes, ears and brains. Eckert’s piece skillfully captures this sensation with \u003ci>Mixed Messages\u003c/i>’ insistent tapping, but spares us from the likely unhappy content we’d otherwise read via Tweets.\u003c/p>\n\u003cp>At a time when various news outlets seem to be reporting from a sci-fi multiverse, in which alternate facts and realities seemingly coexist, \u003ci>Mixed Messages\u003c/i> temporarily makes those purveyors of overlapping and contradictory information speak the same language.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Mixed Messages\u003c/b> is on view at the Museum of Craft and Design in San Francisco through Friday, Nov. 17, 2017. For more information visit \u003ca href=\"http://sfmcd.org/mixed-messages/\" target=\"_blank\" rel=\"noopener\">sfmcd.org\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 322,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705031604,
"excerpt": "Eckert's telegraph machines at San Francisco’s Museum of Craft and Design suggest reporting from a sci-fi multiverse, in which alternate facts and realities coexist in dots and dashes.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Eckert's telegraph machines at San Francisco’s Museum of Craft and Design suggest reporting from a sci-fi multiverse, in which alternate facts and realities coexist in dots and dashes.",
"title": "Chris Eckert's 'Mixed Messages' Transforms News into Morse Code | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Chris Eckert's 'Mixed Messages' Transforms News into Morse Code",
"datePublished": "2017-02-10T12:00:22-08:00",
"dateModified": "2024-01-11T19:53:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "chris-eckerts-mixed-messages-transforms-news-into-morse-code",
"status": "publish",
"sticky": false,
"path": "/arts/12740605/chris-eckerts-mixed-messages-transforms-news-into-morse-code",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many artists can identify with \u003ca href=\"http://chriseckert.com/\" target=\"_blank\" rel=\"noopener\">Chris Eckert\u003c/a>, whose long hours in the studio making work and listening to public radio left him feeling overwhelmed and frustrated. “The topics are complex and nuanced without simple answers,” Eckert says. “I don’t pretend to have solutions for any of these issues, but I feel their weight.”\u003c/p>\n\u003cp>So Eckert decided to turn that sensory overload into artistic fodder. The kinetic sculptor’s piece \u003ci>Mixed Messages\u003c/i>, made in collaboration with John Green and currently on view at \u003ca href=\"http://sfmcd.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s Museum of Craft and and Design\u003c/a>, reduces the signal of news to almost pure noise.\u003c/p>\n\u003cp>At a bank of 24 artist-made telegraph machines labelled with the Twitter handles of different news organizations, tweets become Morse code in real time, tapping out (unintelligible to most) updates with machined precision.\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/r_Iw47JFCzQ'\n title='//www.youtube.com/embed/r_Iw47JFCzQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Western Union sent its last telegram \u003ca href=\"http://www.nytimes.com/2006/02/06/technology/telegram-falls-silent-stop-era-ends-stop.html\" target=\"_blank\" rel=\"noopener\">over a decade ago\u003c/a>, long after its 1929 peak when more than 200 million telegrams zipped around the globe. Like Twitter, telegrams, paid for by the word, fostered a specialized syntax of cost-effective short phrases and abbreviations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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>In the contemporary news cycle, the intermediary — the Morse code operators, and later, the Telex machine — disappears. News flows almost unfiltered from various outlets into our eyes, ears and brains. Eckert’s piece skillfully captures this sensation with \u003ci>Mixed Messages\u003c/i>’ insistent tapping, but spares us from the likely unhappy content we’d otherwise read via Tweets.\u003c/p>\n\u003cp>At a time when various news outlets seem to be reporting from a sci-fi multiverse, in which alternate facts and realities seemingly coexist, \u003ci>Mixed Messages\u003c/i> temporarily makes those purveyors of overlapping and contradictory information speak the same language.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Mixed Messages\u003c/b> is on view at the Museum of Craft and Design in San Francisco through Friday, Nov. 17, 2017. For more information visit \u003ca href=\"http://sfmcd.org/mixed-messages/\" target=\"_blank\" rel=\"noopener\">sfmcd.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12740605/chris-eckerts-mixed-messages-transforms-news-into-morse-code",
"authors": [
"61"
],
"categories": [
"arts_70"
],
"tags": [
"arts_1642",
"arts_1119",
"arts_1118",
"arts_596"
],
"featImg": "arts_12740796",
"label": "arts"
},
"arts_12731471": {
"type": "posts",
"id": "arts_12731471",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12731471",
"score": null,
"sort": [
