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"content": "\u003cp>Said out loud, \u003cem>Where Is Here\u003c/em> rolls off the tongue softly. When devoid of punctuation, the phrase is neither a question nor a firm statement.\u003c/p>\n\u003cp>Is “here” a seemingly straightforward location? Is “where,” used most often when lost or uncertain, instead accessible and knowable? What exists between the certainty and mystery both words might contain?\u003c/p>\n\u003cp>Questions like these spurred Bay Area curators Jacqueline Francis and Kathy Zarur when they began discussing the possibility of an exhibition dedicated to “place” and “space” over six years ago. \u003ca href=\"http://www.moadsf.org/exhibition/where-is-here/\" target=\"_blank\" rel=\"noopener\">\u003cem>Where Is Here\u003c/em>\u003c/a>, on view through April 2 at the \u003ca href=\"http://www.moadsf.org/\" target=\"_blank\" rel=\"noopener\">Museum of African Diaspora\u003c/a> (MoAD) in San Francisco, doesn’t promise answers. Like its title, the exhibition is open-ended and exploratory, featuring works by 10 contemporary artists of African descent.\u003c/p>\n\u003cfigure id=\"attachment_12636852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12636852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/WideShot_1-800x367.jpg\" alt=\"'Where Is Here,' installation view.\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-768x353.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-1020x468.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-1920x881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-1180x542.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-960x441.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-520x239.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Where Is Here,’ installation view. \u003ccite>(Courtesy of the Museum of African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Where Is Here\u003c/em> is a truly multidisciplinary showcase, as diverse in media as it is in thematic approaches to the questions posed. It’s rare to find a group exhibition that coheres with such vibrancy.\u003c/p>\n\u003cp>I spoke with the curators on site at the museum in late December. They described the exhibition’s trajectory as though it were a living thing, one that evolved with each studio visit, changed during the installation process, and productively affected their public programming. Although curating always means more than choosing and arranging artworks in a space, these co-curators extended the exhibition’s reach beyond the walls of the museum.\u003c/p>\n\u003ch3>Curating beyond the walls\u003c/h3>\n\u003cp>The exhibition intentionally includes both local and global artists, reflecting the specificity of the San Francisco Bay Area as well as MoAD’s international focus. The artworks include virtual reality, abstract paintings, photographs, prose, and, most unexpectedly, song tracks from \u003ca href=\"http://www.brounsoun.com/\">Broun Fellinis\u003c/a>, a San Francisco jazz group founded in the 1990s.\u003c/p>\n\u003cfigure id=\"attachment_12636853\" class=\"wp-caption aligncenter\" style=\"max-width: 1196px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12636853\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/BrounFellinis.jpg\" alt=\"Broun Fellinis.\" width=\"1196\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis.jpg 1196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-520x347.jpg 520w\" sizes=\"(max-width: 1196px) 100vw, 1196px\">\u003cfigcaption class=\"wp-caption-text\">Broun Fellinis. \u003ccite>(Courtesy Broun Fellinis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Where Is Here\u003c/em> joins in conversation with a concurrent nearby show, Root Division’s \u003cem>\u003ca href=\"https://rootdivision.org/exhibition-rd-gallery/call-beauty\">Call for Beauty\u003c/a>\u003c/em>, an exhibition exploring “alternatives to the ugliness” of present-day politics from Black artistic perspectives. Linking the two shows are performances by Broun Fellinis — \u003ca href=\"http://www.moadsf.org/event/performance-the-broun-fellinis-at-root-division/?instance_id=13644\" target=\"_blank\" rel=\"noopener\">Feb. 11\u003c/a> at Root Division and \u003ca href=\"http://www.moadsf.org/event/performance-broun-fellinis/?instance_id=13673\">March 2\u003c/a> at MoAD.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Treating the music as performance art, Francis notes, acknowledges that “a performance is about space, and is something unique to a moment.”\u003c/p>\n\u003ch3>The presence and absence of the figure\u003c/h3>\n\u003cp>The exhibition also includes a robust \u003ca href=\"http://www.moadsf.org/calendar/\" target=\"_blank\" rel=\"noopener\">film screening series\u003c/a> (including early work from \u003ci>Moonlight\u003c/i> director Barry Jenkins) and \u003ca href=\"http://www.moadsf.org/event/moad-and-the-sfsu-poetry-center-present-navigating-space-for-women-through-poetry-literature-and-art/?instance_id=13659\" target=\"_blank\" rel=\"noopener\">a literature and arts panel\u003c/a> in partnership with the San Francisco State University Poetry Center. Such events, like the performances, bring audience members together, physically and spatially.\u003c/p>\n\u003cp>In contrast, there’s an absence of the human figure in the artwork of \u003cem>Where Is Here\u003c/em>. That’s intentional, something the curators took as a productive challenge. Francis says that she and Zarur wondered, “Could the story, or any stories of place, be told without the human figure? Can we think about the ‘where’ of any location without seeing a figure?” she says. “We were interested in seeing how the works stood on their own.”\u003c/p>\n\u003cfigure id=\"attachment_12637042\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12637042\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/WideShot_2-800x533.jpg\" alt=\"Installation view of 'Where Is Here.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Where Is Here.’ \u003ccite>(Courtesy of the Museum of African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To that end, Zarur says, “The body is still here, regardless of its visual absence.” Some of the works explore structures that shelter bodies (\u003ca href=\"http://adiamillett.com/\" target=\"_blank\" rel=\"noopener\">Adia Millett\u003c/a>’s site-specific installation of blown-apart homes and barns; \u003ca href=\"http://vigilism.com/\" target=\"_blank\" rel=\"noopener\">Olaleken Jeyfious\u003c/a>’s architectural structures), whereas others more obliquely reference presence, like \u003ca href=\"http://allandesouza.com/\" target=\"_blank\" rel=\"noopener\">Allan deSouza\u003c/a>’s video works of unnamed shorelines.\u003c/p>\n\u003cp>Bay Area artist \u003ca href=\"http://www.asyaabdrahman.com/\" target=\"_blank\" rel=\"noopener\">Asya Abdraman\u003c/a>’s sculpture series, \u003cem>In Her Shoes\u003c/em>, is an example of how intertwined space, place, and bodily presence can be. The artist collects old shoes from friends and family, which she then decorates with natural materials like moss.\u003c/p>\n\u003cp>As Zarur says, Abdraman’s objects hold private stories as well as public topics, such as struggles over natural resources and land use. “These shoes may be aesthetically beautiful, but they speak to pain on both collective and individual levels,” Zarur says.\u003c/p>\n\u003cfigure id=\"attachment_12637043\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12637043\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-800x533.jpg\" alt=\"Asya Abrahman, 'In Her Shoes,' 2016.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Asya Abrahman, ‘In Her Shoes,’ 2016. \u003ccite>(Courtesy of the Museum of African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many works in \u003cem>Where Is Here\u003c/em>, Abdrahman’s sculptures remind us that places are both personal and political. Indeed, that which might seem the most personal — home — is, for many, caught up in public struggles over resources, property, and citizenship.\u003c/p>\n\u003ch3>Playing with space\u003c/h3>\n\u003cp>Elsewhere, the exhibition gives some artists incentive to try out new displays. \u003ca href=\"http://www.lavaughnbelle.com/\">LaVaughn Belle\u003c/a>’s paintings of colonial porcelain plates already evoke multiple histories and locales: East Asia, where the blue and white patterns began; European craft, which appropriated the patterns; and St. Croix, where remnants of these plates are often found in shards.\u003c/p>\n\u003cp>“You find these broken pieces in the earth in St. Croix because people just throw them out when they’re done,” Francis says. “To get that sense of that St. Croix locale, we created for this exhibition this little bit of potting soil with shards the artist sent us from the Virgin Islands.”\u003c/p>\n\u003cfigure id=\"attachment_12637044\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12637044\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Belle_2-800x533.jpg\" alt=\"Installation view of LaVaughn Belle's work.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of LaVaughn Belle’s work. \u003ccite>(Courtesy of the Museum of African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>When here isn’t home\u003c/h3>\n\u003cp>When thinking about place and space, the concept of home is never far behind. Home seems like such a personal thing, something one can lays claim to and adheres to. But, of course, this is not necessarily the story everyone gets to have. Zarur’s own experiences exemplify this, as someone from the Bay Area who traveled and lived abroad for many years. When she returned recently, she found the housing prices impossible.\u003c/p>\n\u003cp>“I couldn’t help but feel like an exile in my own city because I can’t afford it anymore,” Zarur says. “[When curating this show,] it was important to reference San Francisco as part of the story. It’s one of the undercurrents. We talked about displacement, who can live where, and thought about what forces determine the answers to those questions.”\u003c/p>\n\u003cp>Hence, Francis says, the title \u003cem>Where Is Here\u003c/em>. “It’s not exclusively a question nor is it a declarative statement,” she says. “It’s supposed to be open, in the way that that phrase is always a negotiation.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Where Is Here’ is on view at through April 2 at the Museum of African Disapora in San Francisco. For tickets and information, visit \u003ca href=\"http://www.moadsf.org/\" target=\"_blank\" rel=\"noopener\">moadsf.org\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A group exhibition curated by Jacqueline Francis and Kathy Zarur coheres with rare vibrancy around ideas of space and place.",
