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"content": "\u003cp>When Bay Area artist Monica Lundy and Los Angeles gallery-owner Walter Maciel organized the massive group exhibition \u003ci>With Liberty and Justice for Some\u003c/i>, they had no idea how prescient it was. The show of 113 artists, which opened on Jan. 7 with the highest attendance Maciel has seen in his 11 years of operation, centers around a group of 82 8-by-8-inch portraits of immigrants, arranged to resemble an American flag. The symbolism is unavoidable.\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>Back when Donald Trump was still the President-elect, long before his Jan. 27 executive order became a flashpoint for pro-immigrant rallies at airports across the nation, Lundy, like many in her artistic community, felt both helpless and determined to do something, anything, in response to Trump’s presidency.\u003c/p>\n\u003cp>“We wanted the project to be supportive of some of the communities under attack by this incoming administration,” Lundy told KQED Arts. “That Mexicans are being threatened with deportation, and Muslims, of being shut out, it reminds me of the history of bigotry in this country.”\u003c/p>\n\u003cp>She found a willing partner for the project in Maciel, and the call for portraits of immigrants took shape quickly. Bay Area artists involved in the show include longtime Mills College professor and Chinese-born painter Hung Liu, Phillip Hua, Yulia Pinkusevich, Rodney Ewing, Dave Kim and Soad Kader. Each chose to represent either a close friend or family member, or in the case of Ewing, personal hero and pan-Africanist Marcus Garvey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Immigrants represented in the 158 portraits on view at \u003ca href=\"http://www.waltermacielgallery.com\" target=\"_blank\" rel=\"noopener\">Walter Maciel Gallery\u003c/a> include well-known figures more regularly defined by their contributions to American society than their foreign birthplaces: former Secretary of State Madeline Albright, Albert Einstein, Stokely Carmichael, Bela Lugosi, and naturalist John Muir.\u003c/p>\n\u003cp>Alongside the easily recognized faces are the immigrants known only to those who lovingly rendered their portraits: artists’ parents, neighbors, teachers and loved ones. Immigrants are ubiquitous, the portraits emphasize; to delegitimize their presence in the United States would rip apart the very fabric of our democracy.\u003c/p>\n\u003cp>Putting, as Maciel says, their money where their mouths are, the gallery is donating 30 percent of all artwork sales to the ACLU, The Trevor Project, the Center for Reproductive Rights, Planned Parenthood, the Los Angeles LGBT Center and the San Francisco LGBT Center. Twenty portraits have already sold. “We are using our strength and capabilities to make a statement, but also directly supporting those organizations on the front line of taking on this administration,” says Maciel.\u003c/p>\n\u003cp>\u003ci>Video by Kelly Whalen, Text by Sarah Hotchkiss\u003c/i>\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>With Liberty and Justice for Some\u003c/b> is on view at Walter Maciel Gallery in Los Angeles through March 4, 2017. For more information visit waltermacielgallery.com.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Bay Area artist Monica Lundy and Los Angeles gallery-owner Walter Maciel organized the massive group exhibition \u003ci>With Liberty and Justice for Some\u003c/i>, they had no idea how prescient it was. The show of 113 artists, which opened on Jan. 7 with the highest attendance Maciel has seen in his 11 years of operation, centers around a group of 82 8-by-8-inch portraits of immigrants, arranged to resemble an American flag. The symbolism is unavoidable.\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>Back when Donald Trump was still the President-elect, long before his Jan. 27 executive order became a flashpoint for pro-immigrant rallies at airports across the nation, Lundy, like many in her artistic community, felt both helpless and determined to do something, anything, in response to Trump’s presidency.\u003c/p>\n\u003cp>“We wanted the project to be supportive of some of the communities under attack by this incoming administration,” Lundy told KQED Arts. “That Mexicans are being threatened with deportation, and Muslims, of being shut out, it reminds me of the history of bigotry in this country.”\u003c/p>\n\u003cp>She found a willing partner for the project in Maciel, and the call for portraits of immigrants took shape quickly. Bay Area artists involved in the show include longtime Mills College professor and Chinese-born painter Hung Liu, Phillip Hua, Yulia Pinkusevich, Rodney Ewing, Dave Kim and Soad Kader. Each chose to represent either a close friend or family member, or in the case of Ewing, personal hero and pan-Africanist Marcus Garvey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Immigrants represented in the 158 portraits on view at \u003ca href=\"http://www.waltermacielgallery.com\" target=\"_blank\" rel=\"noopener\">Walter Maciel Gallery\u003c/a> include well-known figures more regularly defined by their contributions to American society than their foreign birthplaces: former Secretary of State Madeline Albright, Albert Einstein, Stokely Carmichael, Bela Lugosi, and naturalist John Muir.\u003c/p>\n\u003cp>Alongside the easily recognized faces are the immigrants known only to those who lovingly rendered their portraits: artists’ parents, neighbors, teachers and loved ones. Immigrants are ubiquitous, the portraits emphasize; to delegitimize their presence in the United States would rip apart the very fabric of our democracy.\u003c/p>\n\u003cp>Putting, as Maciel says, their money where their mouths are, the gallery is donating 30 percent of all artwork sales to the ACLU, The Trevor Project, the Center for Reproductive Rights, Planned Parenthood, the Los Angeles LGBT Center and the San Francisco LGBT Center. Twenty portraits have already sold. “We are using our strength and capabilities to make a statement, but also directly supporting those organizations on the front line of taking on this administration,” says Maciel.\u003c/p>\n\u003cp>\u003ci>Video by Kelly Whalen, Text by Sarah Hotchkiss\u003c/i>\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>With Liberty and Justice for Some\u003c/b> is on view at Walter Maciel Gallery in Los Angeles through March 4, 2017. For more information visit waltermacielgallery.com.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "R/SF Projects Displays a 'Premium Emporium' of Fabulous Faux Decadence",
"headTitle": "R/SF Projects Displays a ‘Premium Emporium’ of Fabulous Faux Decadence | KQED",
"content": "\u003cp>If you manage to escape the gravitational pull of hot butter smell emanating from Mr. Holmes bakeshop next door to \u003ca href=\"http://rsfprojects.com/\" target=\"_blank\" rel=\"noopener\">R/SF projects\u003c/a>, you’ll find yourself inside one of San Francisco’s newest artist-run galleries, a two-story storefront focused on “contemporary work, alternative projects and offbeat programming from the Bay Area’s emerging talent.”\u003c/p>\n\u003cp>The current exhibition, a solo show from San Francisco-based artist \u003ca href=\"http://hadar-kleiman.com/\" target=\"_blank\" rel=\"noopener\">Hadar Kleiman\u003c/a>, is a study in the display methods of luxury goods, appropriately titled \u003ci>Premium Emporium\u003c/i>. The show’s centerpiece is \u003ci>Mall Wall\u003c/i>, a viewing station, complete with a small bench, for an inset display of cast and found objects bounded by a faux-gold frame. Positioned diagonally in the gallery’s ground-floor space, \u003ci>Mall Wall\u003c/i> makes its construction — and artifice — fully visible, with raw wood supports, clamps and lighting fully on view behind the laminated wall.\u003c/p>\n\u003cfigure id=\"attachment_12731086\" 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/MallWall.jpg\" alt=\"Hadar Kleiman, Front and back of 'Mall Wall,' 2016.\" width=\"1200\" height=\"895\" class=\"size-full wp-image-12731086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-1180x880.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-960x716.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-520x388.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hadar Kleiman, Front and back of ‘Mall Wall,’ 2016. \u003ccite>(Courtesy of R/SF projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Premium Emporium\u003c/i> is rife with clever thematic and material connections. In the mezzanine space overlooking the ground-floor gallery, a trio of wall-mounted terrazzo diamonds, made by the artist with skills gleaned from YouTube demos, connect back to the downstairs sculpture \u003ci>Lingam\u003c/i>, a phallic ceramic piece supported by a pedestal wrapped in terrazzo-patterned adhesive film. \u003c/p>\n\u003cp>An outlier in the exhibition is \u003ci>If The Tooth Fits\u003c/i>, a sculpture of strange aesthetic decisions. Like \u003ci>Mall Wall\u003c/i>, it has two views. From the front, oversized yellow teeth set in lurid pink gums support a purple plywood roof. Viewed from behind, the roof contains a mirror and leaf-filled diorama, at the center of which sits a small cobra figurine. The entire sculpture rests atop a table that would fit neatly into the interior decorating scheme of a Mel’s Diner.\u003c/p>\n\u003cfigure id=\"attachment_12731085\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68.jpg\" alt=\"Hadar Kleiman, Detail of 'Mall Wall,' 2016.\" width=\"1000\" height=\"668\" class=\"size-full wp-image-12731085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Hadar Kleiman, Detail of ‘Mall Wall,’ 2016. \u003ccite>(Courtesy of R/SF projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though fake foliage and images of pyramids and snakes appear elsewhere in the show, \u003ci>If The Tooth Fits\u003c/i> stands out as a singularly weird piece, a rare occurrence in the highly curated world of white cube spaces.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Amid the many textures, colors and material choices in \u003ci>Premium Emporium\u003c/i>, Kleiman demonstrates an impressive facility with her chosen supplies, easily incorporating synthetic fur, gold leaf glass tiles and a Corkcomfort floating floor into her examination of visual decadence and its many approximations. \u003c/p>\n\u003cp>Bonus points: After a visit to R/SF, follow your nose to gustatory decadence and sample \u003ca href=\"http://mrholmesbakehouse.com/locations/SF\" target=\"_blank\" rel=\"noopener\">Mr. Holmes\u003c/a>’ signature “cruffin,” a hybrid pastry covered in sugar and stuffed with a flavor-changing-daily creme.\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>Premium Emporium\u003c/b> is on view at R/SF projects in San Francisco through Feb. 26, 2017. For more information visit \u003ca href=\"http://rsfprojects.com/\" target=\"_blank\" rel=\"noopener\">rsfprojects.com\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you manage to escape the gravitational pull of hot butter smell emanating from Mr. Holmes bakeshop next door to \u003ca href=\"http://rsfprojects.com/\" target=\"_blank\" rel=\"noopener\">R/SF projects\u003c/a>, you’ll find yourself inside one of San Francisco’s newest artist-run galleries, a two-story storefront focused on “contemporary work, alternative projects and offbeat programming from the Bay Area’s emerging talent.”\u003c/p>\n\u003cp>The current exhibition, a solo show from San Francisco-based artist \u003ca href=\"http://hadar-kleiman.com/\" target=\"_blank\" rel=\"noopener\">Hadar Kleiman\u003c/a>, is a study in the display methods of luxury goods, appropriately titled \u003ci>Premium Emporium\u003c/i>. The show’s centerpiece is \u003ci>Mall Wall\u003c/i>, a viewing station, complete with a small bench, for an inset display of cast and found objects bounded by a faux-gold frame. Positioned diagonally in the gallery’s ground-floor space, \u003ci>Mall Wall\u003c/i> makes its construction — and artifice — fully visible, with raw wood supports, clamps and lighting fully on view behind the laminated wall.\u003c/p>\n\u003cfigure id=\"attachment_12731086\" 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/MallWall.jpg\" alt=\"Hadar Kleiman, Front and back of 'Mall Wall,' 2016.\" width=\"1200\" height=\"895\" class=\"size-full wp-image-12731086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-1180x880.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-960x716.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MallWall-520x388.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hadar Kleiman, Front and back of ‘Mall Wall,’ 2016. \u003ccite>(Courtesy of R/SF projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Premium Emporium\u003c/i> is rife with clever thematic and material connections. In the mezzanine space overlooking the ground-floor gallery, a trio of wall-mounted terrazzo diamonds, made by the artist with skills gleaned from YouTube demos, connect back to the downstairs sculpture \u003ci>Lingam\u003c/i>, a phallic ceramic piece supported by a pedestal wrapped in terrazzo-patterned adhesive film. \u003c/p>\n\u003cp>An outlier in the exhibition is \u003ci>If The Tooth Fits\u003c/i>, a sculpture of strange aesthetic decisions. Like \u003ci>Mall Wall\u003c/i>, it has two views. From the front, oversized yellow teeth set in lurid pink gums support a purple plywood roof. Viewed from behind, the roof contains a mirror and leaf-filled diorama, at the center of which sits a small cobra figurine. The entire sculpture rests atop a table that would fit neatly into the interior decorating scheme of a Mel’s Diner.\u003c/p>\n\u003cfigure id=\"attachment_12731085\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68.jpg\" alt=\"Hadar Kleiman, Detail of 'Mall Wall,' 2016.\" width=\"1000\" height=\"668\" class=\"size-full wp-image-12731085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CopyofPremiumEmporium-68-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Hadar Kleiman, Detail of ‘Mall Wall,’ 2016. \u003ccite>(Courtesy of R/SF projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though fake foliage and images of pyramids and snakes appear elsewhere in the show, \u003ci>If The Tooth Fits\u003c/i> stands out as a singularly weird piece, a rare occurrence in the highly curated world of white cube spaces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Amid the many textures, colors and material choices in \u003ci>Premium Emporium\u003c/i>, Kleiman demonstrates an impressive facility with her chosen supplies, easily incorporating synthetic fur, gold leaf glass tiles and a Corkcomfort floating floor into her examination of visual decadence and its many approximations. \u003c/p>\n\u003cp>Bonus points: After a visit to R/SF, follow your nose to gustatory decadence and sample \u003ca href=\"http://mrholmesbakehouse.com/locations/SF\" target=\"_blank\" rel=\"noopener\">Mr. Holmes\u003c/a>’ signature “cruffin,” a hybrid pastry covered in sugar and stuffed with a flavor-changing-daily creme.\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>Premium Emporium\u003c/b> is on view at R/SF projects in San Francisco through Feb. 26, 2017. For more information visit \u003ca href=\"http://rsfprojects.com/\" target=\"_blank\" rel=\"noopener\">rsfprojects.com\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Town-Hall Feel at 'The Art of Resistance' in Santa Rosa",