1486584016000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1486584016,
"format": "standard",
"title": "Darrin Bell’s ‘Candorville’ a Comics-Page Commentary on Trump Policies",
"headTitle": "Darrin Bell’s ‘Candorville’ a Comics-Page Commentary on Trump Policies | KQED",
"content": "\u003cp>President Trump \u003ca href=\"https://www.nytimes.com/2017/01/21/us/politics/trump-white-house-briefing-inauguration-crowd-size.html\" target=\"_blank\" rel=\"noopener\">says\u003c/a> he has a “running war with the media,” and that might as well include the funny pages. Comic strip artists have authored some of the sharpest political commentary directed against the President and his policies.\u003c/p>\n\u003cfigure id=\"attachment_12735591\" class=\"wp-caption aligncenter\" style=\"max-width: 725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Candorville-Trump.jpg\" alt=\"Darrin Bell's 'Candorville' is one of the fiercest and funniest comic-page critics of President Donald Trump. \" width=\"725\" height=\"244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump.jpg 725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-240x81.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-375x126.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-520x175.jpg 520w\" sizes=\"(max-width: 725px) 100vw, 725px\">\u003cfigcaption class=\"wp-caption-text\">Darrin Bell’s ‘Candorville’ is one of the fiercest and funniest comic-page critics of President Donald Trump. \u003ccite>(Photo: Courtesy of Darrin Bell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Never normalize him,” says cartoonist Darrin Bell, the creator of \u003cem>\u003ca href=\"http://candorville.com/\" target=\"_blank\" rel=\"noopener\">Candorville\u003c/a>\u003c/em>, a daily strip that has frequently mocked the President as well as his predecessors, and often explores race and gender issues. “I gave him the benefit of the doubt, until he launched his campaign by calling Mexican illegal immigrants ‘rapists’ and ‘murderers,’ and it only got worse from there.”\u003c/p>\n\u003cp>Bell launched \u003cem>Candorville\u003c/em> in 2003, and it now appears in more than 100 newspapers around the country, including the \u003cem>San Francisco Chronicle\u003c/em> and the \u003cem>San Jose Mercury News\u003c/em>. The Los Angeles resident and University of California Berkeley grad recently won the\u003ca href=\"http://nationalpress.org/awards/clifford-k-james-t-berryman-award-for-editorial-cartoons/\" target=\"_blank\" rel=\"noopener\"> 2016 Clifford K. and James T. Berryman Award\u003c/a> for the editorial cartoons he also draws for the \u003cem>Washington Post\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PmpqJqLTyQU\u003c/p>\n\u003cp>Bell is both African American and Jewish, an identity that he says makes him one of the first people in the room to recognize Trump’s bigotry. “Or maybe it’s more accurate to say I’m the last one in the room who has the luxury of ignoring it,” Bell says. “And Donald Trump’s actions have been screaming bigotry long before he insisted the first black president produce not only his birth certificate, but his college transcripts and his college application. Trump’s actions have been screaming bigotry ever since his company denied housing to minorities in the 1970s.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Multi-racial cast of characters\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Candorville\u003c/em> features a multi-racial cast, headed by Bell’s alter-ego, Lemont Brown, an African American single dad and deeply committed Trekkie and science nerd. Brown is also a freelance reporter, giving Bell the chance to comment on Trump’s antipathy for journalists.\u003c/p>\n\u003cfigure id=\"attachment_12735589\" class=\"wp-caption aligncenter\" style=\"max-width: 725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735589\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2.jpg\" alt=\"Candorville's Lemont Brown is a freelance reporter who spends a lot of time with his friends Susan Garcia and Clyde, the street hustler\" width=\"725\" height=\"244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2.jpg 725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2-240x81.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2-375x126.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2-520x175.jpg 520w\" sizes=\"(max-width: 725px) 100vw, 725px\">\u003cfigcaption class=\"wp-caption-text\">Candorville’s Lemont Brown is a freelance reporter who spends a lot of time with his friends Susan and Clyde, an ad executive and a street hustler. \u003ccite>(Photo: Courtesy of Darrin Bell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Lemont felt that being insulted by Trump was a rite of passage,” Bell says. “He wasn’t actually a real journalist until he made it happen. But after he was forcibly ejected by his underwear from a press conference, Trump hasn’t so much as called him a ‘loser’ once.”