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"title": "At MoAD, Open-Ended 'Where Is Here' Reaches Beyond the Museum's Walls | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Said out loud, \u003cem>Where Is Here\u003c/em> rolls off the tongue softly. When devoid of punctuation, the phrase is neither a question nor a firm statement.\u003c/p>\n\u003cp>Is “here” a seemingly straightforward location? Is “where,” used most often when lost or uncertain, instead accessible and knowable? What exists between the certainty and mystery both words might contain?\u003c/p>\n\u003cp>Questions like these spurred Bay Area curators Jacqueline Francis and Kathy Zarur when they began discussing the possibility of an exhibition dedicated to “place” and “space” over six years ago. \u003ca href=\"http://www.moadsf.org/exhibition/where-is-here/\" target=\"_blank\" rel=\"noopener\">\u003cem>Where Is Here\u003c/em>\u003c/a>, on view through April 2 at the \u003ca href=\"http://www.moadsf.org/\" target=\"_blank\" rel=\"noopener\">Museum of African Diaspora\u003c/a> (MoAD) in San Francisco, doesn’t promise answers. Like its title, the exhibition is open-ended and exploratory, featuring works by 10 contemporary artists of African descent.\u003c/p>\n\u003cfigure id=\"attachment_12636852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12636852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/WideShot_1-800x367.jpg\" alt=\"'Where Is Here,' installation view.\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-768x353.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-1020x468.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-1920x881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-1180x542.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-960x441.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1-520x239.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Where Is Here,’ installation view. \u003ccite>(Courtesy of the Museum of African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Where Is Here\u003c/em> is a truly multidisciplinary showcase, as diverse in media as it is in thematic approaches to the questions posed. It’s rare to find a group exhibition that coheres with such vibrancy.\u003c/p>\n\u003cp>I spoke with the curators on site at the museum in late December. They described the exhibition’s trajectory as though it were a living thing, one that evolved with each studio visit, changed during the installation process, and productively affected their public programming. Although curating always means more than choosing and arranging artworks in a space, these co-curators extended the exhibition’s reach beyond the walls of the museum.\u003c/p>\n\u003ch3>Curating beyond the walls\u003c/h3>\n\u003cp>The exhibition intentionally includes both local and global artists, reflecting the specificity of the San Francisco Bay Area as well as MoAD’s international focus. The artworks include virtual reality, abstract paintings, photographs, prose, and, most unexpectedly, song tracks from \u003ca href=\"http://www.brounsoun.com/\">Broun Fellinis\u003c/a>, a San Francisco jazz group founded in the 1990s.\u003c/p>\n\u003cfigure id=\"attachment_12636853\" class=\"wp-caption aligncenter\" style=\"max-width: 1196px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12636853\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/BrounFellinis.jpg\" alt=\"Broun Fellinis.\" width=\"1196\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis.jpg 1196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BrounFellinis-520x347.jpg 520w\" sizes=\"(max-width: 1196px) 100vw, 1196px\">\u003cfigcaption class=\"wp-caption-text\">Broun Fellinis. \u003ccite>(Courtesy Broun Fellinis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Where Is Here\u003c/em> joins in conversation with a concurrent nearby show, Root Division’s \u003cem>\u003ca href=\"https://rootdivision.org/exhibition-rd-gallery/call-beauty\">Call for Beauty\u003c/a>\u003c/em>, an exhibition exploring “alternatives to the ugliness” of present-day politics from Black artistic perspectives. Linking the two shows are performances by Broun Fellinis — \u003ca href=\"http://www.moadsf.org/event/performance-the-broun-fellinis-at-root-division/?instance_id=13644\" target=\"_blank\" rel=\"noopener\">Feb. 11\u003c/a> at Root Division and \u003ca href=\"http://www.moadsf.org/event/performance-broun-fellinis/?instance_id=13673\">March 2\u003c/a> at MoAD.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Treating the music as performance art, Francis notes, acknowledges that “a performance is about space, and is something unique to a moment.”\u003c/p>\n\u003ch3>The presence and absence of the figure\u003c/h3>\n\u003cp>The exhibition also includes a robust \u003ca href=\"http://www.moadsf.org/calendar/\" target=\"_blank\" rel=\"noopener\">film screening series\u003c/a> (including early work from \u003ci>Moonlight\u003c/i> director Barry Jenkins) and \u003ca href=\"http://www.moadsf.org/event/moad-and-the-sfsu-poetry-center-present-navigating-space-for-women-through-poetry-literature-and-art/?instance_id=13659\" target=\"_blank\" rel=\"noopener\">a literature and arts panel\u003c/a> in partnership with the San Francisco State University Poetry Center. Such events, like the performances, bring audience members together, physically and spatially.\u003c/p>\n\u003cp>In contrast, there’s an absence of the human figure in the artwork of \u003cem>Where Is Here\u003c/em>. That’s intentional, something the curators took as a productive challenge. Francis says that she and Zarur wondered, “Could the story, or any stories of place, be told without the human figure? Can we think about the ‘where’ of any location without seeing a figure?” she says. “We were interested in seeing how the works stood on their own.”\u003c/p>\n\u003cfigure id=\"attachment_12637042\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12637042\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/WideShot_2-800x533.jpg\" alt=\"Installation view of 'Where Is Here.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/WideShot_2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Where Is Here.’ \u003ccite>(Courtesy of the Museum of African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To that end, Zarur says, “The body is still here, regardless of its visual absence.” Some of the works explore structures that shelter bodies (\u003ca href=\"http://adiamillett.com/\" target=\"_blank\" rel=\"noopener\">Adia Millett\u003c/a>’s site-specific installation of blown-apart homes and barns; \u003ca href=\"http://vigilism.com/\" target=\"_blank\" rel=\"noopener\">Olaleken Jeyfious\u003c/a>’s architectural structures), whereas others more obliquely reference presence, like \u003ca href=\"http://allandesouza.com/\" target=\"_blank\" rel=\"noopener\">Allan deSouza\u003c/a>’s video works of unnamed shorelines.\u003c/p>\n\u003cp>Bay Area artist \u003ca href=\"http://www.asyaabdrahman.com/\" target=\"_blank\" rel=\"noopener\">Asya Abdraman\u003c/a>’s sculpture series, \u003cem>In Her Shoes\u003c/em>, is an example of how intertwined space, place, and bodily presence can be. The artist collects old shoes from friends and family, which she then decorates with natural materials like moss.\u003c/p>\n\u003cp>As Zarur says, Abdraman’s objects hold private stories as well as public topics, such as struggles over natural resources and land use. “These shoes may be aesthetically beautiful, but they speak to pain on both collective and individual levels,” Zarur says.\u003c/p>\n\u003cfigure id=\"attachment_12637043\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12637043\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-800x533.jpg\" alt=\"Asya Abrahman, 'In Her Shoes,' 2016.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/AsyaAbdrahman_2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Asya Abrahman, ‘In Her Shoes,’ 2016. \u003ccite>(Courtesy of the Museum of African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many works in \u003cem>Where Is Here\u003c/em>, Abdrahman’s sculptures remind us that places are both personal and political. Indeed, that which might seem the most personal — home — is, for many, caught up in public struggles over resources, property, and citizenship.