"headTitle": "A Town-Hall Feel at ‘The Art of Resistance’ in Santa Rosa | KQED",
"content": "\u003cp>Any art exhibit positioning itself the definitive single response to Trump’s election is — pardon the reference — an alternative fact. As the country undergoes a staggering shift, the scale of which becomes more evident each day, trying to count valid responses would be an exercise mirroring census-taking, each one different.\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>A new exhibit in Santa Rosa knows this. With the work of 30 artists in the narrow confines of Backstreet Gallery, \u003cem>The Art of Resistance\u003c/em> feels like a town hall meeting of different voices, trying to make logical and emotional sense of this confusing national moment. The show, organized but not juried by artist Suzanne Edminster, came with only one rule: all art must have been created after Nov. 8, 2016.\u003c/p>\n\u003cp>At the opening reception, rain didn’t stop shoulder-to-shoulder attendance. “There’s been a cultural climate change now,” Edminster told attendees at one point, “and artists have to fight against that.”\u003c/p>\n\u003cfigure id=\"attachment_12726994\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/KateEBlack.jpg\" alt=\"'Heart Broken,' Kate E. Black, 2017.\" width=\"960\" height=\"766\" class=\"size-full wp-image-12726994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-768x613.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-375x299.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-520x415.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">‘Heart Broken,’ Kate E. Black, 2017.\u003c/figcaption>\u003c/figure>\n\u003cp>At the door, I was handed a postcard to send to elected representatives; inside the narrow gallery, packed with people, a table offered Cheetos dipped in “shredded democra-cheese.” Yet little of the art was activist-oriented, like the postcard, or overtly humorous, like the Cheetos. Most of it simply captured an emotional reaction, and not necessarily to Trump himself but to a broken national discourse. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Take Kristen Throop’s readymade cuckoo clocks, for example. At the beginning of last year, the Santa Rosa artist found herself fascinated with cuckoo clocks, buying them in various states of disrepair with the intention of fixing them herself. Over time, she accepted that their many moving parts were too complicated, or proprietary. Then the election happened. She realized that, like her dormant clocks, democracy had become overnight a fragile, beloved thing that she didn’t have the means to fix. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/CuckooClocks-800x532.jpg\" alt=\"CuckooClocks\" width=\"800\" height=\"532\" class=\"aligncenter size-medium wp-image-12726995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In cards, each of Throop’s broken clocks is titled with notes: \u003cem>Equal Justice\u003c/em>, reads one, “Needs to have weight.” \u003cem>Gun Control (clock from Newton CT)\u003c/em> reads another, “Bellows need to be reinstalled to be heard.” One titled \u003cem>Intelligent Political Discourse\u003c/em> is “A musical clock, x-tra hard to fix.” With each purchase of a clock comes a bag of needed repair parts, along with a copy of the Constitution. (Until they’re fixed, there’s no telling how often they’ll tweet.)\u003c/p>\n\u003cp>Among the more humorous pieces is Tony Spiers’ \u003cem>I.D.K.\u003c/em>, showing \u003cem>My Little Pony\u003c/em>’s Rainbow Dash in a classic ¯\\_(ツ)_/¯ pose. And weren’t we just talking about tweeting? There’s a bird in the piece, too, and a young bobbysoxer from the 1930s. Spiers painted it immediately after the election: “This is me asking ‘now what?’ and realizing I don’t know,” he writes. “But initial shock and confusion has rapidly morphed into resolve and resistance.”\u003c/p>\n\u003cfigure id=\"attachment_12726996\" 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/TonySpeirs.IDK_-800x797.jpg\" alt=\"Tony Speirs, 'I.D.K.,' 2017.\" width=\"800\" height=\"797\" class=\"size-medium wp-image-12726996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-800x797.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-768x765.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-375x373.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tony Speirs, ‘I.D.K.,’ 2017.\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, much of the show captures the moment of doubt and confusion. Max Dubois’ painting \u003cem>Desultory Agenda U S A\u003c/em> calls to mind a circuit board whose capacitors and resistors have yet to forge solid connections. Kate E. Black’s \u003cem>Heart Broken\u003c/em> is a painting peppered with words like “liberty” and “freedom,” all appended with question marks, which change the meaning of the entire piece. \u003c/p>\n\u003cp>Far too easy to overlook amidst all the work is \u003cem>Complacency is a Deadly Sin\u003c/em>, a necklace from Michelle Hoting. Created with red-and-white star-spangled beads from 1945 occupied Japan, and three Hear No Evil / See No Evil / Speak No Evil rabbits carved of bone from circa-1940 China, the piece is a beautiful but weighty reminder of what can happen in the world when power goes unchecked.\u003c/p>\n\u003cfigure id=\"attachment_12726997\" 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/MichelleHoting.ComplecencyIsaDeadlySin-800x800.jpg\" alt=\"Michelle Hoting, 'Complacency is a Deadly Sin,' 2017.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12726997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Hoting, ‘Complacency is a Deadly Sin,’ 2017.\u003c/figcaption>\u003c/figure>\n\u003cp>Is \u003cem>The Art of Resistance\u003c/em> an effective check of power? In its way, yes, it is, but the question is all wrong. More to the moment, one might ask: does it symbolize the unifying role of art at a much-divided time? Certainly — even with its varying subjects and methods. Any lack of coherence on the part of the show is forgiven, welcome, even. Is there anything coherent about this time in our country?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Art of Resistance’ is open Saturdays through February, noon-5pm, with a closing reception on Friday, March 3, from 5pm-8pm. Details and more information can be found \u003ca href=\"https://www.facebook.com/events/368030146900328/?active_tab=about\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "By reacting quickly, 'The Art of Resistance' at Backstreet Gallery captures a cultural moment through 30 artists' work — all created after Nov. 8, 2016.",
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"title": "A Town-Hall Feel at 'The Art of Resistance' in Santa Rosa | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Any art exhibit positioning itself the definitive single response to Trump’s election is — pardon the reference — an alternative fact. As the country undergoes a staggering shift, the scale of which becomes more evident each day, trying to count valid responses would be an exercise mirroring census-taking, each one different.\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>A new exhibit in Santa Rosa knows this. With the work of 30 artists in the narrow confines of Backstreet Gallery, \u003cem>The Art of Resistance\u003c/em> feels like a town hall meeting of different voices, trying to make logical and emotional sense of this confusing national moment. The show, organized but not juried by artist Suzanne Edminster, came with only one rule: all art must have been created after Nov. 8, 2016.\u003c/p>\n\u003cp>At the opening reception, rain didn’t stop shoulder-to-shoulder attendance. “There’s been a cultural climate change now,” Edminster told attendees at one point, “and artists have to fight against that.”\u003c/p>\n\u003cfigure id=\"attachment_12726994\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/KateEBlack.jpg\" alt=\"'Heart Broken,' Kate E. Black, 2017.\" width=\"960\" height=\"766\" class=\"size-full wp-image-12726994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-768x613.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-375x299.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KateEBlack-520x415.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">‘Heart Broken,’ Kate E. Black, 2017.\u003c/figcaption>\u003c/figure>\n\u003cp>At the door, I was handed a postcard to send to elected representatives; inside the narrow gallery, packed with people, a table offered Cheetos dipped in “shredded democra-cheese.” Yet little of the art was activist-oriented, like the postcard, or overtly humorous, like the Cheetos. Most of it simply captured an emotional reaction, and not necessarily to Trump himself but to a broken national discourse. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Take Kristen Throop’s readymade cuckoo clocks, for example. At the beginning of last year, the Santa Rosa artist found herself fascinated with cuckoo clocks, buying them in various states of disrepair with the intention of fixing them herself. Over time, she accepted that their many moving parts were too complicated, or proprietary. Then the election happened. She realized that, like her dormant clocks, democracy had become overnight a fragile, beloved thing that she didn’t have the means to fix. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/CuckooClocks-800x532.jpg\" alt=\"CuckooClocks\" width=\"800\" height=\"532\" class=\"aligncenter size-medium wp-image-12726995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/CuckooClocks.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In cards, each of Throop’s broken clocks is titled with notes: \u003cem>Equal Justice\u003c/em>, reads one, “Needs to have weight.” \u003cem>Gun Control (clock from Newton CT)\u003c/em> reads another, “Bellows need to be reinstalled to be heard.” One titled \u003cem>Intelligent Political Discourse\u003c/em> is “A musical clock, x-tra hard to fix.” With each purchase of a clock comes a bag of needed repair parts, along with a copy of the Constitution. (Until they’re fixed, there’s no telling how often they’ll tweet.)\u003c/p>\n\u003cp>Among the more humorous pieces is Tony Spiers’ \u003cem>I.D.K.\u003c/em>, showing \u003cem>My Little Pony\u003c/em>’s Rainbow Dash in a classic ¯\\_(ツ)_/¯ pose. And weren’t we just talking about tweeting? There’s a bird in the piece, too, and a young bobbysoxer from the 1930s. Spiers painted it immediately after the election: “This is me asking ‘now what?’ and realizing I don’t know,” he writes. “But initial shock and confusion has rapidly morphed into resolve and resistance.”\u003c/p>\n\u003cfigure id=\"attachment_12726996\" 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/TonySpeirs.IDK_-800x797.jpg\" alt=\"Tony Speirs, 'I.D.K.,' 2017.\" width=\"800\" height=\"797\" class=\"size-medium wp-image-12726996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-800x797.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-768x765.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-375x373.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TonySpeirs.IDK_-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tony Speirs, ‘I.D.K.,’ 2017.\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, much of the show captures the moment of doubt and confusion. Max Dubois’ painting \u003cem>Desultory Agenda U S A\u003c/em> calls to mind a circuit board whose capacitors and resistors have yet to forge solid connections. Kate E. Black’s \u003cem>Heart Broken\u003c/em> is a painting peppered with words like “liberty” and “freedom,” all appended with question marks, which change the meaning of the entire piece. \u003c/p>\n\u003cp>Far too easy to overlook amidst all the work is \u003cem>Complacency is a Deadly Sin\u003c/em>, a necklace from Michelle Hoting. Created with red-and-white star-spangled beads from 1945 occupied Japan, and three Hear No Evil / See No Evil / Speak No Evil rabbits carved of bone from circa-1940 China, the piece is a beautiful but weighty reminder of what can happen in the world when power goes unchecked.\u003c/p>\n\u003cfigure id=\"attachment_12726997\" 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/MichelleHoting.ComplecencyIsaDeadlySin-800x800.jpg\" alt=\"Michelle Hoting, 'Complacency is a Deadly Sin,' 2017.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12726997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MichelleHoting.ComplecencyIsaDeadlySin.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Hoting, ‘Complacency is a Deadly Sin,’ 2017.\u003c/figcaption>\u003c/figure>\n\u003cp>Is \u003cem>The Art of Resistance\u003c/em> an effective check of power? In its way, yes, it is, but the question is all wrong. More to the moment, one might ask: does it symbolize the unifying role of art at a much-divided time? Certainly — even with its varying subjects and methods. Any lack of coherence on the part of the show is forgiven, welcome, even. Is there anything coherent about this time in our country?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Art of Resistance’ is open Saturdays through February, noon-5pm, with a closing reception on Friday, March 3, from 5pm-8pm. Details and more information can be found \u003ca href=\"https://www.facebook.com/events/368030146900328/?active_tab=about\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "pelosis-appeal-to-rehang-black-students-painting-in-capitol-denied",
"title": "Pelosi's Appeal to Rehang Black Student's Painting in Capitol Denied",