\u003c/p>\n\u003cp>Brown spends a lot of time hanging out with his friends from childhood, Susan Garcia, an ad executive, and Clyde, a street hustler. In one of the most memorable strips, Clyde talks about getting back at a Trump supporter who calls him the “N” word.\u003c/p>\n\u003cfigure id=\"attachment_12735599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12735599\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-800x388.jpg\" alt=\"Clyde the street hustler shows a remarkable sophistication about street politics\" width=\"800\" height=\"388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-800x388.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-768x373.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-240x117.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-375x182.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-520x252.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clyde the street hustler shows a remarkable sophistication about street politics. \u003ccite>(Photo: Courtesy of Darrin Bell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had my most cynical character live out exactly how I thought I would deal with that kind of harassment if it were to happen to me,” Bell says. “And as I often do with Clyde, I used it as an opportunity to challenge readers’ preconceptions about people who look like Clyde.”\u003c/p>\n\u003cp>\u003cstrong>Comics not always a place for politics\u003c/strong>\u003c/p>\n\u003cp>The comics pages were once off-limits for political commentary. But in the 1950s, Walt Kelly’s \u003cem>Pogo\u003c/em> took on red-baiting Senator Joseph McCarthy and then-Congressman Richard Nixon. (Kelly later caricatured Nixon, by then president, as a spider, spinning webs of deceit, and \u003ca href=\"http://viceprezofmurrica.tumblr.com/post/142523432088/the-spiro-of-76-spiro-agnew-as-a-hyena-in-pogo\" target=\"_blank\" rel=\"noopener\">Vice President Spiro Agnew as a hyena\u003c/a>).\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>Charles Schulz’s \u003cem>Peanuts\u003c/em> \u003ca href=\"http://time.com/3453647/peanuts-commentary/\" target=\"_blank\" rel=\"noopener\">tackled race\u003c/a> in its characteristically gentle way; and Gary Trudeau has been lampooning political figures (starting with Nixon) in \u003ca href=\"http://doonesbury.washingtonpost.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Doonesbury\u003c/em>\u003c/a> since it was first syndicated in 1970, often earning the strip banishment to the editorial pages. Bell’s contemporary Keith Knight, another African American cartoonist, also writes about politics in his daily strip \u003cem>\u003ca href=\"http://www.gocomics.com/theknightlife\" target=\"_blank\" rel=\"noopener\">The Knight Life.\u003c/a> \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12735602\" class=\"wp-caption aligncenter\" style=\"max-width: 504px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735602\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Doonesbury.gif\" alt=\"Doonesbury was a harsh critic of Richard Nixon during the Watergate hearings\" width=\"504\" height=\"170\">\u003cfigcaption class=\"wp-caption-text\">Doonesbury was a harsh critic of Richard Nixon during the Watergate hearings. \u003ccite>(Photo: Courtesy of Gary Trudeau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Bell says he doesn’t owe a debt to these pioneers only. He cites as inspiration the neglected work of Jay Jackson, who created the strip \u003ca href=\"http://strippersguide.blogspot.com/2017/01/a-sampling-of-bungleton-green.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Bungleton Green\u003c/em>\u003c/a> for the \u003cem>Chicago Defender, \u003c/em>America’s top black newspaper in the 1930s, as well as artists outside the world of cartooning.\u003c/p>\n\u003cp>“I feel like we all owe a debt to Honoré Daumier, to Mark Twain, to the court jester, to Aristophanes,” Bell says. “We actually all owe a debt to the very first hairy person who drew a funny picture on a cave wall about a mammoth-hunt gone wrong.”\u003c/p>\n\u003cfigure id=\"attachment_12735604\" class=\"wp-caption aligncenter\" style=\"max-width: 725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735604\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips.jpg\" alt=\"Candorville comments on the history of politics in comic strips\" width=\"725\" height=\"347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips.jpg 725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips-240x115.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips-375x179.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips-520x249.jpg 520w\" sizes=\"(max-width: 725px) 100vw, 725px\">\u003cfigcaption class=\"wp-caption-text\">Candorville comments on the history of politics in comic strips \u003ccite>(Photo: Courtesy of Darrin Bell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>As well as seeing cartooning as one of the oldest art forms, he also considers it to have a long future. “32,000 years from now, long after all of us are completely forgotten, political satire will still be there,” Bell says. “Because humanity will always, always produce smart-asses.”\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 903,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705031630,