\u003c/p>\n\u003ch3>Playing with space\u003c/h3>\n\u003cp>Elsewhere, the exhibition gives some artists incentive to try out new displays. \u003ca href=\"http://www.lavaughnbelle.com/\">LaVaughn Belle\u003c/a>’s paintings of colonial porcelain plates already evoke multiple histories and locales: East Asia, where the blue and white patterns began; European craft, which appropriated the patterns; and St. Croix, where remnants of these plates are often found in shards.\u003c/p>\n\u003cp>“You find these broken pieces in the earth in St. Croix because people just throw them out when they’re done,” Francis says. “To get that sense of that St. Croix locale, we created for this exhibition this little bit of potting soil with shards the artist sent us from the Virgin Islands.”\u003c/p>\n\u003cfigure id=\"attachment_12637044\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12637044\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Belle_2-800x533.jpg\" alt=\"Installation view of LaVaughn Belle's work.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Belle_2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of LaVaughn Belle’s work. \u003ccite>(Courtesy of the Museum of African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>When here isn’t home\u003c/h3>\n\u003cp>When thinking about place and space, the concept of home is never far behind. Home seems like such a personal thing, something one can lays claim to and adheres to. But, of course, this is not necessarily the story everyone gets to have. Zarur’s own experiences exemplify this, as someone from the Bay Area who traveled and lived abroad for many years. When she returned recently, she found the housing prices impossible.\u003c/p>\n\u003cp>“I couldn’t help but feel like an exile in my own city because I can’t afford it anymore,” Zarur says. “[When curating this show,] it was important to reference San Francisco as part of the story. It’s one of the undercurrents. We talked about displacement, who can live where, and thought about what forces determine the answers to those questions.”\u003c/p>\n\u003cp>Hence, Francis says, the title \u003cem>Where Is Here\u003c/em>. “It’s not exclusively a question nor is it a declarative statement,” she says. “It’s supposed to be open, in the way that that phrase is always a negotiation.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Where Is Here’ is on view at through April 2 at the Museum of African Disapora in San Francisco. For tickets and information, visit \u003ca href=\"http://www.moadsf.org/\" target=\"_blank\" rel=\"noopener\">moadsf.org\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.edisoninternationalusa.com/about.html\" target=\"_blank\" rel=\"noopener\">Cheryl Edison\u003c/a> said she knew what was coming after the Ghost Ship Fire.\u003c/p>\n\u003cp>“Heads up,” Edison texted her boss the next day. “There’s been a big warehouse fire, and because our property is called a warehouse, there’s likely to be a backlash.”\u003c/p>\n\u003cp>Edison was a consultant, finding artists and makers to occupy a co-working space called \u003ca href=\"http://thefactory510.com/\" target=\"_blank\" rel=\"noopener\">Factory 510\u003c/a>, part of the \u003ca href=\"http://thegate510.com/the-team/\" target=\"_blank\" rel=\"noopener\">Gate 510\u003c/a> complex, which houses a number of retail, tech, maker, and artist spaces off Davis Street in San Leandro.\u003c/p>\n\u003cp>And Edison said her boss, \u003ca href=\"https://skbcos.com/expertise/#team_members\" target=\"_blank\" rel=\"noopener\">Steve Wong\u003c/a>, a property manager with the real estate merchant banker \u003ca href=\"https://skbcos.com/expertise/\" target=\"_blank\" rel=\"noopener\">ScanlanKemperBard \u003c/a>(SKB), based in Portland, texted her back.\u003c/p>\n\u003cp>“We have nothing to worry about. Our property is nothing like that (the Ghost Ship) property. We are concrete and steel beams, sprinklers throughout.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Edison was right. On the Monday morning after the fire, “came fire officials,” Edison said, “and representatives from the city of San Leandro, making a huge scene. I was called by tenants and members, I contacted SKB. And I said Steve, we have an issue here.”\u003c/p>\n\u003cp>\u003ca href=\"http://thegate510.com/about-the-gate/\" target=\"_blank\" rel=\"noopener\">Gate 510 \u003c/a>encompasses nearly a million square-feet of space. It was once a manufacturing plant for Dodges and Plymouths, and then Caterpillar tractors. Now there’s a Home Depot, a Ross Dress for Less and other retailers downstairs. Upstairs, SKB has built studios and offices for entrepreneurs, tech companies, artists, and makers.\u003c/p>\n\u003cp>Edison showed me around the huge modern looking space a few weeks ago. A few artists were there with her, packing their gear, because SKB terminated all the leases for Factory 510 as of Jan. 9.\u003c/p>\n\u003cfigure id=\"attachment_12644935\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12644935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/004-800x600.jpg\" alt=\"Cheryl Edison stand by a giant mural that used to decorate a common area of Factory 510 that safety inspectors told her was a fire hazard\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Edison stand by a giant mural that used to decorate a common area of Factory 510 that safety inspectors told her was a fire hazard \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What happened here, is like saying we’ve got a problem with forest fires, so let’s just cut all the trees down,” said Andrew Johnstone, an artist who designs and builds huge sculptures, including the iconic Burning Man figure used at last summer’s Burning Man Festival. “That’s not how you deal with this.”\u003c/p>\n\u003cp>\u003cstrong>The City Building Official\u003c/strong>\u003c/p>\n\u003cp>But Jerry Smith Jr., San Leandro’s chief building official, said the inspection on Dec. 5 was routine and not a crackdown.\u003c/p>\n\u003cp>“There’s this perception,” Smith said in a phone interview, “because of the Ghost Ship fire, that we suddenly had this interest in the Gate. I was at the gate my first week here.\u003c/p>\n\u003cp>“It’s so complex,” Smith said. “It’s so far ahead of the code, that we regularly go through to figure out what they’re doing, how do we protect them, what’s the best way to do this.”\u003c/p>\n\u003cp>Smith is like many city officials after the Ghost Ship fire, eager to work with artists, entrepreneurs, and makers — all of whom bring innovation and taxes to their cities. “This city is pro-artist and pro-maker,” Smith said. But he added that he always worries that he could be overlooking a major safety hazard.\u003c/p>\n\u003cp>“When we do our job, nothing happens,” Smith said. “I have prevented more death and injury than any first responder in the history of mankind.”\u003c/p>\n\u003cp>Smith said what he found at Factory 510 was a neon art installation with bare wires tied to the building steel in an area designated as a refuge, a safe room to which people could go in the event of a fire.\u003c/p>\n\u003cp>“People would have gotten electrocuted,” Smith said. “And the neon was suspended over the top of the exit path. Can you imagine if we had an earthquake event. It would have shattered, you would have gotten a glass shower.”\u003c/p>\n\u003cp>Edison said Smith and the fire inspector told her that “anything that could loosely be called art was no longer something that could be permitted.”\u003c/p>\n\u003cp>Artist Nick Randell, who installed the neon said, “I did some wonderful installations here which I assure you were perfectly safe. I’ve been setting up neon in places for over 30 years and I have yet to electrocute anyone or burn anything down.”\u003c/p>\n\u003cp>Johnstone said the inspectors warned him that he had flammable paintings hanging on a wall, and he was ordered to remove them. That established, what he called, an impossible safety standard for a working artist.\u003c/p>\n\u003cp>\u003cstrong>The Landlord\u003c/strong>\u003c/p>\n\u003cp>Meanwhile SKB’s Steve Wong said in a phone interview that the inspection was only a minor factor in ending the company’s arrangement with Edison and the artists she was leasing to. “Part of Edison’s job was going away,” Wong said, “because she’d done such a good job of leasing the space.\u003c/p>\n\u003cp>“If anything the timing of it relative to the Oakland fire may have accelerated it by a few months,” Wong said. “And some of those folks leaving were short term tenants under Cheryl’s purview.”\u003c/p>\n\u003cp>Wong said SKB was happy with the work Edison did bringing in artists and tech entrepreneurs. But the company “needed to take a couple of steps back because of the additional scrutiny on fire and safety.”\u003c/p>\n\u003cp>\u003cstrong>A Plea For a Home\u003c/strong>\u003c/p>\n\u003cp>Back at Factory 510, neon artist Nick Randell takes the long view on his eviction. “This is just a temporary setback,” said Randell. “Our work is done here. Artists come in when a place is down at the heels. And once it gets successful they get rid of us.”\u003c/p>\n\u003cp>And despite losing her consultancy with SKB, Edison said “There are no villains here.”