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"content": "\u003cp>Rep. Nancy Pelosi (D-Calif.), the House minority leader, appealed but could not overturn a decision by the Architect of the Capitol to take down a high school student’s painting that depicted police officers as warthogs. \u003c/p>\n\u003cp>[contextly_sidebar id=”t3NJZV8Ch1HsniNruVjErDjd4Tgjk74w”]\u003c/p>\n\u003cp>The Architect decided to take down the painting last month after police unions and Republican congressmen protested the art work, which was hung in an underground tunnel linking the Capitol and office buildings used by the House. \u003c/p>\n\u003cp>Pelosi called for a meeting of the House Office Building Commission to appeal the decision not long after the painting was removed but the Republicans on the panel denied her Friday, according to \u003ca href=\"http://thehill.com/homenews/house/317857-pelosi-loses-bid-to-restore-cops-painting-in-capitol-complex\" target=\"_blank\" rel=\"noopener\">The Hill\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12585005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-800x653.jpg\" alt=\"Bay Area police unions joined law enforcement groups around the country calling on House Speaker Paul Ryan to remove this painting from the US Capitol complex. The artist's father Jonathan Pulphus says his son is taking the controversy in stride. "He understands that freedom of speech applies to everyone. They are entitled to their own opinion as well."\" width=\"800\" height=\"653\" class=\"size-medium wp-image-12585005\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-768x627.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-1020x833.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-960x784.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-375x306.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-520x425.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut.jpg 1111w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area police unions joined law enforcement groups around the country calling on House Speaker Paul Ryan to remove this painting from the US Capitol complex. The artist’s father Jonathan Pulphus says his son is taking the controversy in stride. “He understands that freedom of speech applies to everyone. They are entitled to their own opinion as well.” \u003ccite>(Photo: Courtesy of David Pulphus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acrylic painting, “Untitled #1,” is by David Pulphus, who was a high school student in St. Louis, Missouri during the 2014 riots in nearby Ferguson, which occurred after the controversial fatal shooting of teenager Michael Brown by a local police officer. The work depicts law enforcement as boars, who are pointing guns at unarmed citizens that are protesting, some being animals themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was submitted into an annual student art competition between congressional offices Rep. William Lacy Clay (D-Mo.), who represents Pulphus’s district.\u003c/p>\n\u003cp>A letter was signed by law enforcement organizations from around the country and sent to congress after word spread of the painting reached conservative media. The letter states:\u003c/p>\n\u003cblockquote>\u003cp>“Our law enforcement organizations, representing over 27,000 law enforcement professionals, strongly urge you to exercise the extraordinary power you possess as Speaker of the House of Representatives to immediately remove the reprehensible and repugnant ‘art’ on display in our nation’s Capitol that depicts police officers as Pigs intent on gunning down innocent people.”\u003c/p>\u003c/blockquote>\n\u003cp>The painting is the first entry to be taken down since the contest began in 1982.\u003c/p>\n\u003cp>Pelosi sent a letter to Clay Friday that criticized the panel’s decision, writing “Thank you for your leadership in protecting the expression of artists. Please convey to your constituent David Pulphus my deepest regrets of the circumstances that led to his painting to be removed. The removal dishonors our traditions and violates the First Amendment. \u003c/p>\n\u003cp>(\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/338346121-Pelosi-Letter.pdf\">Read the letter here.\u003c/a>)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Clay reportedly stated that he will hang the painting in his office. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rep. Nancy Pelosi (D-Calif.), the House minority leader, appealed but could not overturn a decision by the Architect of the Capitol to take down a high school student’s painting that depicted police officers as warthogs. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Architect decided to take down the painting last month after police unions and Republican congressmen protested the art work, which was hung in an underground tunnel linking the Capitol and office buildings used by the House. \u003c/p>\n\u003cp>Pelosi called for a meeting of the House Office Building Commission to appeal the decision not long after the painting was removed but the Republicans on the panel denied her Friday, according to \u003ca href=\"http://thehill.com/homenews/house/317857-pelosi-loses-bid-to-restore-cops-painting-in-capitol-complex\" target=\"_blank\" rel=\"noopener\">The Hill\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12585005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-800x653.jpg\" alt=\"Bay Area police unions joined law enforcement groups around the country calling on House Speaker Paul Ryan to remove this painting from the US Capitol complex. The artist's father Jonathan Pulphus says his son is taking the controversy in stride. "He understands that freedom of speech applies to everyone. They are entitled to their own opinion as well."\" width=\"800\" height=\"653\" class=\"size-medium wp-image-12585005\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-768x627.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-1020x833.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-960x784.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-375x306.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut-520x425.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23465_15877663_10210631416056032_1479861317_o-qut.jpg 1111w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area police unions joined law enforcement groups around the country calling on House Speaker Paul Ryan to remove this painting from the US Capitol complex. The artist’s father Jonathan Pulphus says his son is taking the controversy in stride. “He understands that freedom of speech applies to everyone. They are entitled to their own opinion as well.” \u003ccite>(Photo: Courtesy of David Pulphus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acrylic painting, “Untitled #1,” is by David Pulphus, who was a high school student in St. Louis, Missouri during the 2014 riots in nearby Ferguson, which occurred after the controversial fatal shooting of teenager Michael Brown by a local police officer. The work depicts law enforcement as boars, who are pointing guns at unarmed citizens that are protesting, some being animals themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was submitted into an annual student art competition between congressional offices Rep. William Lacy Clay (D-Mo.), who represents Pulphus’s district.\u003c/p>\n\u003cp>A letter was signed by law enforcement organizations from around the country and sent to congress after word spread of the painting reached conservative media. The letter states:\u003c/p>\n\u003cblockquote>\u003cp>“Our law enforcement organizations, representing over 27,000 law enforcement professionals, strongly urge you to exercise the extraordinary power you possess as Speaker of the House of Representatives to immediately remove the reprehensible and repugnant ‘art’ on display in our nation’s Capitol that depicts police officers as Pigs intent on gunning down innocent people.”\u003c/p>\u003c/blockquote>\n\u003cp>The painting is the first entry to be taken down since the contest began in 1982.\u003c/p>\n\u003cp>Pelosi sent a letter to Clay Friday that criticized the panel’s decision, writing “Thank you for your leadership in protecting the expression of artists. Please convey to your constituent David Pulphus my deepest regrets of the circumstances that led to his painting to be removed. The removal dishonors our traditions and violates the First Amendment. \u003c/p>\n\u003cp>(\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/338346121-Pelosi-Letter.pdf\">Read the letter here.\u003c/a>)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Clay reportedly stated that he will hang the painting in his office. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"http://www.famsf.org/\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a>, the largest public arts institution in San Francisco, announced Thursday an acquisition of 62 major works from African American artists in the south.\u003c/p>\n\u003cp>The organization, which operates the de Young and the Legion of Honor, acquired a mix of paintings, sculptures, drawings, and quilts by 22 celebrated artists, including Thornton Dial, Lonnie Holley and Ralph Griffin. The works came from the Atlanta-based \u003ca href=\"http://www.soulsgrowndeep.org/\" target=\"_blank\" rel=\"noopener\">Souls Grown Deep Foundation\u003c/a>, a nonprofit dedicated to preserving, exhibiting and promoting the work of black artists from the American south.\u003c/p>\n\u003cp>The de Young plans to debut the acquired works in an exhibition, \u003ci>Revelations: Art from the African American South,\u003c/i> which opens on June 3 of this year.\u003c/p>\n\u003cfigure id=\"attachment_12714186\" 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/MT_Rainy-Sunshine-800x745.jpg\" alt='Mose Tolliver (1919-2006), \"Rainy Sunshine, Cats and Dog, Drum Beater,\" 1967.' width=\"800\" height=\"745\" class=\"size-medium wp-image-12714186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-800x745.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-768x716.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-1020x950.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-1180x1099.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-960x895.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-240x224.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-375x349.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-520x485.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mose Tolliver (1919-2006), “Rainy Sunshine, Cats and Dog, Drum Beater,” 1967. \u003ccite>(Photo: Stephen Pitkin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“While all these compelling objects embody universal human values, they are also powerful testaments to African American cultural resilience and survival,” notes Timothy Anglin Burgard, the curator-in-charge of American Art for the Fine Arts Museums of San Francisco. “Originally created as expressions of personal identity and communal solidarity in the South during the modern Civil Rights era, they will now serve as catalysts to transform global art history.” \u003c/p>\n\u003cp>Fine Arts Museums of San Francisco says its relationship with Souls Grown Deep spans back to 2006, when it hosted \u003ci>The Quilts of Gee’s Bend\u003c/i> exhibit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.famsf.org/\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a>, the largest public arts institution in San Francisco, announced Thursday an acquisition of 62 major works from African American artists in the south.\u003c/p>\n\u003cp>The organization, which operates the de Young and the Legion of Honor, acquired a mix of paintings, sculptures, drawings, and quilts by 22 celebrated artists, including Thornton Dial, Lonnie Holley and Ralph Griffin. The works came from the Atlanta-based \u003ca href=\"http://www.soulsgrowndeep.org/\" target=\"_blank\" rel=\"noopener\">Souls Grown Deep Foundation\u003c/a>, a nonprofit dedicated to preserving, exhibiting and promoting the work of black artists from the American south.\u003c/p>\n\u003cp>The de Young plans to debut the acquired works in an exhibition, \u003ci>Revelations: Art from the African American South,\u003c/i> which opens on June 3 of this year.\u003c/p>\n\u003cfigure id=\"attachment_12714186\" 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/MT_Rainy-Sunshine-800x745.jpg\" alt='Mose Tolliver (1919-2006), \"Rainy Sunshine, Cats and Dog, Drum Beater,\" 1967.' width=\"800\" height=\"745\" class=\"size-medium wp-image-12714186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-800x745.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-768x716.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-1020x950.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-1180x1099.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-960x895.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-240x224.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-375x349.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/MT_Rainy-Sunshine-520x485.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mose Tolliver (1919-2006), “Rainy Sunshine, Cats and Dog, Drum Beater,” 1967. \u003ccite>(Photo: Stephen Pitkin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“While all these compelling objects embody universal human values, they are also powerful testaments to African American cultural resilience and survival,” notes Timothy Anglin Burgard, the curator-in-charge of American Art for the Fine Arts Museums of San Francisco. “Originally created as expressions of personal identity and communal solidarity in the South during the modern Civil Rights era, they will now serve as catalysts to transform global art history.” \u003c/p>\n\u003cp>Fine Arts Museums of San Francisco says its relationship with Souls Grown Deep spans back to 2006, when it hosted \u003ci>The Quilts of Gee’s Bend\u003c/i> exhibit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Beyoncé has broken the record for the most-liked Instagram post ever.\u003c/p>\n\u003cp>Beyoncé announced on Instagram Wednesday that she is expecting twins with husband Jay Z.\u003c/p>\n\u003cp>[contextly_sidebar id=”dtAeu2UbJYPV0QALRZl0utkdXmZDstX2″]\u003c/p>\n\u003cp>Surrounded by flowers and clad in a sweeping green veil, Queen Bey shows off her baby bump in the Madonna-inspired photo.\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"7\" style=\"background:#FFF;border:0;border-radius:3px;margin: 1px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:61.94444444444444% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/BP-rXUGBPJa/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">We would like to share our love and happiness. We have been blessed two times over. We are incredibly grateful that our family will be growing by two, and we thank you for your well wishes. – The Carters\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by Beyoncé (@beyonce) on Feb 1, 2017 at 10:39am PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>The photo won her the record for most-liked post ever, with more than 8 million likes and counting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She got more than 4 million likes in just the first two hours after posting.\u003c/p>\n\u003cp>And it took just seven hours to surpass one by fellow pop star Selena Gomez that has racked up 6.3 million likes with a picture of her with a Coke bottle and her song lyrics “You’re the spark” since last summer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Additional photos of the pregnant superstar are posted on her website, including one of her 5-year-old daughter, Blue Ivy kissing her tummy.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé has broken the record for the most-liked Instagram post ever.\u003c/p>\n\u003cp>Beyoncé announced on Instagram Wednesday that she is expecting twins with husband Jay Z.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Surrounded by flowers and clad in a sweeping green veil, Queen Bey shows off her baby bump in the Madonna-inspired photo.\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"7\" style=\"background:#FFF;border:0;border-radius:3px;margin: 1px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:61.94444444444444% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/BP-rXUGBPJa/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">We would like to share our love and happiness. We have been blessed two times over. We are incredibly grateful that our family will be growing by two, and we thank you for your well wishes. – The Carters\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by Beyoncé (@beyonce) on Feb 1, 2017 at 10:39am PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>The photo won her the record for most-liked post ever, with more than 8 million likes and counting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She got more than 4 million likes in just the first two hours after posting.\u003c/p>\n\u003cp>And it took just seven hours to surpass one by fellow pop star Selena Gomez that has racked up 6.3 million likes with a picture of her with a Coke bottle and her song lyrics “You’re the spark” since last summer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Additional photos of the pregnant superstar are posted on her website, including one of her 5-year-old daughter, Blue Ivy kissing her tummy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Amid Immigration Ban, 'Westoxicated' Reclaims a Shared Humanity",