"excerpt": "The award-winning cartoonist and UC Berkeley grad is part of a long line of artists who've authored sharp political commentary directed against presidents and their policies.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The award-winning cartoonist and UC Berkeley grad is part of a long line of artists who've authored sharp political commentary directed against presidents and their policies.",
"title": "Darrin Bell’s ‘Candorville’ a Comics-Page Commentary on Trump Policies | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Darrin Bell’s ‘Candorville’ a Comics-Page Commentary on Trump Policies",
"datePublished": "2017-02-08T12:00:16-08:00",
"dateModified": "2024-01-11T19:53:50-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "darrin-bells-candorville-a-funny-pages-feud-against-trump-policies",
"status": "publish",
"sticky": false,
"path": "/arts/12731471/darrin-bells-candorville-a-funny-pages-feud-against-trump-policies",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>President Trump \u003ca href=\"https://www.nytimes.com/2017/01/21/us/politics/trump-white-house-briefing-inauguration-crowd-size.html\" target=\"_blank\" rel=\"noopener\">says\u003c/a> he has a “running war with the media,” and that might as well include the funny pages. Comic strip artists have authored some of the sharpest political commentary directed against the President and his policies.\u003c/p>\n\u003cfigure id=\"attachment_12735591\" class=\"wp-caption aligncenter\" style=\"max-width: 725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Candorville-Trump.jpg\" alt=\"Darrin Bell's 'Candorville' is one of the fiercest and funniest comic-page critics of President Donald Trump. \" width=\"725\" height=\"244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump.jpg 725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-240x81.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-375x126.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-520x175.jpg 520w\" sizes=\"(max-width: 725px) 100vw, 725px\">\u003cfigcaption class=\"wp-caption-text\">Darrin Bell’s ‘Candorville’ is one of the fiercest and funniest comic-page critics of President Donald Trump. \u003ccite>(Photo: Courtesy of Darrin Bell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Never normalize him,” says cartoonist Darrin Bell, the creator of \u003cem>\u003ca href=\"http://candorville.com/\" target=\"_blank\" rel=\"noopener\">Candorville\u003c/a>\u003c/em>, a daily strip that has frequently mocked the President as well as his predecessors, and often explores race and gender issues. “I gave him the benefit of the doubt, until he launched his campaign by calling Mexican illegal immigrants ‘rapists’ and ‘murderers,’ and it only got worse from there.”\u003c/p>\n\u003cp>Bell launched \u003cem>Candorville\u003c/em> in 2003, and it now appears in more than 100 newspapers around the country, including the \u003cem>San Francisco Chronicle\u003c/em> and the \u003cem>San Jose Mercury News\u003c/em>. The Los Angeles resident and University of California Berkeley grad recently won the\u003ca href=\"http://nationalpress.org/awards/clifford-k-james-t-berryman-award-for-editorial-cartoons/\" target=\"_blank\" rel=\"noopener\"> 2016 Clifford K. and James T. Berryman Award\u003c/a> for the editorial cartoons he also draws for the \u003cem>Washington Post\u003c/em>.\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/PmpqJqLTyQU'\n title='//www.youtube.com/embed/PmpqJqLTyQU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bell is both African American and Jewish, an identity that he says makes him one of the first people in the room to recognize Trump’s bigotry. “Or maybe it’s more accurate to say I’m the last one in the room who has the luxury of ignoring it,” Bell says. “And Donald Trump’s actions have been screaming bigotry long before he insisted the first black president produce not only his birth certificate, but his college transcripts and his college application. Trump’s actions have been screaming bigotry ever since his company denied housing to minorities in the 1970s.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Multi-racial cast of characters\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Candorville\u003c/em> features a multi-racial cast, headed by Bell’s alter-ego, Lemont Brown, an African American single dad and deeply committed Trekkie and science nerd. Brown is also a freelance reporter, giving Bell the chance to comment on Trump’s antipathy for journalists.\u003c/p>\n\u003cfigure id=\"attachment_12735589\" class=\"wp-caption aligncenter\" style=\"max-width: 725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735589\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2.jpg\" alt=\"Candorville's Lemont Brown is a freelance reporter who spends a lot of time with his friends Susan Garcia and Clyde, the street hustler\" width=\"725\" height=\"244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2.jpg 725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2-240x81.