\u003c/p>\n\u003cp>The real problem, she said, is that cities still don’t understand how to take the Bay Area’s many under-used warehouses and “upcycle those buildings to allow them to be used safely and adequately for new uses.”\u003c/p>\n\u003cp>Edison paused a minute. “I’m not going to cry,” she said, tearing up for just a second.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’m reaching out to the mayor of Alameda, the mayor of Berkeley, the mayor of Oakland,” Edison said. “Have you got a space for dozens and dozens of tech companies and artists, who play by the rules, who want to be safe, and need a place to make innovation thrive, and make an economy thrive? Just like we did here in San Leandro. We need a place to be.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.edisoninternationalusa.com/about.html\" target=\"_blank\" rel=\"noopener\">Cheryl Edison\u003c/a> said she knew what was coming after the Ghost Ship Fire.\u003c/p>\n\u003cp>“Heads up,” Edison texted her boss the next day. “There’s been a big warehouse fire, and because our property is called a warehouse, there’s likely to be a backlash.”\u003c/p>\n\u003cp>Edison was a consultant, finding artists and makers to occupy a co-working space called \u003ca href=\"http://thefactory510.com/\" target=\"_blank\" rel=\"noopener\">Factory 510\u003c/a>, part of the \u003ca href=\"http://thegate510.com/the-team/\" target=\"_blank\" rel=\"noopener\">Gate 510\u003c/a> complex, which houses a number of retail, tech, maker, and artist spaces off Davis Street in San Leandro.\u003c/p>\n\u003cp>And Edison said her boss, \u003ca href=\"https://skbcos.com/expertise/#team_members\" target=\"_blank\" rel=\"noopener\">Steve Wong\u003c/a>, a property manager with the real estate merchant banker \u003ca href=\"https://skbcos.com/expertise/\" target=\"_blank\" rel=\"noopener\">ScanlanKemperBard \u003c/a>(SKB), based in Portland, texted her back.\u003c/p>\n\u003cp>“We have nothing to worry about. Our property is nothing like that (the Ghost Ship) property. We are concrete and steel beams, sprinklers throughout.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Edison was right. On the Monday morning after the fire, “came fire officials,” Edison said, “and representatives from the city of San Leandro, making a huge scene. I was called by tenants and members, I contacted SKB. And I said Steve, we have an issue here.”\u003c/p>\n\u003cp>\u003ca href=\"http://thegate510.com/about-the-gate/\" target=\"_blank\" rel=\"noopener\">Gate 510 \u003c/a>encompasses nearly a million square-feet of space. It was once a manufacturing plant for Dodges and Plymouths, and then Caterpillar tractors. Now there’s a Home Depot, a Ross Dress for Less and other retailers downstairs. Upstairs, SKB has built studios and offices for entrepreneurs, tech companies, artists, and makers.\u003c/p>\n\u003cp>Edison showed me around the huge modern looking space a few weeks ago. A few artists were there with her, packing their gear, because SKB terminated all the leases for Factory 510 as of Jan. 9.\u003c/p>\n\u003cfigure id=\"attachment_12644935\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12644935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/004-800x600.jpg\" alt=\"Cheryl Edison stand by a giant mural that used to decorate a common area of Factory 510 that safety inspectors told her was a fire hazard\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/004.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Edison stand by a giant mural that used to decorate a common area of Factory 510 that safety inspectors told her was a fire hazard \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What happened here, is like saying we’ve got a problem with forest fires, so let’s just cut all the trees down,” said Andrew Johnstone, an artist who designs and builds huge sculptures, including the iconic Burning Man figure used at last summer’s Burning Man Festival. “That’s not how you deal with this.”\u003c/p>\n\u003cp>\u003cstrong>The City Building Official\u003c/strong>\u003c/p>\n\u003cp>But Jerry Smith Jr., San Leandro’s chief building official, said the inspection on Dec. 5 was routine and not a crackdown.\u003c/p>\n\u003cp>“There’s this perception,” Smith said in a phone interview, “because of the Ghost Ship fire, that we suddenly had this interest in the Gate. I was at the gate my first week here.\u003c/p>\n\u003cp>“It’s so complex,” Smith said. “It’s so far ahead of the code, that we regularly go through to figure out what they’re doing, how do we protect them, what’s the best way to do this.”\u003c/p>\n\u003cp>Smith is like many city officials after the Ghost Ship fire, eager to work with artists, entrepreneurs, and makers — all of whom bring innovation and taxes to their cities. “This city is pro-artist and pro-maker,” Smith said. But he added that he always worries that he could be overlooking a major safety hazard.\u003c/p>\n\u003cp>“When we do our job, nothing happens,” Smith said. “I have prevented more death and injury than any first responder in the history of mankind.”\u003c/p>\n\u003cp>Smith said what he found at Factory 510 was a neon art installation with bare wires tied to the building steel in an area designated as a refuge, a safe room to which people could go in the event of a fire.\u003c/p>\n\u003cp>“People would have gotten electrocuted,” Smith said. “And the neon was suspended over the top of the exit path. Can you imagine if we had an earthquake event. It would have shattered, you would have gotten a glass shower.”\u003c/p>\n\u003cp>Edison said Smith and the fire inspector told her that “anything that could loosely be called art was no longer something that could be permitted.”\u003c/p>\n\u003cp>Artist Nick Randell, who installed the neon said, “I did some wonderful installations here which I assure you were perfectly safe. I’ve been setting up neon in places for over 30 years and I have yet to electrocute anyone or burn anything down.”\u003c/p>\n\u003cp>Johnstone said the inspectors warned him that he had flammable paintings hanging on a wall, and he was ordered to remove them. That established, what he called, an impossible safety standard for a working artist.\u003c/p>\n\u003cp>\u003cstrong>The Landlord\u003c/strong>\u003c/p>\n\u003cp>Meanwhile SKB’s Steve Wong said in a phone interview that the inspection was only a minor factor in ending the company’s arrangement with Edison and the artists she was leasing to. “Part of Edison’s job was going away,” Wong said, “because she’d done such a good job of leasing the space.\u003c/p>\n\u003cp>“If anything the timing of it relative to the Oakland fire may have accelerated it by a few months,” Wong said. “And some of those folks leaving were short term tenants under Cheryl’s purview.”\u003c/p>\n\u003cp>Wong said SKB was happy with the work Edison did bringing in artists and tech entrepreneurs. But the company “needed to take a couple of steps back because of the additional scrutiny on fire and safety.”\u003c/p>\n\u003cp>\u003cstrong>A Plea For a Home\u003c/strong>\u003c/p>\n\u003cp>Back at Factory 510, neon artist Nick Randell takes the long view on his eviction. “This is just a temporary setback,” said Randell. “Our work is done here. Artists come in when a place is down at the heels. And once it gets successful they get rid of us.”\u003c/p>\n\u003cp>And despite losing her consultancy with SKB, Edison said “There are no villains here.”\u003c/p>\n\u003cp>The real problem, she said, is that cities still don’t understand how to take the Bay Area’s many under-used warehouses and “upcycle those buildings to allow them to be used safely and adequately for new uses.”\u003c/p>\n\u003cp>Edison paused a minute. “I’m not going to cry,” she said, tearing up for just a second.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m reaching out to the mayor of Alameda, the mayor of Berkeley, the mayor of Oakland,” Edison said. “Have you got a space for dozens and dozens of tech companies and artists, who play by the rules, who want to be safe, and need a place to make innovation thrive, and make an economy thrive? Just like we did here in San Leandro. We need a place to be.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What would you do with a few tons of steel left over from the demolition of the eastern span of the Oakland-San Francisco Bay Bridge?\u003c/p>\n\u003cp>Well 15 artists and design teams will get a chance to build, among other things, playful structures on Treasure Island, artwork just north of the Ferry Building, a sundial at Laney College, a sculpture near the Petaluma River and the platform for a miniature railroad in Truckee.\u003c/p>\n\u003cp>\u003ca href=\"http://museumca.org/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California\u003c/a> Tuesday announced the final five winners of sections of steel, rivets and an old Bay Bridge warning light, all to be used in public projects around California. \u003ca href=\"http://mtc.ca.gov/about-mtc/what-mtc/bay-area-toll-authority-bata\" target=\"_blank\" rel=\"noopener\">The Bay Area Toll Authority\u003c/a> had put the museum in charge of sifting through applications from dozens of artists who wanted to work with material from the iconic cantilever section of the bridge. OMCA had picked some of the winners in earlier announcements.