"headTitle": "Amid Immigration Ban, ‘Westoxicated’ Reclaims a Shared Humanity | KQED",
"content": "\u003cp>In the midst of researching differences and similarities between Iranian and American culture for her new project, Bay Area artist \u003ca href=\"http://www.taravattalepasand.com/\" target=\"_blank\" rel=\"noopener\">Taravat Talepasand\u003c/a> found her readings inundated with a certain word: “westoxicated.”\u003c/p>\n\u003cp>\u003ca href=\"https://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>Religious Iranian historians and political writers espoused the anti-Western term to criticize and denounce anything with a strong Western influence. Talepasand, on the other hand, saw purpose in the term past divisive rhetoric.\u003c/p>\n\u003cp>“I thought it defined that psychological feeling that both Iranians outside and inside the country felt — what it means to be influenced by the West while under Islamic rule,” Talepasand says.\u003c/p>\n\u003cfigure id=\"attachment_12709916\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/BanishedFortunes.TT_.jpg\" alt=\"'Banished Fortunes,' 2016, egg tempera and oil on linen.\" width=\"500\" height=\"644\" class=\"size-full wp-image-12709916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/BanishedFortunes.TT_.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/BanishedFortunes.TT_-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/BanishedFortunes.TT_-240x309.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/BanishedFortunes.TT_-375x483.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">‘Banished Fortunes,’ 2016, egg tempera and oil on linen. \u003ccite>(Taravat Talepasand)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talepasand’s years of research come to fruition in her show \u003ca href=\"http://www.zevitasmarcus.com/exhibitions-all/to-be-announced-1\" target=\"_blank\" rel=\"noopener\">\u003cem>Westoxicated\u003c/em>,\u003c/a> which sheds light on the ways Iranian women actively resist conservative ideals to ensure their democratic rights — efforts not far removed from our own \u003ca href=\"https://ww2.kqed.org/arts/2017/01/24/building-a-stronger-more-representative-womens-march/\" target=\"_blank\" rel=\"noopener\">current situation\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Defiant cultural taboos make up the bulk of this mixed-media show, at times both irreverent and humorous. \u003cem>Westoxicated\u003c/em> features nude portraits of female Iranian professors and writers, women making rude and suggestive gestures while decked in long, black chadors, and Kim Kardashian’s notorious crying face transferred onto a silk tapestry.\u003c/p>\n\u003cp>The show also tackles the darker and lesser-known outcome of such conservative rule: large glass pipes represent the epidemic in Iran of methamphetamine, a drug touted as a weight-loss tool for middle-class women struggling to exist under an oppressive regime.\u003c/p>\n\u003cfigure id=\"attachment_12708721\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12708721\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sheesheh-800x453.jpg\" alt=\"Sheesheh I, II, III, 2015. Hand blown glass meth pipes.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sheesheh I, II, III, 2015. Hand blown glass meth pipes. \u003ccite>(Courtesy of Taravat Talepasand)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are a lot of similarities in our current contemporary culture, especially in the darker rooted problems between the U.S. and Iran,” Talepasand says. “I wanted to blur the lines that have been drawn by political and religious leaders.”\u003c/p>\n\u003cp>This reminder of our shared humanity and our shared vices is particularly important today, especially in light of President Trump’s recent \u003ca href=\"https://ww2.kqed.org/news/2017/01/29/trump-travel-ban-continues-to-spread-confusion-protests/\" target=\"_blank\" rel=\"noopener\">Muslim ban\u003c/a>.\u003c/p>\n\u003cp>Talepasand herself comes from a family of Iranian immigrants — an aunt is currently staying with her parents in Portland with a green card, trying to earn money to support her family back in Iran.\u003c/p>\n\u003cp>“I was first in total shock and tears at the ban,” Talepasand says. “She’s either stuck here, or she has to go back and can never return.”\u003c/p>\n\u003cfigure id=\"attachment_12708843\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12708843\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/HiraethHiRes.jpg\" alt=\"Hireath, 2015. Egg tempera on linen.\" width=\"750\" height=\"930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/HiraethHiRes.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/HiraethHiRes-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/HiraethHiRes-240x298.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/HiraethHiRes-375x465.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/HiraethHiRes-520x645.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Hireath, 2015. Egg tempera on linen. \u003ccite>(Courtesy of Taravat Talepasand)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the administration’s devastating immigration order, Talepasand believes it only fuels her to create more work that pushes back against the ideas set by Islamic and American politics of Iran as a country draped in black. She sees the recent community protests and marches as an example of power in numbers, which she hopes to extend to her own work.\u003c/p>\n\u003cp>“I want to create and bring together other artists from the Middle East – to coexist together and exhibit together and explain the diversity and strict adjustments in our own countries,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Westoxication’ is on view at Zevitas Marcus in Los Angeles through March 18. \u003ca href=\"http://www.zevitasmarcus.com/exhibitions-all/to-be-announced-1\" target=\"_blank\">Click here\u003c/a> for more information.\u003c/em>\u003c/p>\n\n",
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"excerpt": "In a new show coinciding with Trump's immigration ban, Bay Area artist Taravat Talepasand explores ways that Iranian women actively resist conservative ideals to ensure their democratic rights.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the midst of researching differences and similarities between Iranian and American culture for her new project, Bay Area artist \u003ca href=\"http://www.taravattalepasand.com/\" target=\"_blank\" rel=\"noopener\">Taravat Talepasand\u003c/a> found her readings inundated with a certain word: “westoxicated.”\u003c/p>\n\u003cp>\u003ca href=\"https://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>Religious Iranian historians and political writers espoused the anti-Western term to criticize and denounce anything with a strong Western influence. Talepasand, on the other hand, saw purpose in the term past divisive rhetoric.\u003c/p>\n\u003cp>“I thought it defined that psychological feeling that both Iranians outside and inside the country felt — what it means to be influenced by the West while under Islamic rule,” Talepasand says.\u003c/p>\n\u003cfigure id=\"attachment_12709916\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/BanishedFortunes.TT_.jpg\" alt=\"'Banished Fortunes,' 2016, egg tempera and oil on linen.\" width=\"500\" height=\"644\" class=\"size-full wp-image-12709916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/BanishedFortunes.TT_.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/BanishedFortunes.TT_-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/BanishedFortunes.TT_-240x309.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/BanishedFortunes.TT_-375x483.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">‘Banished Fortunes,’ 2016, egg tempera and oil on linen. \u003ccite>(Taravat Talepasand)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talepasand’s years of research come to fruition in her show \u003ca href=\"http://www.zevitasmarcus.com/exhibitions-all/to-be-announced-1\" target=\"_blank\" rel=\"noopener\">\u003cem>Westoxicated\u003c/em>,\u003c/a> which sheds light on the ways Iranian women actively resist conservative ideals to ensure their democratic rights — efforts not far removed from our own \u003ca href=\"https://ww2.kqed.org/arts/2017/01/24/building-a-stronger-more-representative-womens-march/\" target=\"_blank\" rel=\"noopener\">current situation\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Defiant cultural taboos make up the bulk of this mixed-media show, at times both irreverent and humorous. \u003cem>Westoxicated\u003c/em> features nude portraits of female Iranian professors and writers, women making rude and suggestive gestures while decked in long, black chadors, and Kim Kardashian’s notorious crying face transferred onto a silk tapestry.\u003c/p>\n\u003cp>The show also tackles the darker and lesser-known outcome of such conservative rule: large glass pipes represent the epidemic in Iran of methamphetamine, a drug touted as a weight-loss tool for middle-class women struggling to exist under an oppressive regime.\u003c/p>\n\u003cfigure id=\"attachment_12708721\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12708721\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sheesheh-800x453.jpg\" alt=\"Sheesheh I, II, III, 2015. Hand blown glass meth pipes.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sheesheh I, II, III, 2015. Hand blown glass meth pipes. \u003ccite>(Courtesy of Taravat Talepasand)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are a lot of similarities in our current contemporary culture, especially in the darker rooted problems between the U.S. and Iran,” Talepasand says. “I wanted to blur the lines that have been drawn by political and religious leaders.”\u003c/p>\n\u003cp>This reminder of our shared humanity and our shared vices is particularly important today, especially in light of President Trump’s recent \u003ca href=\"https://ww2.kqed.org/news/2017/01/29/trump-travel-ban-continues-to-spread-confusion-protests/\" target=\"_blank\" rel=\"noopener\">Muslim ban\u003c/a>.\u003c/p>\n\u003cp>Talepasand herself comes from a family of Iranian immigrants — an aunt is currently staying with her parents in Portland with a green card, trying to earn money to support her family back in Iran.\u003c/p>\n\u003cp>“I was first in total shock and tears at the ban,” Talepasand says. “She’s either stuck here, or she has to go back and can never return.”\u003c/p>\n\u003cfigure id=\"attachment_12708843\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12708843\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/HiraethHiRes.jpg\" alt=\"Hireath, 2015. Egg tempera on linen.\" width=\"750\" height=\"930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/HiraethHiRes.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/HiraethHiRes-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/HiraethHiRes-240x298.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/HiraethHiRes-375x465.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/HiraethHiRes-520x645.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Hireath, 2015. Egg tempera on linen. \u003ccite>(Courtesy of Taravat Talepasand)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the administration’s devastating immigration order, Talepasand believes it only fuels her to create more work that pushes back against the ideas set by Islamic and American politics of Iran as a country draped in black. She sees the recent community protests and marches as an example of power in numbers, which she hopes to extend to her own work.\u003c/p>\n\u003cp>“I want to create and bring together other artists from the Middle East – to coexist together and exhibit together and explain the diversity and strict adjustments in our own countries,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Westoxication’ is on view at Zevitas Marcus in Los Angeles through March 18. \u003ca href=\"http://www.zevitasmarcus.com/exhibitions-all/to-be-announced-1\" target=\"_blank\">Click here\u003c/a> for more information.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "what-standing-rock-protesters-can-learn-from-los-gatos-exhibition",
"title": "What Standing Rock Protesters Can Learn from Los Gatos Exhibition",
"publishDate": 1486065628,
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"headTitle": "What Standing Rock Protesters Can Learn from Los Gatos Exhibition | KQED",