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2-375x126.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2-520x175.jpg 520w\" sizes=\"(max-width: 725px) 100vw, 725px\">\u003cfigcaption class=\"wp-caption-text\">Candorville’s Lemont Brown is a freelance reporter who spends a lot of time with his friends Susan and Clyde, an ad executive and a street hustler. \u003ccite>(Photo: Courtesy of Darrin Bell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Lemont felt that being insulted by Trump was a rite of passage,” Bell says. “He wasn’t actually a real journalist until he made it happen. But after he was forcibly ejected by his underwear from a press conference, Trump hasn’t so much as called him a ‘loser’ once.”\u003c/p>\n\u003cp>Brown spends a lot of time hanging out with his friends from childhood, Susan Garcia, an ad executive, and Clyde, a street hustler. In one of the most memorable strips, Clyde talks about getting back at a Trump supporter who calls him the “N” word.\u003c/p>\n\u003cfigure id=\"attachment_12735599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12735599\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-800x388.jpg\" alt=\"Clyde the street hustler shows a remarkable sophistication about street politics\" width=\"800\" height=\"388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-800x388.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-768x373.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-240x117.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-375x182.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-520x252.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clyde the street hustler shows a remarkable sophistication about street politics. \u003ccite>(Photo: Courtesy of Darrin Bell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had my most cynical character live out exactly how I thought I would deal with that kind of harassment if it were to happen to me,” Bell says. “And as I often do with Clyde, I used it as an opportunity to challenge readers’ preconceptions about people who look like Clyde.”\u003c/p>\n\u003cp>\u003cstrong>Comics not always a place for politics\u003c/strong>\u003c/p>\n\u003cp>The comics pages were once off-limits for political commentary. But in the 1950s, Walt Kelly’s \u003cem>Pogo\u003c/em> took on red-baiting Senator Joseph McCarthy and then-Congressman Richard Nixon. (Kelly later caricatured Nixon, by then president, as a spider, spinning webs of deceit, and \u003ca href=\"http://viceprezofmurrica.tumblr.com/post/142523432088/the-spiro-of-76-spiro-agnew-as-a-hyena-in-pogo\" target=\"_blank\" rel=\"noopener\">Vice President Spiro Agnew as a hyena\u003c/a>).\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>Charles Schulz’s \u003cem>Peanuts\u003c/em> \u003ca href=\"http://time.com/3453647/peanuts-commentary/\" target=\"_blank\" rel=\"noopener\">tackled race\u003c/a> in its characteristically gentle way; and Gary Trudeau has been lampooning political figures (starting with Nixon) in \u003ca href=\"http://doonesbury.washingtonpost.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Doonesbury\u003c/em>\u003c/a> since it was first syndicated in 1970, often earning the strip banishment to the editorial pages. Bell’s contemporary Keith Knight, another African American cartoonist, also writes about politics in his daily strip \u003cem>\u003ca href=\"http://www.gocomics.com/theknightlife\" target=\"_blank\" rel=\"noopener\">The Knight Life.\u003c/a> \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12735602\" class=\"wp-caption aligncenter\" style=\"max-width: 504px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735602\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Doonesbury.gif\" alt=\"Doonesbury was a harsh critic of Richard Nixon during the Watergate hearings\" width=\"504\" height=\"170\">\u003cfigcaption class=\"wp-caption-text\">Doonesbury was a harsh critic of Richard Nixon during the Watergate hearings. \u003ccite>(Photo: Courtesy of Gary Trudeau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Bell says he doesn’t owe a debt to these pioneers only. He cites as inspiration the neglected work of Jay Jackson, who created the strip \u003ca href=\"http://strippersguide.blogspot.com/2017/01/a-sampling-of-bungleton-green.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Bungleton Green\u003c/em>\u003c/a> for the \u003cem>Chicago Defender, \u003c/em>America’s top black newspaper in the 1930s, as well as artists outside the world of cartooning.\u003c/p>\n\u003cp>“I feel like we all owe a debt to Honoré Daumier, to Mark Twain, to the court jester, to Aristophanes,” Bell says. “We actually all owe a debt to the very first hairy person who drew a funny picture on a cave wall about a mammoth-hunt gone wrong.”