\u003c/p>\n\u003cfigure id=\"attachment_12640890\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12640890\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Eastern-Span-of-the-Old-Bay-Bridge.jpg\" alt=\"The eastern span of the old Bay Bridge\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Eastern-Span-of-the-Old-Bay-Bridge.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Eastern-Span-of-the-Old-Bay-Bridge-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Eastern-Span-of-the-Old-Bay-Bridge-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Eastern-Span-of-the-Old-Bay-Bridge-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Eastern-Span-of-the-Old-Bay-Bridge-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The eastern span of the old Bay Bridge \u003ccite>(Bryan Goebel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A statement from OMCA says the toll authority will begin to distribute the steel in the spring of this year.\u003c/p>\n\u003cp>Among the newly chosen projects, one that seems timed to the inauguration of President-elect Trump; “Building Bridges, Not Walls,” by the \u003ca href=\"https://livingnewdeal.org/\" target=\"_blank\" rel=\"noopener\">Living New Deal Project\u003c/a>, highlighting the contributions of immigrant workers in building the bridge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What would you do with a few tons of steel left over from the demolition of the eastern span of the Oakland-San Francisco Bay Bridge?\u003c/p>\n\u003cp>Well 15 artists and design teams will get a chance to build, among other things, playful structures on Treasure Island, artwork just north of the Ferry Building, a sundial at Laney College, a sculpture near the Petaluma River and the platform for a miniature railroad in Truckee.\u003c/p>\n\u003cp>\u003ca href=\"http://museumca.org/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California\u003c/a> Tuesday announced the final five winners of sections of steel, rivets and an old Bay Bridge warning light, all to be used in public projects around California. \u003ca href=\"http://mtc.ca.gov/about-mtc/what-mtc/bay-area-toll-authority-bata\" target=\"_blank\" rel=\"noopener\">The Bay Area Toll Authority\u003c/a> had put the museum in charge of sifting through applications from dozens of artists who wanted to work with material from the iconic cantilever section of the bridge. OMCA had picked some of the winners in earlier announcements.\u003c/p>\n\u003cfigure id=\"attachment_12640890\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12640890\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Eastern-Span-of-the-Old-Bay-Bridge.jpg\" alt=\"The eastern span of the old Bay Bridge\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Eastern-Span-of-the-Old-Bay-Bridge.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Eastern-Span-of-the-Old-Bay-Bridge-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Eastern-Span-of-the-Old-Bay-Bridge-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Eastern-Span-of-the-Old-Bay-Bridge-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Eastern-Span-of-the-Old-Bay-Bridge-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The eastern span of the old Bay Bridge \u003ccite>(Bryan Goebel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A statement from OMCA says the toll authority will begin to distribute the steel in the spring of this year.\u003c/p>\n\u003cp>Among the newly chosen projects, one that seems timed to the inauguration of President-elect Trump; “Building Bridges, Not Walls,” by the \u003ca href=\"https://livingnewdeal.org/\" target=\"_blank\" rel=\"noopener\">Living New Deal Project\u003c/a>, highlighting the contributions of immigrant workers in building the bridge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Future Uncertain for San Jose's Priced Out Empire Seven Studios",
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"content": "\u003cp>The last art show is up on the walls of \u003ca href=\"http://www.empiresevenstudios.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Empire Seven Studios\u003c/a> – at least, in the gallery Juan Carlos Araujo and Jennifer Ahn opened nearly 10 years ago. A luxury apartment developer bought the building near the corner of Empire and 7th in Japantown late last year, and in a story grown familiar to artists all over the Bay Area, the couple has to leave ahead of the bulldozers.\u003c/p>\n\u003cp>The new landlord has offered some give room. Empire Seven has until the end of February. After that? It’s anybody’s guess.\u003c/p>\n\u003cp>Araujo says he’s been exploring several prospects, “but so far, nothing has been signed in ink.” Ideally, he wants to stay in San Jose.\u003c/p>\n\u003cp>But the \u003ca href=\"https://www.gofundme.com/save-empire-seven\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe campaign\u003c/a> Araujo and Ahn launched has raised about $27,000 — a fraction of what’s necessary to buy another property in this Silicon Valley town. So while the original goal was buying a property, they’d settle for a place to rent at this point in time.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=rLlXlMLMNZ0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>A beloved local institution\u003c/strong>\u003c/p>\n\u003cp>“Empire Seven is a labor a love,” says Kristin Farr, a former KQED Arts writer who is now Deputy Editor for \u003ca href=\"http://www.juxtapoz.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juxtapoz Magazine\u003c/a>. She’s also a visual artist. “They’ve been very good to my husband and me. We’ve shown our art there a lot.”\u003c/p>\n\u003cp>Farr echoes a chorus of people who say Empire Seven is more than a gallery. For many, it’s a champion of emerging talent, and a go-between that brings under-the-radar artists together with established institutions and property owners for all sorts of public works, like murals.\u003c/p>\n\u003cp>Empire Seven’s current location is not in a fancy part of Japantown. Train tracks are steps away. Trash blows up against the front door. The place was a dusty mess when Araujo and Ahn came in with a broom and an idea nearly 10 years ago.\u003c/p>\n\u003cp>“You can hear the train in the back,” Araujo says as we talk. “It’s one of the things that sold me on the place. It looked like a diamond in the rough. I took a chance.”\u003c/p>\n\u003cfigure id=\"attachment_12622585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622585\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-800x450.jpg\" alt=\"A mural by Andrew Schoultz, right around the corner from Empire Seven Studios.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural by Andrew Schoultz, right around the corner from Empire Seven Studios. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Are we really doing this?” Ahn recollected on a recent episode of the San Jose-based podcast \u003ca href=\"https://soundcloud.com/jorge-m-sanchez/82-roberto-tinoco-duran\" target=\"_blank\" rel=\"noopener noreferrer\">JMS\u003c/a>. “Are we really, seriously doing this? It was nothing like it is now, but it all fell into place.” The drywall, the track lighting, the clean, white paint: that wasn’t here before them.\u003c/p>\n\u003cp>\u003cstrong>But Empire Seven is for-profit\u003c/strong>\u003c/p>\n\u003cp>The gallery does receive funding from the San Jose Office of Cultural Affairs. But there’s only so much support San Jose can offer, even though the city has gone to great lengths to help nonprofit arts organizations like the \u003ca href=\"http://www.bagi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Glass Institute\u003c/a> and \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Movimiento de Arte y Cultura Latino Americana\u003c/a> rent or buy.\u003c/p>\n\u003cp>Kerry Adams Hapner, Deputy Director of Economic Development for San Jose’s Director of Cultural Affairs, suggested that the couple should think seriously about becoming a nonprofit. “Empire Seven is a mission-driven organization with a public benefit. Becoming a nonprofit requires complete reconsideration of a business model and it is not for everyone, but it may enable them access to more resources. ”\u003c/p>\n\u003cp>Others aren’t so sure. Anjee Helstrup-Alvarez, Executive Director of MACLA, says “I would NOT suggest that they become a nonprofit organization. People often think that the 501(c)3 tax code structure is the holy grail of ‘free money’ and access to unlimited grants, but that is not the case. To be a nonprofit, you have be willing to live within the legal structure that governs our industry.”\u003c/p>\n\u003cfigure id=\"attachment_12622586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622586\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-800x450.jpg\" alt='The last show up on the walls, DY*NAS*TY, is representative of the political and artistic aesthetic of Empire Seven. All three artists -- Mesngr, SFaustina and Cristovoe -- came up in graffiti, but work as \"grown-ups\" now in graphic design, animation and retail clothing.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The last show up on the walls, DY*NAS*TY, is representative of the political and artistic aesthetic of Empire Seven. All three artists — Mesngr, SFaustina and Cristovoe — came up in graffiti, but work as “grown-ups” now in graphic design, animation and retail clothing. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That means a board of directors, by laws, etc, and all of that takes time to establish. It also takes even more time to apply for grants, and then to wait for that money to come through.\u003c/p>\n\u003cp>So what’s Empire Seven to do in the meantime? Araujo and Ahn are talking to the developer pushing them out about a gallery space in the new building. They might rent gallery space from other outfits to mount exhibitions. They might consult. They might pursue all those options simultaneously.\u003c/p>\n\u003cp>Whatever the case, Helstrup-Alvarez argues it’s a great idea for Empire Seven to “continue to build public awareness through their murals, public art projects, or pop-up exhibition spaces.”\u003c/p>\n\u003cp>Araujo is cagey about debt. He doesn’t want to take out loans or max out any credit cards. The GoFundMe campaign, he says, should at the least help Empire Seven survive the next few months.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He appreciates all the cash and advice coming his way lately. “You know that you can survive, having all these people behind you.”\u003c/p>\n\u003cfigure id=\"attachment_12622587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-800x451.jpg\" alt=\"A familiar sight in San Jose these days, warning of something new and upscale.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A familiar sight in San Jose these days, warning of something new and upscale. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Empire Seven Studios of San Jose has until March 1st to figure out where it's going to live next.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last art show is up on the walls of \u003ca href=\"http://www.empiresevenstudios.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Empire Seven Studios\u003c/a> – at least, in the gallery Juan Carlos Araujo and Jennifer Ahn opened nearly 10 years ago. A luxury apartment developer bought the building near the corner of Empire and 7th in Japantown late last year, and in a story grown familiar to artists all over the Bay Area, the couple has to leave ahead of the bulldozers.\u003c/p>\n\u003cp>The new landlord has offered some give room. Empire Seven has until the end of February. After that? It’s anybody’s guess.\u003c/p>\n\u003cp>Araujo says he’s been exploring several prospects, “but so far, nothing has been signed in ink.” Ideally, he wants to stay in San Jose.\u003c/p>\n\u003cp>But the \u003ca href=\"https://www.gofundme.com/save-empire-seven\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe campaign\u003c/a> Araujo and Ahn launched has raised about $27,000 — a fraction of what’s necessary to buy another property in this Silicon Valley town. So while the original goal was buying a property, they’d settle for a place to rent at this point in time.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rLlXlMLMNZ0'\n title='//www.youtube.com/embed/rLlXlMLMNZ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A beloved local institution\u003c/strong>\u003c/p>\n\u003cp>“Empire Seven is a labor a love,” says Kristin Farr, a former KQED Arts writer who is now Deputy Editor for \u003ca href=\"http://www.juxtapoz.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juxtapoz Magazine\u003c/a>. She’s also a visual artist. “They’ve been very good to my husband and me. We’ve shown our art there a lot.”\u003c/p>\n\u003cp>Farr echoes a chorus of people who say Empire Seven is more than a gallery. For many, it’s a champion of emerging talent, and a go-between that brings under-the-radar artists together with established institutions and property owners for all sorts of public works, like murals.\u003c/p>\n\u003cp>Empire Seven’s current location is not in a fancy part of Japantown. Train tracks are steps away. Trash blows up against the front door. The place was a dusty mess when Araujo and Ahn came in with a broom and an idea nearly 10 years ago.\u003c/p>\n\u003cp>“You can hear the train in the back,” Araujo says as we talk. “It’s one of the things that sold me on the place. It looked like a diamond in the rough. I took a chance.”\u003c/p>\n\u003cfigure id=\"attachment_12622585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622585\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-800x450.jpg\" alt=\"A mural by Andrew Schoultz, right around the corner from Empire Seven Studios.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23585_Photo-Dec-22-10-14-38-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mural by Andrew Schoultz, right around the corner from Empire Seven Studios. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Are we really doing this?” Ahn recollected on a recent episode of the San Jose-based podcast \u003ca href=\"https://soundcloud.com/jorge-m-sanchez/82-roberto-tinoco-duran\" target=\"_blank\" rel=\"noopener noreferrer\">JMS\u003c/a>. “Are we really, seriously doing this? It was nothing like it is now, but it all fell into place.” The drywall, the track lighting, the clean, white paint: that wasn’t here before them.\u003c/p>\n\u003cp>\u003cstrong>But Empire Seven is for-profit\u003c/strong>\u003c/p>\n\u003cp>The gallery does receive funding from the San Jose Office of Cultural Affairs. But there’s only so much support San Jose can offer, even though the city has gone to great lengths to help nonprofit arts organizations like the \u003ca href=\"http://www.bagi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Glass Institute\u003c/a> and \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Movimiento de Arte y Cultura Latino Americana\u003c/a> rent or buy.\u003c/p>\n\u003cp>Kerry Adams Hapner, Deputy Director of Economic Development for San Jose’s Director of Cultural Affairs, suggested that the couple should think seriously about becoming a nonprofit. “Empire Seven is a mission-driven organization with a public benefit. Becoming a nonprofit requires complete reconsideration of a business model and it is not for everyone, but it may enable them access to more resources. ”\u003c/p>\n\u003cp>Others aren’t so sure. Anjee Helstrup-Alvarez, Executive Director of MACLA, says “I would NOT suggest that they become a nonprofit organization. People often think that the 501(c)3 tax code structure is the holy grail of ‘free money’ and access to unlimited grants, but that is not the case. To be a nonprofit, you have be willing to live within the legal structure that governs our industry.”\u003c/p>\n\u003cfigure id=\"attachment_12622586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622586\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-800x450.jpg\" alt='The last show up on the walls, DY*NAS*TY, is representative of the political and artistic aesthetic of Empire Seven. All three artists -- Mesngr, SFaustina and Cristovoe -- came up in graffiti, but work as \"grown-ups\" now in graphic design, animation and retail clothing.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23583_Photo-Dec-22-10-07-55-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The last show up on the walls, DY*NAS*TY, is representative of the political and artistic aesthetic of Empire Seven. All three artists — Mesngr, SFaustina and Cristovoe — came up in graffiti, but work as “grown-ups” now in graphic design, animation and retail clothing. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That means a board of directors, by laws, etc, and all of that takes time to establish. It also takes even more time to apply for grants, and then to wait for that money to come through.\u003c/p>\n\u003cp>So what’s Empire Seven to do in the meantime? Araujo and Ahn are talking to the developer pushing them out about a gallery space in the new building. They might rent gallery space from other outfits to mount exhibitions. They might consult. They might pursue all those options simultaneously.\u003c/p>\n\u003cp>Whatever the case, Helstrup-Alvarez argues it’s a great idea for Empire Seven to “continue to build public awareness through their murals, public art projects, or pop-up exhibition spaces.”\u003c/p>\n\u003cp>Araujo is cagey about debt. He doesn’t want to take out loans or max out any credit cards. The GoFundMe campaign, he says, should at the least help Empire Seven survive the next few months.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He appreciates all the cash and advice coming his way lately. “You know that you can survive, having all these people behind you.”\u003c/p>\n\u003cfigure id=\"attachment_12622587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12622587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-800x451.jpg\" alt=\"A familiar sight in San Jose these days, warning of something new and upscale.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23586_Photo-Dec-22-10-12-50-AM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A familiar sight in San Jose these days, warning of something new and upscale. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "imagining-zapatistas-in-space-with-rigo-23-at-anglim-gilbert-gallery",
"title": "Imagining Zapatistas in Space with Rigo 23 at Anglim Gilbert Gallery",