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"content": "\u003cp>Now that President Trump has given the go-ahead for construction of the \u003ca href=\"http://www.npr.org/2017/01/24/511402501/trump-to-give-green-light-to-keystone-dakota-access-pipelines\" target=\"_blank\" rel=\"noopener\">Dakota Access Pipeline\u003c/a>, protest organizers are calling on their supporters from around the country to \u003ca href=\"https://www.revealnews.org/blog/standing-rock-protesters-to-the-world-gather-like-a-windstorm/\" target=\"_blank\" rel=\"noopener\">return to the camps\u003c/a> in North Dakota.\u003c/p>\n\u003cp>The protests at Standing Rock show the power of pan-tribal political organizing. But it’s not the first time members of different tribes have banded together to pursue a political win on the national stage.\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>You’ll find the first hint on the Facebook page of the \u003ca href=\"https://www.facebook.com/Standing-Rock-Sioux-Tribe-402298239798452/\" target=\"_blank\" rel=\"noopener\">Standing Rock Sioux Tribe\u003c/a> with inspirational photos of John Trudell, a nationally known Native American activist who first came to prominence as the spokesperson for the United Indians of All Tribes’ occupation of Alcatraz, here in the San Francisco Bay Area.\u003c/p>\n\u003cp>The story of how Trudell and tens of thousands of others got to California, and went on to develop a modern political consciousness, is covered in the exhibition\u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/11/4/cement-prairie-the-history-and-legacy-of-the-american-indian-urban-relocation-program-of-1956\" target=\"_blank\" rel=\"noopener\"> \u003c/a>\u003cem>\u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/11/4/cement-prairie-the-history-and-legacy-of-the-american-indian-urban-relocation-program-of-1956\" target=\"_blank\" rel=\"noopener\">Cement Prairie: The History and Legacy of the 1952 American Indian Urban Relocation Program\u003c/a>. \u003c/em>The show is currently on display at New Museum Los Gatos (NUMU).\u003c/p>\n\u003cfigure id=\"attachment_12709511\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12709511\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut.jpg\" alt=\"Alcatraz during the occupation of 1969-1971. This photograph and others by Ilka Hartmann are on display as part of Cement Prairie, an exhibition about Native Americans in the South Bay.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Alcatraz during the occupation of 1969-1971. This photograph and others by Ilka Hartmann are on display as part of Cement Prairie, an exhibition about Native Americans in the South Bay. \u003ccite>(Photo: Courtesy of Ilka Hartmann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Cement Prairie\u003c/em> details how 750,000 Native Americans left their reservations for big cities between 1950 and 1980, the result of a federal policy known as “Urban Relocation.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the government helped transplants find schooling and jobs in urban centers, \u003cem>Cement Prairie\u003c/em>‘s curator, Amy Long, says the promise of self-improvement came with a presumption. “The government was hoping with relocation that Indians would come here by bus or car and assimilate into the mainstream and the cities,” Long says. “And then they would just kind of disappear with the rest of us.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/305781751″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>The rooms at NUMU are filled with family photos, quilts, drums, and other artifacts that tell of a mass migration to California in the last century. The exhibition’s title, \u003cem>Cement Prairie\u003c/em>, derives from the way cities like San Jose stood in concrete contrast to the wide, grassy plains of home. Arriving in California, many Native Americans felt dislocated, alienated and lonely.\u003c/p>\n\u003ch3>The personal is political\u003c/h3>\n\u003cp>Take the story of Al Cross, who left his tribal lands in North Dakota for San Jose in 1960. “A lot of the young people that left came out here, to the West Coast,” Cross says. “They knew where it was good! Los Angeles, San Francisco, Oakland, San Jose.\u003c/p>\n\u003cfigure id=\"attachment_12709512\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12709512 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-160x285.jpg\" alt=\"In the 1940s, Al Cross’s dad lobbied to stop a project that would flood large parts of his reservation in North Dakota. Old Lily Wolf made him a beaded blue neck tie ahead of the trip to DC for good luck, but it wasn’t enough to stop the dam.\" width=\"160\" height=\"285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-160x285.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-800x1426.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-768x1369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-1020x1818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-1180x2103.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-960x1711.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-240x428.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-375x668.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-520x927.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut.jpg 1149w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">In the 1940s, Al Cross’s dad lobbied to stop a project that would flood large parts of his reservation in North Dakota. Old Lily Wolf made him a beaded blue neck tie ahead of the trip to DC for good luck, but it wasn’t enough to stop the dam. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What saved me, I think, was meeting with other Indian people,” Cross says. At first, he worked in a soap factory. Eventually, he started going to night school and got a degree at the University of California Berkeley in social welfare. This launched his career as a social worker, working mostly with Native Americans.\u003c/p>\n\u003cp>At 82 years of age, Cross is one of several transplants, now elderly, featured in the exhibition’s oral testimony video, a collaboration between NUMU and San Jose State’s anthropology department.\u003c/p>\n\u003cp>Eventually, Native Americans living in California’s urban center found each other. Santa Clara Native American community member Arvine Pilcher says Native Americans gradually developed a sense of cross-tribal unity because of their shared experience out west. “We’ve all become one nation, living in California,” Pilcher says. “We’re not Navajos, Eskimos, Sioux, you know, Nez Perce. I really feel like we’re all one nation.”\u003c/p>\n\u003cp>Health centers, amateur basketball leagues, regional potlucks and pow wows — these were the building blocks of a new community. But during the political foment of the 1960s, talk turned to how best to protest federal policies and demand reparation.\u003c/p>\n\u003cp>\u003ca href=\"http://youtube%20https://www.youtube.com/watch?v=b9CYF4c41No\">http://youtube%20https://www.youtube.com/watch?v=b9CYF4c41No\u003c/a>\u003c/p>\n\u003cp>There were several attempts to occupy Alcatraz, culminating in a 19-month effort led largely by a group of local college students called United Indians of All Tribes. Trudell was the group’s spokesman. “If we’re free, we want the right to make our own decisions,” he says \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/187785\" target=\"_blank\" rel=\"noopener\">in video footage\u003c/a> from one of the many press conferences held on the island at that time. “We don’t want the ‘Great White Father’ making the decision for us.”\u003c/p>\n\u003cp>In the end, the occupiers didn’t win Alcatraz. But organizer Adam Fortunate Eagle, in the 2001 documentary \u003ca href=\"https://zinnedproject.org/materials/alcatraz-is-not-an-island-dvd/\" target=\"_blank\" rel=\"noopener\">\u003cem>Alcatraz Is Not an Island\u003c/em>\u003c/a>, says the protest had positive consequences. “We awoke Indian people individually. We awoke tribes. We awoke the media. We awoke the United States Government,” he says.\u003c/p>\n\u003cp>The Nixon Administration passed a series of reforms, and, among other things, returned large chunks of reservation lands across the country.\u003c/p>\n\u003cfigure id=\"attachment_12709530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12709530 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-800x450.jpg\" alt=\"A Native American alter built by Pablo Viramontes of Los Gatos, who also teaches native arts to at-risk youth and people in recovery. This alter draws from multiple tribal traditions, representing the modern unity of Native Americans in the US.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Native American alter built by Pablo Viramontes of Los Gatos, who also teaches native arts to at-risk youth and people in recovery. This alter draws from multiple tribal traditions, representing the modern unity of Native Americans in the US. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Long says Urban Relocation left a lasting legacy for Native Americans, one aspect of which is showing a united front when standing up for human and civil rights. “They wound up finding each other, and rediscovering their Indianness,” Long says. “Creating what we see today, like what we see at pow wows, and in the cities, and Standing Rock.”\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>‘Cement Prairie: The History and Legacy of the 1952 American Indian Urban Relocation Program’ is on view at New Museum Los Gatos (NUMU) through Sunday, Jun. 25. Details and information \u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/11/4/cement-prairie-the-history-and-legacy-of-the-american-indian-urban-relocation-program-of-1956\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The exhibit 'Cement Prairie: The History and Legacy of the 1952 American Indian Urban Relocation Program,' currently on display at New Museum Los Gatos (NUMU), explores the tradition of Native American protest.",
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"title": "What Standing Rock Protesters Can Learn from Los Gatos Exhibition | KQED",
"description": "The exhibit 'Cement Prairie: The History and Legacy of the 1952 American Indian Urban Relocation Program,' currently on display at New Museum Los Gatos (NUMU), explores the tradition of Native American protest.",
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"headline": "What Standing Rock Protesters Can Learn from Los Gatos Exhibition",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now that President Trump has given the go-ahead for construction of the \u003ca href=\"http://www.npr.org/2017/01/24/511402501/trump-to-give-green-light-to-keystone-dakota-access-pipelines\" target=\"_blank\" rel=\"noopener\">Dakota Access Pipeline\u003c/a>, protest organizers are calling on their supporters from around the country to \u003ca href=\"https://www.revealnews.org/blog/standing-rock-protesters-to-the-world-gather-like-a-windstorm/\" target=\"_blank\" rel=\"noopener\">return to the camps\u003c/a> in North Dakota.\u003c/p>\n\u003cp>The protests at Standing Rock show the power of pan-tribal political organizing. But it’s not the first time members of different tribes have banded together to pursue a political win on the national stage.\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>You’ll find the first hint on the Facebook page of the \u003ca href=\"https://www.facebook.com/Standing-Rock-Sioux-Tribe-402298239798452/\" target=\"_blank\" rel=\"noopener\">Standing Rock Sioux Tribe\u003c/a> with inspirational photos of John Trudell, a nationally known Native American activist who first came to prominence as the spokesperson for the United Indians of All Tribes’ occupation of Alcatraz, here in the San Francisco Bay Area.\u003c/p>\n\u003cp>The story of how Trudell and tens of thousands of others got to California, and went on to develop a modern political consciousness, is covered in the exhibition\u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/11/4/cement-prairie-the-history-and-legacy-of-the-american-indian-urban-relocation-program-of-1956\" target=\"_blank\" rel=\"noopener\"> \u003c/a>\u003cem>\u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/11/4/cement-prairie-the-history-and-legacy-of-the-american-indian-urban-relocation-program-of-1956\" target=\"_blank\" rel=\"noopener\">Cement Prairie: The History and Legacy of the 1952 American Indian Urban Relocation Program\u003c/a>. \u003c/em>The show is currently on display at New Museum Los Gatos (NUMU).\u003c/p>\n\u003cfigure id=\"attachment_12709511\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12709511\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut.jpg\" alt=\"Alcatraz during the occupation of 1969-1971. This photograph and others by Ilka Hartmann are on display as part of Cement Prairie, an exhibition about Native Americans in the South Bay.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23975_08_alcatraz_bay_bridge_and_seagulls-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Alcatraz during the occupation of 1969-1971. This photograph and others by Ilka Hartmann are on display as part of Cement Prairie, an exhibition about Native Americans in the South Bay. \u003ccite>(Photo: Courtesy of Ilka Hartmann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Cement Prairie\u003c/em> details how 750,000 Native Americans left their reservations for big cities between 1950 and 1980, the result of a federal policy known as “Urban Relocation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the government helped transplants find schooling and jobs in urban centers, \u003cem>Cement Prairie\u003c/em>‘s curator, Amy Long, says the promise of self-improvement came with a presumption. “The government was hoping with relocation that Indians would come here by bus or car and assimilate into the mainstream and the cities,” Long says. “And then they would just kind of disappear with the rest of us.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/305781751″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/305781751″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The rooms at NUMU are filled with family photos, quilts, drums, and other artifacts that tell of a mass migration to California in the last century. The exhibition’s title, \u003cem>Cement Prairie\u003c/em>, derives from the way cities like San Jose stood in concrete contrast to the wide, grassy plains of home. Arriving in California, many Native Americans felt dislocated, alienated and lonely.\u003c/p>\n\u003ch3>The personal is political\u003c/h3>\n\u003cp>Take the story of Al Cross, who left his tribal lands in North Dakota for San Jose in 1960. “A lot of the young people that left came out here, to the West Coast,” Cross says. “They knew where it was good! Los Angeles, San Francisco, Oakland, San Jose.\u003c/p>\n\u003cfigure id=\"attachment_12709512\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12709512 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-160x285.jpg\" alt=\"In the 1940s, Al Cross’s dad lobbied to stop a project that would flood large parts of his reservation in North Dakota. Old Lily Wolf made him a beaded blue neck tie ahead of the trip to DC for good luck, but it wasn’t enough to stop the dam.\" width=\"160\" height=\"285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-160x285.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-800x1426.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-768x1369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-1020x1818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-1180x2103.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-960x1711.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-240x428.