\u003c/p>\n\u003cfigure id=\"attachment_12735604\" class=\"wp-caption aligncenter\" style=\"max-width: 725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735604\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips.jpg\" alt=\"Candorville comments on the history of politics in comic strips\" width=\"725\" height=\"347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips.jpg 725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips-240x115.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips-375x179.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips-520x249.jpg 520w\" sizes=\"(max-width: 725px) 100vw, 725px\">\u003cfigcaption class=\"wp-caption-text\">Candorville comments on the history of politics in comic strips \u003ccite>(Photo: Courtesy of Darrin Bell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>As well as seeing cartooning as one of the oldest art forms, he also considers it to have a long future. “32,000 years from now, long after all of us are completely forgotten, political satire will still be there,” Bell says. “Because humanity will always, always produce smart-asses.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12731471/darrin-bells-candorville-a-funny-pages-feud-against-trump-policies",
"authors": [
"32"
],
"categories": [
"arts_235",
"arts_75",
"arts_70"
],
"tags": [
"arts_1642",
"arts_1119",
"arts_1118",
"arts_596"
],
"featImg": "arts_12735608",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"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.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=visualarts": {
"isFetching": false,
"latestQuery": {
"from": 1272,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2479,
"relation": "eq"
},
"items": [
"arts_12781345",
"arts_12794217",
"arts_12781139",
"arts_12768472",
"arts_12772088",
"arts_12767689",
"arts_12762640",
"arts_12763245",
"arts_12727003",
"arts_12749365",
"arts_12740605",
"arts_12731471"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_visualarts": {
"isLoading": true
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_3130": {
"type": "terms",
"id": "arts_3130",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3130",
"found": true
},
"relationships": {},
"featImg": null,
"name": "unwind",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "unwind Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3142,
"slug": "unwind",
"isLoading": false,
"link": "/arts/tag/unwind"
},
"arts_1007": {
"type": "terms",
"id": "arts_1007",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1007",
"found": true
},
"relationships": {},
"featImg": null,
"name": "video",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "video Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1024,
"slug": "video",
"isLoading": false,
"link": "/arts/tag/video"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_1334": {
"type": "terms",
"id": "arts_1334",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1334",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the do list",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the do list Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1346,
"slug": "the-do-list",
"isLoading": false,
"link": "/arts/tag/the-do-list"
},
"arts_1642": {
"type": "terms",
"id": "arts_1642",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1642",
"found": true
},
"relationships": {},
"featImg": null,
"name": "#100daysart",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "#100daysart Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1654,
"slug": "100daysart",
"isLoading": false,
"link": "/arts/tag/100daysart"
},
"arts_1037": {
"type": "terms",
"id": "arts_1037",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1037",
"found": true
},
"relationships": {},
"featImg": null,
"name": "audio",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "audio Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1054,
"slug": "audio",
"isLoading": false,
"link": "/arts/tag/audio"
},
"arts_1119": {
"type": "terms",
"id": "arts_1119",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1119",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1136,
"slug": "feature",
"isLoading": false,
"link": "/arts/tag/feature"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"arts_752": {
"type": "terms",
"id": "arts_752",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "752",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-do-list",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-do-list Archives | KQED Arts",
"ogDescription": null
},
"ttid": 770,
"slug": "the-do-list-2",
"isLoading": false,
"link": "/arts/tag/the-do-list-2"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_1448": {
"type": "terms",
"id": "arts_1448",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1448",
"found": true
},
"relationships": {},
"featImg": null,
"name": "art wire",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "art wire Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1460,
"slug": "art-wire",
"isLoading": false,
"link": "/arts/tag/art-wire"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