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"content": "\u003cp>Art may seem like a secondary concern this week, but come Jan. 20, it will enter the streets in the form of handmade signs, banners, songs and chants. Art — and artists — will stay there, creating visual symbols of the movements to come, writing the new anthems of solidarity and performing the actions of resistance we’ll witness or participate in for the days, weeks and years ahead.\u003c/p>\n\u003cp>Amidst the hustle and bustle of last weekend’s art fair bonanza, San Francisco’s Anglim Gilbert Gallery opened \u003ci>\u003ca href=\"http://anglimgilbertgallery.com/rigo-23-autonomous-intergalactic-space-program/#ms-3933\" target=\"_blank\" rel=\"noopener\">Autonomous InterGalactic Space Program\u003c/a>\u003c/i>, an exhibition of works by Rigo 23 made in collaboration with artisans of Chiapas, Mexico.\u003c/p>\n\u003cp>If you’re wondering why Rigo 23’s name sounds familiar, here are several possibilities: a) his long history of political and community-focused work; b) his highly visible public art, like the large-scale \u003ca href=\"http://www.sfmuralarts.com/mural/128.html\" target=\"_blank\" rel=\"noopener\">\u003cem>One Tree\u003c/em> mural\u003c/a> near the Highway 101 onramp at San Francisco’s 10th and Bryant Streets; and/or c) the recent removal of his \u003ca href=\"https://www.democracynow.org/2017/1/4/american_university_removes_leonard_peltier_statue\" target=\"_blank\" rel=\"noopener\">Leonard Peltier statue\u003c/a> from the American University campus in Washington, D.C.\u003c/p>\n\u003cfigure id=\"attachment_12617309\" class=\"wp-caption aligncenter\" style=\"max-width: 930px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-3COVER.jpg\" alt=\"Rigo 23, Work in progress at EDELO residency, San Cristobal de las Casas, Chiapas, Mexico.\" width=\"930\" height=\"523\" class=\"size-full wp-image-12617309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-3COVER.jpg 930w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-3COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-3COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-3COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-3COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-3COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-3COVER-520x292.jpg 520w\" sizes=\"(max-width: 930px) 100vw, 930px\">\u003cfigcaption class=\"wp-caption-text\">Rigo 23, Work in progress at EDELO residency, San Cristobal de las Casas, Chiapas, Mexico. \u003ccite>(Courtesy of Anglim Gilbert Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inspired by the Zapatista Army of National Liberation (EZLN) and their 23-year struggle to combat globalization and marginalization by the Mexican state, Rigo 23 asked Zapatista artists to imagine a different kind of future for their annual meeting — the Global Festival of Dignified Rage. What if the festival was truly intergalactic, he asked. What if the next invitation came from a host beyond the Milky Way? How would the EZLN attend?\u003c/p>\n\u003cp>\u003ci>Autonomous InterGalactic Space Program\u003c/i>, first shown in 2012 at \u003ca href=\"https://www.redcat.org/exhibition/rigo-23-autonomous-intergalactic-space-program\" target=\"_blank\" rel=\"noopener\">REDCAT\u003c/a> in Los Angeles, is the answer to that question in the form of a sculptural installation. Like the futures proffered in Southern Exposure’s \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/10/sooner-or-later-artists-imagine-the-future-as-a-place-we-want-to-be/\" target=\"_blank\" rel=\"noopener\">Sooner or Later\u003c/a>\u003c/i>, \u003ci>Autonomous InterGalactic Space Program\u003c/i> depicts a space program designed by people less interested in technological progress than in a radically reworked society.\u003c/p>\n\u003cfigure id=\"attachment_12617311\" class=\"wp-caption aligncenter\" style=\"max-width: 930px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12617311\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-2.jpeg\" alt=\"Rigo 23, Work in progress at EDELO residency, San Cristobal de las Casas, Chiapas, Mexico.\" width=\"930\" height=\"623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-2.jpeg 930w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-2-800x536.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-2-768x514.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-2-240x161.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-2-375x251.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-2-520x348.jpeg 520w\" sizes=\"(max-width: 930px) 100vw, 930px\">\u003cfigcaption class=\"wp-caption-text\">Rigo 23, Work in progress at EDELO residency, San Cristobal de las Casas, Chiapas, Mexico. \u003ccite>(Courtesy of Anglim Gilbert Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Showcasing the work of weavers, painters, seamstresses, carpenters and cultural activists, \u003ci>Autonomous InterGalactic Space Program\u003c/i> creates an environment for viewers to fully enter and explore, filled with the handiwork of over 100 collaborators.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The playful, hopeful elements of \u003ci>Autonomous InterGalactic Space Program\u003c/i> may appear far removed from the posters, chants and bodies pouring into American streets this week, but to the EZLN, art and poetry are revolutionary weapons. A journey to space in a giant ear of corn may be the radically different future we all need to imagine right now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12127869\" src=\"http://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>Autonomous InterGalactic Space Program\u003c/b> is on view at Anglim Gilbert Gallery in Minnesota Street Project, San Francisco through Feb. 27. Visit \u003ca href=\"http://anglimgilbertgallery.com/rigo-23-autonomous-intergalactic-space-program/#ms-3933\" target=\"_blank\" rel=\"noopener\">anglimgilbertgallery.com\u003c/a> for more information.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Collaborating with over 100 artisans from Chiapas, Mexico, Rigo 23's sculptural installation proposes space travel in a giant ear of corn.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Art may seem like a secondary concern this week, but come Jan. 20, it will enter the streets in the form of handmade signs, banners, songs and chants. Art — and artists — will stay there, creating visual symbols of the movements to come, writing the new anthems of solidarity and performing the actions of resistance we’ll witness or participate in for the days, weeks and years ahead.\u003c/p>\n\u003cp>Amidst the hustle and bustle of last weekend’s art fair bonanza, San Francisco’s Anglim Gilbert Gallery opened \u003ci>\u003ca href=\"http://anglimgilbertgallery.com/rigo-23-autonomous-intergalactic-space-program/#ms-3933\" target=\"_blank\" rel=\"noopener\">Autonomous InterGalactic Space Program\u003c/a>\u003c/i>, an exhibition of works by Rigo 23 made in collaboration with artisans of Chiapas, Mexico.\u003c/p>\n\u003cp>If you’re wondering why Rigo 23’s name sounds familiar, here are several possibilities: a) his long history of political and community-focused work; b) his highly visible public art, like the large-scale \u003ca href=\"http://www.sfmuralarts.com/mural/128.html\" target=\"_blank\" rel=\"noopener\">\u003cem>One Tree\u003c/em> mural\u003c/a> near the Highway 101 onramp at San Francisco’s 10th and Bryant Streets; and/or c) the recent removal of his \u003ca href=\"https://www.democracynow.org/2017/1/4/american_university_removes_leonard_peltier_statue\" target=\"_blank\" rel=\"noopener\">Leonard Peltier statue\u003c/a> from the American University campus in Washington, D.C.\u003c/p>\n\u003cfigure id=\"attachment_12617309\" class=\"wp-caption aligncenter\" style=\"max-width: 930px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-3COVER.jpg\" alt=\"Rigo 23, Work in progress at EDELO residency, San Cristobal de las Casas, Chiapas, Mexico.\" width=\"930\" height=\"523\" class=\"size-full wp-image-12617309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-3COVER.jpg 930w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-3COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-3COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-3COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-3COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-3COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-3COVER-520x292.jpg 520w\" sizes=\"(max-width: 930px) 100vw, 930px\">\u003cfigcaption class=\"wp-caption-text\">Rigo 23, Work in progress at EDELO residency, San Cristobal de las Casas, Chiapas, Mexico. \u003ccite>(Courtesy of Anglim Gilbert Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inspired by the Zapatista Army of National Liberation (EZLN) and their 23-year struggle to combat globalization and marginalization by the Mexican state, Rigo 23 asked Zapatista artists to imagine a different kind of future for their annual meeting — the Global Festival of Dignified Rage. What if the festival was truly intergalactic, he asked. What if the next invitation came from a host beyond the Milky Way? How would the EZLN attend?\u003c/p>\n\u003cp>\u003ci>Autonomous InterGalactic Space Program\u003c/i>, first shown in 2012 at \u003ca href=\"https://www.redcat.org/exhibition/rigo-23-autonomous-intergalactic-space-program\" target=\"_blank\" rel=\"noopener\">REDCAT\u003c/a> in Los Angeles, is the answer to that question in the form of a sculptural installation. Like the futures proffered in Southern Exposure’s \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/10/sooner-or-later-artists-imagine-the-future-as-a-place-we-want-to-be/\" target=\"_blank\" rel=\"noopener\">Sooner or Later\u003c/a>\u003c/i>, \u003ci>Autonomous InterGalactic Space Program\u003c/i> depicts a space program designed by people less interested in technological progress than in a radically reworked society.