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-375x668.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut-520x927.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23976_Photo-Dec-08-1-29-35-PM-qut.jpg 1149w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">In the 1940s, Al Cross’s dad lobbied to stop a project that would flood large parts of his reservation in North Dakota. Old Lily Wolf made him a beaded blue neck tie ahead of the trip to DC for good luck, but it wasn’t enough to stop the dam. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What saved me, I think, was meeting with other Indian people,” Cross says. At first, he worked in a soap factory. Eventually, he started going to night school and got a degree at the University of California Berkeley in social welfare. This launched his career as a social worker, working mostly with Native Americans.\u003c/p>\n\u003cp>At 82 years of age, Cross is one of several transplants, now elderly, featured in the exhibition’s oral testimony video, a collaboration between NUMU and San Jose State’s anthropology department.\u003c/p>\n\u003cp>Eventually, Native Americans living in California’s urban center found each other. Santa Clara Native American community member Arvine Pilcher says Native Americans gradually developed a sense of cross-tribal unity because of their shared experience out west. “We’ve all become one nation, living in California,” Pilcher says. “We’re not Navajos, Eskimos, Sioux, you know, Nez Perce. I really feel like we’re all one nation.”\u003c/p>\n\u003cp>Health centers, amateur basketball leagues, regional potlucks and pow wows — these were the building blocks of a new community. But during the political foment of the 1960s, talk turned to how best to protest federal policies and demand reparation.\u003c/p>\n\u003cp>\u003ca href=\"http://youtube%20https://www.youtube.com/watch?v=b9CYF4c41No\">http://youtube%20https://www.youtube.com/watch?v=b9CYF4c41No\u003c/a>\u003c/p>\n\u003cp>There were several attempts to occupy Alcatraz, culminating in a 19-month effort led largely by a group of local college students called United Indians of All Tribes. Trudell was the group’s spokesman. “If we’re free, we want the right to make our own decisions,” he says \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/187785\" target=\"_blank\" rel=\"noopener\">in video footage\u003c/a> from one of the many press conferences held on the island at that time. “We don’t want the ‘Great White Father’ making the decision for us.”\u003c/p>\n\u003cp>In the end, the occupiers didn’t win Alcatraz. But organizer Adam Fortunate Eagle, in the 2001 documentary \u003ca href=\"https://zinnedproject.org/materials/alcatraz-is-not-an-island-dvd/\" target=\"_blank\" rel=\"noopener\">\u003cem>Alcatraz Is Not an Island\u003c/em>\u003c/a>, says the protest had positive consequences. “We awoke Indian people individually. We awoke tribes. We awoke the media. We awoke the United States Government,” he says.\u003c/p>\n\u003cp>The Nixon Administration passed a series of reforms, and, among other things, returned large chunks of reservation lands across the country.\u003c/p>\n\u003cfigure id=\"attachment_12709530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12709530 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-800x450.jpg\" alt=\"A Native American alter built by Pablo Viramontes of Los Gatos, who also teaches native arts to at-risk youth and people in recovery. This alter draws from multiple tribal traditions, representing the modern unity of Native Americans in the US.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23974_14547809_726165557533262_7189089634989637632_n-001-qut.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Native American alter built by Pablo Viramontes of Los Gatos, who also teaches native arts to at-risk youth and people in recovery. This alter draws from multiple tribal traditions, representing the modern unity of Native Americans in the US. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Long says Urban Relocation left a lasting legacy for Native Americans, one aspect of which is showing a united front when standing up for human and civil rights. “They wound up finding each other, and rediscovering their Indianness,” Long says. “Creating what we see today, like what we see at pow wows, and in the cities, and Standing Rock.”\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>‘Cement Prairie: The History and Legacy of the 1952 American Indian Urban Relocation Program’ is on view at New Museum Los Gatos (NUMU) through Sunday, Jun. 25. Details and information \u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/11/4/cement-prairie-the-history-and-legacy-of-the-american-indian-urban-relocation-program-of-1956\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Two Solos at Traywick Contemporary Bound by More than Just Quiet Grace",
"headTitle": "Two Solos at Traywick Contemporary Bound by More than Just Quiet Grace | KQED",
"content": "\u003cp>Inside a former Masonic temple in the Thousand Oaks neighborhood of Berkeley, \u003ca href=\"http://www.traywick.com/\" target=\"_blank\" rel=\"noopener\">Traywick Contemporary\u003c/a> is technically an “apartment gallery.” That is, if you had a massive white-walled space in your home reserved solely for the exhibition of art. Despite its high ceilings and the impossibly uncluttered public living spaces, Traywick provides a setting for a more casual art-viewing experience. It’s a welcoming environment honed over 20 years of operation. \u003c/p>\n\u003cp>In celebration of their two decades in the gallery business, Traywick’s 2017 programming is meant for “old friends and new audiences,” a possible hint at an inter-generational approach. It is fitting, then, that the initial solo shows from Steuart Pittman and John Fraser link both aesthetically and in the artists’ personal histories.\u003c/p>\n\u003cfigure id=\"attachment_12709508\" 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/SportsBro_72.jpeg\" alt=\"Steuart Pittman, 'Sports Bro,' 2016.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-12709508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-800x599.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-768x575.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-1020x764.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-1180x884.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-960x719.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-240x180.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-375x281.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-520x390.jpeg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Steuart Pittman, ‘Sports Bro,’ 2016. \u003ccite>(Courtesy of Traywick Contemporary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland-based Pittman presents \u003ci>\u003ca href=\"http://www.traywick.com/2017/steuart-pittman/\" target=\"_blank\" rel=\"noopener\">The Twist\u003c/a>\u003c/i>, a group of meticulous abstract paintings, their simple silhouettes belying the artist’s careful consideration of surface, color and framing. Pittman’s shapes have straight, curved and ragged sides (like the tear of a magazine page or the terrain of a mountain range). All edges are hard, clearly delineating shape from ground. Many of the compositions have a jaunty quality, helped in no small part by Pittman’s titles: \u003ci>Earth Angel\u003c/i>, \u003ci>Sports Bro\u003c/i>, \u003ci>Lounge Act\u003c/i>.\u003c/p>\n\u003cp>In contrast, the titles of works in Fraser’s \u003ci>\u003ca href=\"http://www.traywick.com/2017/john-fraser/\" target=\"_blank\" rel=\"noopener\">Ecru\u003c/a>\u003c/i>, all made over the past six years, often reference their own structures. \u003ci>(Measured) Four-Part Horizon\u003c/i> contains a repurposed ruler and four separate panels of varying heights. Fraser also has a penchant for Roman numerals, a testament to the artist’s iterative practice. \u003c/p>\n\u003cfigure id=\"attachment_12709506\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001.jpeg\" alt=\"John Fraser, 'Cul De Sac (Blue Vertical),' 2010.\" width=\"1180\" height=\"1200\" class=\"size-full wp-image-12709506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-160x163.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-800x814.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-768x781.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-1020x1037.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-960x976.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-240x244.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-375x381.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-520x529.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-64x64.jpeg 64w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">John Fraser, ‘Cul De Sac (Blue Vertical),’ 2010. \u003ccite>(Courtesy of Traywick Contemporary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Using found books stripped of their pages and spread-eagle, his works become meditations on units of measurement, the rectilinear shapes of bookbinding shifting and multiplying across collaged surfaces. \u003ci>Cul De Sac (Blue Vertical)\u003c/i> is, to use the artist’s own term, the most “baroque” of his pieces, with a rectangle of blue punctuating the mellow grays, creams and browns of the construction on panel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The satisfying reveal of the artists’ pairing is the fact that they know each other well. Pittman, who grew up outside of Chicago, was Fraser’s studio assistant for several years. He even titles one of his works \u003ci>Quadruple Quarter-Round (For Fraser)\u003c/i>. Yet the power dynamics of that past relationship dissolve completely in mix of the exhibitions, where the parallels between two artists relentlessly pursuing their own visual vocabularies unfold with quiet grace. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ecru’ and ‘The Twist’ are on view at Traywick Contemporary in Berkeley through March 25, 2017. For more information, see \u003ca href=\"http://www.traywick.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inside a former Masonic temple in the Thousand Oaks neighborhood of Berkeley, \u003ca href=\"http://www.traywick.com/\" target=\"_blank\" rel=\"noopener\">Traywick Contemporary\u003c/a> is technically an “apartment gallery.” That is, if you had a massive white-walled space in your home reserved solely for the exhibition of art. Despite its high ceilings and the impossibly uncluttered public living spaces, Traywick provides a setting for a more casual art-viewing experience. It’s a welcoming environment honed over 20 years of operation. \u003c/p>\n\u003cp>In celebration of their two decades in the gallery business, Traywick’s 2017 programming is meant for “old friends and new audiences,” a possible hint at an inter-generational approach. It is fitting, then, that the initial solo shows from Steuart Pittman and John Fraser link both aesthetically and in the artists’ personal histories.\u003c/p>\n\u003cfigure id=\"attachment_12709508\" 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/SportsBro_72.jpeg\" alt=\"Steuart Pittman, 'Sports Bro,' 2016.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-12709508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-800x599.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-768x575.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-1020x764.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-1180x884.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-960x719.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-240x180.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-375x281.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/SportsBro_72-520x390.jpeg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Steuart Pittman, ‘Sports Bro,’ 2016. \u003ccite>(Courtesy of Traywick Contemporary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland-based Pittman presents \u003ci>\u003ca href=\"http://www.traywick.com/2017/steuart-pittman/\" target=\"_blank\" rel=\"noopener\">The Twist\u003c/a>\u003c/i>, a group of meticulous abstract paintings, their simple silhouettes belying the artist’s careful consideration of surface, color and framing. Pittman’s shapes have straight, curved and ragged sides (like the tear of a magazine page or the terrain of a mountain range). All edges are hard, clearly delineating shape from ground. Many of the compositions have a jaunty quality, helped in no small part by Pittman’s titles: \u003ci>Earth Angel\u003c/i>, \u003ci>Sports Bro\u003c/i>, \u003ci>Lounge Act\u003c/i>.\u003c/p>\n\u003cp>In contrast, the titles of works in Fraser’s \u003ci>\u003ca href=\"http://www.traywick.com/2017/john-fraser/\" target=\"_blank\" rel=\"noopener\">Ecru\u003c/a>\u003c/i>, all made over the past six years, often reference their own structures. \u003ci>(Measured) Four-Part Horizon\u003c/i> contains a repurposed ruler and four separate panels of varying heights. Fraser also has a penchant for Roman numerals, a testament to the artist’s iterative practice. \u003c/p>\n\u003cfigure id=\"attachment_12709506\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001.jpeg\" alt=\"John Fraser, 'Cul De Sac (Blue Vertical),' 2010.\" width=\"1180\" height=\"1200\" class=\"size-full wp-image-12709506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-160x163.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-800x814.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-768x781.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-1020x1037.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-960x976.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-240x244.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-375x381.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-520x529.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Cul-de-Sac_72_001-64x64.jpeg 64w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">John Fraser, ‘Cul De Sac (Blue Vertical),’ 2010. \u003ccite>(Courtesy of Traywick Contemporary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Using found books stripped of their pages and spread-eagle, his works become meditations on units of measurement, the rectilinear shapes of bookbinding shifting and multiplying across collaged surfaces. \u003ci>Cul De Sac (Blue Vertical)\u003c/i> is, to use the artist’s own term, the most “baroque” of his pieces, with a rectangle of blue punctuating the mellow grays, creams and browns of the construction on panel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The satisfying reveal of the artists’ pairing is the fact that they know each other well. Pittman, who grew up outside of Chicago, was Fraser’s studio assistant for several years. He even titles one of his works \u003ci>Quadruple Quarter-Round (For Fraser)\u003c/i>. Yet the power dynamics of that past relationship dissolve completely in mix of the exhibitions, where the parallels between two artists relentlessly pursuing their own visual vocabularies unfold with quiet grace. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ecru’ and ‘The Twist’ are on view at Traywick Contemporary in Berkeley through March 25, 2017. For more information, see \u003ca href=\"http://www.traywick.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The past few weeks have been trying, to say the least. So when a ray of light appears, it's important to luxuriate in it. Yesterday, Beyoncé looked down on us from on high and was like, \u003cem>You know what? They need \u003ca href=\"https://www.instagram.com/p/BP_ZBznFlPL/?taken-by=thedailyshow\">a new hope\u003c/a>.\u003c/em> And she delivered, twofold:\u003c/p>\n\u003cp>https://www.instagram.com/p/BP-rXUGBPJa/?taken-by=beyonce\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Twitter users were understandably beside themselves:\u003c/p>\n\u003cp>https://twitter.com/RicheyCollazo/status/826865234031759361?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/TheDreamGhoul/status/826872397030686722?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>https://twitter.com/edsbs/status/826865797880565762?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>https://twitter.com/NBHDTV/status/826869478625570816?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>https://twitter.com/delashereen/status/826868413633064960?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>https://twitter.com/RyanHoulihan/status/826870672999796736?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>https://twitter.com/MartijnPOP/status/826869932713447424?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The news was seen as Beyoncé willfully giving us a distracting blessing in a time of need. \u003ca href=\"https://twitter.com/crissles?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Crissle of \u003cem>The Read\u003c/em>\u003c/a> summed it up pretty well: \"She knows we have no other joy.\" And Bey keeps on giving with all these new photos from her pregnancy photoshoot -- part of an album of 65 (!) family photos. So put aside \u003cem>The New York Times\u003c/em> for a second, turn off cable news, and take the time to revel in something beautiful and good:\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>https://twitter.com/BeyonceAUS/status/827119819472265216?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>https://twitter.com/Bey_Legion/status/827122692084097024?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>https://twitter.com/Bey_Legion/status/827123877109182464?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>https://twitter.com/Bey_Legion/status/827124323634786304?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>https://twitter.com/BeyonceAUS/status/827122461107818496?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>https://twitter.com/Bey_Legion/status/827131963064590337?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Get the full experience on \u003ca href=\"http://www.beyonce.com/\">Beyoncé's official site\u003c/a>, where she's published a complete photo album experience (with poetry by \u003ca href=\"https://ww2.kqed.org/pop/2016/04/26/meet-warsan-shire-the-poet-whose-words-are-all-over-beyonces-lemonade/\">Warsan Shire\u003c/a>) titled \"I Have Three Hearts.\"\u003c/p>\n\n",
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"content": "\u003cp>The assignment seemed simple enough. Reverend Jeff Moore, president of the \u003ca href=\"http://www.sanjosenaacp.org/\" target=\"_blank\" rel=\"noopener\">San Jose/Silicon Valley Branch\u003c/a> of the NAACP, approached visual artist \u003ca href=\"http://www.markharrisstudiosf.com/\" target=\"_blank\" rel=\"noopener\">Mark Harris\u003c/a> and asked him to pull together a small collection of his artwork to show in the lobby of the administrative offices of the \u003ca href=\"http://www.esuhsd.org/\" target=\"_blank\" rel=\"noopener\">East Side Union High School District\u003c/a> in San Jose for Black History Month in February.\u003c/p>\n\u003cp>That’s exactly what Harris did, curating together 11 paintings, in consultation with Moore, who works at the district’s Independence High School as a counselor.\u003c/p>\n\u003cp>“I would say it’s agitprop,” says Harris of the selection of works, done in mixed media, collage, acrylic and egg tempera. “It’s definitely something thought-provoking. It’s not something you’re going to walk by and not have a second thought about.”\u003c/p>\n\u003cp>A few hours after the artist’s paintings went up on display, they were taken down. Harris heard the news about the removal second-hand from Moore.\u003c/p>\n\u003cp>“Some parents who’d come into the administration offices were offended by the work.” Moore also said the district superintendent, Chris Funk said a school district shouldn’t take a political stance, “which I think is ridiculous,” Harris says. “The fact that the superintendent was uncomfortable with the exhibit was disappointing also.”\u003c/p>\n\u003cfigure id=\"attachment_12709112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12709112\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-800x450.jpg\" alt=\"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.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">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. \u003ccite>(Photo: Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Art has gone up on display to celebrate African American History Month at the offices for the past three years. Funk says that to date, there had been no concerns in part because the displays had been made up of historical artifacts like books, quilts, and representations of famous African Americans.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had no intention to embarrass or harm Mr. Harris,” Funk says. “He seems to be a very talented artist. I’m sorry he got caught up in a situation where Mr. Moore was not upfront about what his motives were and what his expectations were. I didn’t approve the art. I didn’t approve the artist. 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.”\u003c/p>\n\u003cp>Funk says there is a time and place for political expression, such as at the recent March on Washington or at last weekend’s airport protests. “But we’re not here to advocate one position or another as a public institution,” Funk says about his decision to remove Harris’ works. “I have Republicans and Democrats on my board, among my teachers.”\u003c/p>\n\u003cp>Moore says he did not intend to surprise Funk and his colleagues. He says he visited the offices to talk to the superintendent at one point before the exhibition went up, but that Funk was in a meeting when he arrived. Past displays, Moore says, have in fact included content that could be deemed as political, ranging, subject-wise, from African culture to figures like Frederick Douglass, Malcolm X and President Barack Obama.\u003c/p>\n\u003cp>Much of the material for those exhibitions was pulled from Moore’s own home, as well as the homes of other people involved with \u003ca href=\"http://www.esuhsd.org/Students--Parents/Student--Parent-Groups/African-American-Student-Advocates/\" target=\"_blank\" rel=\"noopener\">African American Student Advocates\u003c/a>, a district stakeholder group made up largely of adults.\u003c/p>\n\u003cp>“How many people were offended? How many people were upset?” Moore says. “White supremacy is a topic of conversation right now. I thought this was timely.”\u003c/p>\n\u003cfigure id=\"attachment_12709115\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12709115 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-800x1016.jpg\" alt=\""To Be Young Gifted and Criminalized" by San Francisco visual artist Mark Harris, who also teaches. "I want to inspire students to use their voices and be involved in this new movement that's happening. It's their future. If I can inspire them to use their voices, that's me doing my job."\" width=\"800\" height=\"1016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-1920x2438.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-1180x1498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-960x1219.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-375x476.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-520x660.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut.jpg 1613w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“To Be Young Gifted and Criminalized” by San Francisco visual artist Mark Harris, who also teaches. “I want to inspire students to use their voices and be involved in this new movement that’s happening. It’s their future. If I can inspire them to use their voices, that’s me doing my job.” \u003ccite>(Photo: Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore says the African American Student Advocates had a previously scheduled meeting Thursday night at which Harris was to speak about his art work at the administrative offices. Now, he will be talking about the fact it was taken down, and retrieving the paintings to bring them home.\u003c/p>\n\u003cp>“My artwork expresses the real visceral outrage that a lot of African Americans have about the violence we’re still subjected to in the 21st century,” Harris says. “For centuries, we have been told not to speak out about it. You don’t have to like it. It’s not only my history. This is American history.”\u003cstrong> \u003c/strong>\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",
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"excerpt": "Visual artist Mark Harris' political-themed paintings were removed from the walls of the administrative offices of the East Side Union High School District in San Jose on Wednesday.",
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"title": "Black History Month Art Removed After Parents Complain | KQED",
"description": "Visual artist Mark Harris' political-themed paintings were removed from the walls of the administrative offices of the East Side Union High School District in San Jose on Wednesday.",
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"headline": "Black History Month Art Removed After Parents Complain",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The assignment seemed simple enough. Reverend Jeff Moore, president of the \u003ca href=\"http://www.sanjosenaacp.org/\" target=\"_blank\" rel=\"noopener\">San Jose/Silicon Valley Branch\u003c/a> of the NAACP, approached visual artist \u003ca href=\"http://www.markharrisstudiosf.com/\" target=\"_blank\" rel=\"noopener\">Mark Harris\u003c/a> and asked him to pull together a small collection of his artwork to show in the lobby of the administrative offices of the \u003ca href=\"http://www.esuhsd.org/\" target=\"_blank\" rel=\"noopener\">East Side Union High School District\u003c/a> in San Jose for Black History Month in February.\u003c/p>\n\u003cp>That’s exactly what Harris did, curating together 11 paintings, in consultation with Moore, who works at the district’s Independence High School as a counselor.\u003c/p>\n\u003cp>“I would say it’s agitprop,” says Harris of the selection of works, done in mixed media, collage, acrylic and egg tempera. “It’s definitely something thought-provoking. It’s not something you’re going to walk by and not have a second thought about.”\u003c/p>\n\u003cp>A few hours after the artist’s paintings went up on display, they were taken down. Harris heard the news about the removal second-hand from Moore.\u003c/p>\n\u003cp>“Some parents who’d come into the administration offices were offended by the work.” Moore also said the district superintendent, Chris Funk said a school district shouldn’t take a political stance, “which I think is ridiculous,” Harris says. “The fact that the superintendent was uncomfortable with the exhibit was disappointing also.”\u003c/p>\n\u003cfigure id=\"attachment_12709112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12709112\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-800x450.jpg\" alt=\"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.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">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. \u003ccite>(Photo: Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Art has gone up on display to celebrate African American History Month at the offices for the past three years. Funk says that to date, there had been no concerns in part because the displays had been made up of historical artifacts like books, quilts, and representations of famous African Americans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had no intention to embarrass or harm Mr. Harris,” Funk says. “He seems to be a very talented artist. I’m sorry he got caught up in a situation where Mr. Moore was not upfront about what his motives were and what his expectations were. I didn’t approve the art. I didn’t approve the artist. 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.”\u003c/p>\n\u003cp>Funk says there is a time and place for political expression, such as at the recent March on Washington or at last weekend’s airport protests. “But we’re not here to advocate one position or another as a public institution,” Funk says about his decision to remove Harris’ works. “I have Republicans and Democrats on my board, among my teachers.”\u003c/p>\n\u003cp>Moore says he did not intend to surprise Funk and his colleagues. He says he visited the offices to talk to the superintendent at one point before the exhibition went up, but that Funk was in a meeting when he arrived. Past displays, Moore says, have in fact included content that could be deemed as political, ranging, subject-wise, from African culture to figures like Frederick Douglass, Malcolm X and President Barack Obama.\u003c/p>\n\u003cp>Much of the material for those exhibitions was pulled from Moore’s own home, as well as the homes of other people involved with \u003ca href=\"http://www.esuhsd.org/Students--Parents/Student--Parent-Groups/African-American-Student-Advocates/\" target=\"_blank\" rel=\"noopener\">African American Student Advocates\u003c/a>, a district stakeholder group made up largely of adults.\u003c/p>\n\u003cp>“How many people were offended? How many people were upset?” Moore says. “White supremacy is a topic of conversation right now. I thought this was timely.”\u003c/p>\n\u003cfigure id=\"attachment_12709115\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12709115 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-800x1016.jpg\" alt=\""To Be Young Gifted and Criminalized" by San Francisco visual artist Mark Harris, who also teaches. "I want to inspire students to use their voices and be involved in this new movement that's happening. It's their future. If I can inspire them to use their voices, that's me doing my job."\" width=\"800\" height=\"1016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-1920x2438.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-1180x1498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-960x1219.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-375x476.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-520x660.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut.jpg 1613w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“To Be Young Gifted and Criminalized” by San Francisco visual artist Mark Harris, who also teaches. “I want to inspire students to use their voices and be involved in this new movement that’s happening. It’s their future. If I can inspire them to use their voices, that’s me doing my job.” \u003ccite>(Photo: Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore says the African American Student Advocates had a previously scheduled meeting Thursday night at which Harris was to speak about his art work at the administrative offices. Now, he will be talking about the fact it was taken down, and retrieving the paintings to bring them home.\u003c/p>\n\u003cp>“My artwork expresses the real visceral outrage that a lot of African Americans have about the violence we’re still subjected to in the 21st century,” Harris says. “For centuries, we have been told not to speak out about it. You don’t have to like it. It’s not only my history. This is American history.”\u003cstrong> \u003c/strong>\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>",
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"title": "'Breaking News' Artists use Mass Media as their Medium",
"headTitle": "‘Breaking News’ Artists use Mass Media as their Medium | KQED",
"content": "\u003cp>Breaking news is everywhere, 24 hours a day. And now, it’s made its way into an art gallery as well — in an exhibit called \u003ca href=\"http://www.getty.edu/art/exhibitions/breaking_news/\" target=\"_blank\" rel=\"noopener\">“Breaking News: Turning the Lens on Mass Media.”\u003c/a> In Los Angeles, a Getty Museum show examines artists’ reactions to mass media in decades past.\u003c/p>\n\u003cp>The exhibit includes more than 200 photos and videos, from 17 different artists. They’re not photojournalists — these artists take the work of photojournalists, and turn it into something else.\u003c/p>\n\u003cp>They appropriate images of terrorism, war, natural disasters. For two of the artists, the Vietnam War is a major theme; They lifted deeply disturbing images from magazines, newspapers, TV screens, and collaged or manipulated them to reflect their horror at the war. \u003cem>(Caution: As you scroll down further, you’ll come to some of those disturbing images.)\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12708326\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-800x1016.jpg\" alt=\"'Balloons' is a part of Martha Rosler's "House Beautiful: Bringing the War Home" series.\" width=\"800\" height=\"1016\" class=\"size-medium wp-image-12708326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-1180x1498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-960x1219.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-375x476.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-520x660.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179.jpg 1575w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Balloons’ is a part of Martha Rosler’s “House Beautiful: Bringing the War Home” series. \u003ccite>(The Museum of Modern Art/Licensed by SCALA/Art Resource, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martha Rosler clipped a \u003cem>Life\u003c/em> magazine color photograph of a handsome 1960s living room, and on top of it, pasted a shot of a devastated, Vietnamese man carrying his blood-spattered child. The sobering juxtaposition brings the war into the American living room.\u003c/p>\n\u003cp>“Often these images from Vietnam were appearing in the exact same issues as these interior scenes,” explains Arpad Kovacs, who curated the show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A reader could easily flip through the magazine and miss one or the other. But the artist intervenes. “What it does is it makes America confront two different realities. …” says Kovacs. “It’s very political, it’s very aggressive. But it’s meant to be. You know, a lot of these pictures initially circulated in underground magazines. These are pictures that are not on the fence. They really stake a claim and stand for something.”\u003c/p>\n\u003cp>Rosler was a student of John Baldessari — the 85-year-old artist is an iconic figure in the Los Angeles art world, with works in major American museums. He, too, manipulates photographs, adding text, and lettering. He once had students in his Conceptual Art class react to undated, uncaptioned news photos he pinned to a bulletin board. In one news picture, a uniformed man kneels, bending his face to the ground. He could be kissing the ground, or smelling the grass.\u003c/p>\n\u003cp>“You don’t know,” Baldessari says. Which is exactly the artist’s point — he wanted his students to ponder what was going on in the photo.\u003c/p>\n\u003cp>Meaning is slippery, Baldessari says.\u003c/p>\n\u003cfigure id=\"attachment_12708327\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-800x955.jpg\" alt=\"Donald R. Blumberg's Untitled work from his series "Daily Photographs, 1969-1970."\" width=\"800\" height=\"955\" class=\"size-medium wp-image-12708327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-800x955.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-768x917.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-1020x1218.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-1180x1409.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-960x1146.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-375x448.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-520x621.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939.jpg 1675w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Donald R. Blumberg’s Untitled work from his series “Daily Photographs, 1969-1970.” \u003ccite>(The J. Paul Getty Museum, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s clear meaning, though, in the newspaper photographs Donald Blumberg uses in his art. During the Vietnam years, he had a photo show at the State University of New York at Buffalo. Police occupied the campus during an anti-war student protest. A flying wedge of cops ran by, chasing the students.\u003c/p>\n\u003cp>“They were trapped in the stairwell of the campus and beaten with clubs,” Blumberg says. And for him, that was the last straw “in thinking I was going to be a decorative, fine art photographer, doing beautiful photographs for people to look at.”\u003c/p>\n\u003cp>He started clipping news photographs that captured the disaster in Vietnam. He enlarged, and then photographed page one of the \u003cem>New York Daily News\u003c/em> — a photo of the massacre in the town of My Lai, with the headline, “GI Shot Child, Walked Away.” Another headline reads “Grenade Is Cut From Prisoner’s Face,” with the X-ray of that face, and the lieutenant who dug out the live grenade with his pocket knife. Around each story, Blumberg shows a thick dark black frame — the black is in memoriam, like the black ribbon worn after a death in the family.\u003c/p>\n\u003cp>“I like to be as political as I can,” Blumberg says. “One of the ways of being political is through my photography.”\u003c/p>\n\u003cp>Every day we are bombarded by photographs — more images than we can possibly absorb. For Donald Blumberg and other photographers in this exhibition the magic of still photography is that it stops time. It gives viewers the chance to really look and think about what’s happening in our world.\u003c/p>\n\u003cp>“I think good art is always about something difficult. Art is more than a pretty picture,” Kovacs says. “Good art is about sort of challenging the status quo and making a statement.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Through their photographs, these artists are bearing witness for future generations — those who weren’t there when the news actually broke. \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=%27Breaking+News%27+Artists+Use+Mass+Media+As+Their+Medium&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Breaking news is everywhere, 24 hours a day. And now, it’s made its way into an art gallery as well — in an exhibit called \u003ca href=\"http://www.getty.edu/art/exhibitions/breaking_news/\" target=\"_blank\" rel=\"noopener\">“Breaking News: Turning the Lens on Mass Media.”\u003c/a> In Los Angeles, a Getty Museum show examines artists’ reactions to mass media in decades past.\u003c/p>\n\u003cp>The exhibit includes more than 200 photos and videos, from 17 different artists. They’re not photojournalists — these artists take the work of photojournalists, and turn it into something else.\u003c/p>\n\u003cp>They appropriate images of terrorism, war, natural disasters. For two of the artists, the Vietnam War is a major theme; They lifted deeply disturbing images from magazines, newspapers, TV screens, and collaged or manipulated them to reflect their horror at the war. \u003cem>(Caution: As you scroll down further, you’ll come to some of those disturbing images.)\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12708326\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-800x1016.jpg\" alt=\"'Balloons' is a part of Martha Rosler's "House Beautiful: Bringing the War Home" series.\" width=\"800\" height=\"1016\" class=\"size-medium wp-image-12708326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-1180x1498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-960x1219.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-375x476.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179-520x660.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_360938ex2_2000x2000_enl-becc6ace09d4a1cefda4433f8a1fa3f22a80e179.jpg 1575w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Balloons’ is a part of Martha Rosler’s “House Beautiful: Bringing the War Home” series. \u003ccite>(The Museum of Modern Art/Licensed by SCALA/Art Resource, NY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martha Rosler clipped a \u003cem>Life\u003c/em> magazine color photograph of a handsome 1960s living room, and on top of it, pasted a shot of a devastated, Vietnamese man carrying his blood-spattered child. The sobering juxtaposition brings the war into the American living room.\u003c/p>\n\u003cp>“Often these images from Vietnam were appearing in the exact same issues as these interior scenes,” explains Arpad Kovacs, who curated the show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A reader could easily flip through the magazine and miss one or the other. But the artist intervenes. “What it does is it makes America confront two different realities. …” says Kovacs. “It’s very political, it’s very aggressive. But it’s meant to be. You know, a lot of these pictures initially circulated in underground magazines. These are pictures that are not on the fence. They really stake a claim and stand for something.”\u003c/p>\n\u003cp>Rosler was a student of John Baldessari — the 85-year-old artist is an iconic figure in the Los Angeles art world, with works in major American museums. He, too, manipulates photographs, adding text, and lettering. He once had students in his Conceptual Art class react to undated, uncaptioned news photos he pinned to a bulletin board. In one news picture, a uniformed man kneels, bending his face to the ground. He could be kissing the ground, or smelling the grass.\u003c/p>\n\u003cp>“You don’t know,” Baldessari says. Which is exactly the artist’s point — he wanted his students to ponder what was going on in the photo.\u003c/p>\n\u003cp>Meaning is slippery, Baldessari says.\u003c/p>\n\u003cfigure id=\"attachment_12708327\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-800x955.jpg\" alt=\"Donald R. Blumberg's Untitled work from his series "Daily Photographs, 1969-1970."\" width=\"800\" height=\"955\" class=\"size-medium wp-image-12708327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-800x955.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-768x917.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-1020x1218.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-1180x1409.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-960x1146.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-375x448.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939-520x621.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gm_26541101_2000x2000_enl-9bbb9b9bb68d938b5c95d674380786c5ef8e7939.jpg 1675w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Donald R. Blumberg’s Untitled work from his series “Daily Photographs, 1969-1970.” \u003ccite>(The J. Paul Getty Museum, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s clear meaning, though, in the newspaper photographs Donald Blumberg uses in his art. During the Vietnam years, he had a photo show at the State University of New York at Buffalo. Police occupied the campus during an anti-war student protest. A flying wedge of cops ran by, chasing the students.\u003c/p>\n\u003cp>“They were trapped in the stairwell of the campus and beaten with clubs,” Blumberg says. And for him, that was the last straw “in thinking I was going to be a decorative, fine art photographer, doing beautiful photographs for people to look at.”\u003c/p>\n\u003cp>He started clipping news photographs that captured the disaster in Vietnam. He enlarged, and then photographed page one of the \u003cem>New York Daily News\u003c/em> — a photo of the massacre in the town of My Lai, with the headline, “GI Shot Child, Walked Away.” Another headline reads “Grenade Is Cut From Prisoner’s Face,” with the X-ray of that face, and the lieutenant who dug out the live grenade with his pocket knife. Around each story, Blumberg shows a thick dark black frame — the black is in memoriam, like the black ribbon worn after a death in the family.\u003c/p>\n\u003cp>“I like to be as political as I can,” Blumberg says. “One of the ways of being political is through my photography.”\u003c/p>\n\u003cp>Every day we are bombarded by photographs — more images than we can possibly absorb. For Donald Blumberg and other photographers in this exhibition the magic of still photography is that it stops time. It gives viewers the chance to really look and think about what’s happening in our world.\u003c/p>\n\u003cp>“I think good art is always about something difficult. Art is more than a pretty picture,” Kovacs says. “Good art is about sort of challenging the status quo and making a statement.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Through their photographs, these artists are bearing witness for future generations — those who weren’t there when the news actually broke. \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=%27Breaking+News%27+Artists+Use+Mass+Media+As+Their+Medium&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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