\u003c/p>\n\u003cfigure id=\"attachment_12617311\" class=\"wp-caption aligncenter\" style=\"max-width: 930px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12617311\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-2.jpeg\" alt=\"Rigo 23, Work in progress at EDELO residency, San Cristobal de las Casas, Chiapas, Mexico.\" width=\"930\" height=\"623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-2.jpeg 930w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-2-800x536.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-2-768x514.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-2-240x161.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-2-375x251.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Rigo-23-Work-in-progress-at-EDELO-San-Cristobal-de-las-Casas-Chiapas-Mexico-2-520x348.jpeg 520w\" sizes=\"(max-width: 930px) 100vw, 930px\">\u003cfigcaption class=\"wp-caption-text\">Rigo 23, Work in progress at EDELO residency, San Cristobal de las Casas, Chiapas, Mexico. \u003ccite>(Courtesy of Anglim Gilbert Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Showcasing the work of weavers, painters, seamstresses, carpenters and cultural activists, \u003ci>Autonomous InterGalactic Space Program\u003c/i> creates an environment for viewers to fully enter and explore, filled with the handiwork of over 100 collaborators.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The playful, hopeful elements of \u003ci>Autonomous InterGalactic Space Program\u003c/i> may appear far removed from the posters, chants and bodies pouring into American streets this week, but to the EZLN, art and poetry are revolutionary weapons. A journey to space in a giant ear of corn may be the radically different future we all need to imagine right now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12127869\" src=\"http://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>Autonomous InterGalactic Space Program\u003c/b> is on view at Anglim Gilbert Gallery in Minnesota Street Project, San Francisco through Feb. 27. Visit \u003ca href=\"http://anglimgilbertgallery.com/rigo-23-autonomous-intergalactic-space-program/#ms-3933\" target=\"_blank\" rel=\"noopener\">anglimgilbertgallery.com\u003c/a> for more information.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "portraitist-oree-originol-honors-people-of-color-killed-by-law-enforcement",
"title": "Portraitist Oree Originol Honors People of Color Killed by Law Enforcement",
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"content": "\u003cp>Natasha McKenna. Eric Garner. Alan Blueford. Corey Kanosh. Errol Chang. Aiyana Jones. Troy Davis.\u003c/p>\n\u003cp>The Oakland street artist who goes by Oree Originol never wants us to forget their names.\u003c/p>\n\u003cp>“I feel it is my responsibility as an artist to make these names popular,” says the 32-year-old Chicano artist, who has created dozens of portraits of people of color killed by law enforcement as part of his ongoing project, \u003ca href=\"http://ww2.kqed.org/arts/feeds/items/outraged-by-joseph-fiennes-playing-michael-jackson-tv-producers-were-banking-on-it/\" target=\"_blank\" rel=\"noopener\">Justice for Our Lives\u003c/a>.\u003c/p>\n\u003cp>The simple but striking black and white digital drawings have been presented at Bay Area locations like \u003ca href=\"https://www.facebook.com/SoleSpace/\" target=\"_blank\" rel=\"noopener\">Sole Space \u003c/a>in Oakland and San Francisco’s \u003ca href=\"https://ww2.kqed.org/arts/2016/03/22/take-this-hammer-reveals-power-of-art-and-activism-at-ybca/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a>. They’ve helped to fuel street protests and vigils around the world inspired by the Black Lives Matter movement.\u003c/p>\n\u003cp>Oree Originol, who hails originally from Los Angeles and moved to Oakland in 2009, makes every portrait available for download at no cost, and uses \u003ca href=\"https://www.instagram.com/oreeoriginol/\" target=\"_blank\" rel=\"noopener\">social media\u003c/a> to get new work out. He also leads talks and workshops at schools and community centers, which almost always culminate with participants wheat pasting or screen printing the portraits. At a recent \u003ca href=\"https://www.exploratorium.edu/visit/calendar/after-dark/11-3-2016\">Exploratorium After Dark Thursday\u003c/a>, the artist encouraged participants to go home and research the stories behind the portraits they worked with.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The self-taught artist found inspiration for his project when, in 2014, he attended the annual vigil at Fruitvale BART station for Oscar Grant, the 22-year-old African-American man fatally shot by BART Police Officer Johannes Mehserle on Jan. 1, 2009. He was moved not only by Grant’s story but by the Bay Area’s activist spirit. When he returned home later that night, he decided to make his first portrait of Grant.\u003c/p>\n\u003cp>Since then, Oree Originol has created 56 portraits. When researching his subjects, he often speaks with their family members. The artist recognizes he’s honored just a fraction of the men and women who have been killed by law enforcement in recent years, and says he will continue to make the portraits until the violence stops.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Text by Kelly Whalen; Video by Jessica Jones\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Natasha McKenna. Eric Garner. Alan Blueford. Corey Kanosh. Errol Chang. Aiyana Jones. Troy Davis.\u003c/p>\n\u003cp>The Oakland street artist who goes by Oree Originol never wants us to forget their names.\u003c/p>\n\u003cp>“I feel it is my responsibility as an artist to make these names popular,” says the 32-year-old Chicano artist, who has created dozens of portraits of people of color killed by law enforcement as part of his ongoing project, \u003ca href=\"http://ww2.kqed.org/arts/feeds/items/outraged-by-joseph-fiennes-playing-michael-jackson-tv-producers-were-banking-on-it/\" target=\"_blank\" rel=\"noopener\">Justice for Our Lives\u003c/a>.\u003c/p>\n\u003cp>The simple but striking black and white digital drawings have been presented at Bay Area locations like \u003ca href=\"https://www.facebook.com/SoleSpace/\" target=\"_blank\" rel=\"noopener\">Sole Space \u003c/a>in Oakland and San Francisco’s \u003ca href=\"https://ww2.kqed.org/arts/2016/03/22/take-this-hammer-reveals-power-of-art-and-activism-at-ybca/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a>. They’ve helped to fuel street protests and vigils around the world inspired by the Black Lives Matter movement.\u003c/p>\n\u003cp>Oree Originol, who hails originally from Los Angeles and moved to Oakland in 2009, makes every portrait available for download at no cost, and uses \u003ca href=\"https://www.instagram.com/oreeoriginol/\" target=\"_blank\" rel=\"noopener\">social media\u003c/a> to get new work out. He also leads talks and workshops at schools and community centers, which almost always culminate with participants wheat pasting or screen printing the portraits. At a recent \u003ca href=\"https://www.exploratorium.edu/visit/calendar/after-dark/11-3-2016\">Exploratorium After Dark Thursday\u003c/a>, the artist encouraged participants to go home and research the stories behind the portraits they worked with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The self-taught artist found inspiration for his project when, in 2014, he attended the annual vigil at Fruitvale BART station for Oscar Grant, the 22-year-old African-American man fatally shot by BART Police Officer Johannes Mehserle on Jan. 1, 2009. He was moved not only by Grant’s story but by the Bay Area’s activist spirit. When he returned home later that night, he decided to make his first portrait of Grant.\u003c/p>\n\u003cp>Since then, Oree Originol has created 56 portraits. When researching his subjects, he often speaks with their family members. The artist recognizes he’s honored just a fraction of the men and women who have been killed by law enforcement in recent years, and says he will continue to make the portraits until the violence stops.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Text by Kelly Whalen; Video by Jessica Jones\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The elements in Lauren McKeon’s first solo show at Oakland’s Interface Gallery, \u003ci>\u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">dos and donts, but mostly donts\u003c/a>\u003c/i>, sit throughout the small space like props in a Nikolai Gogol play. I say a Gogol play mostly because of \u003ca href=\"https://en.wikipedia.org/wiki/The_Nose_(Gogol_short_story)\" target=\"_blank\" rel=\"noopener\">the mysterious bronze nose\u003c/a> resting in one corner of the gallery, a shiny protuberance titled \u003ci>Parts to rub\u003c/i>.\u003c/p>\n\u003cp>The theatrical atmosphere is anchored by \u003ci>Untitled\u003c/i>, an 8-by-9-foot prop doorway laying flat on most of Interface’s square footage. The matte-black framework would overwhelm the delicate arrangement of objects in the space were it not horizontal and utterly useless.\u003c/p>\n\u003cfigure id=\"attachment_12618324\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12618324\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/10b_Parts1200.jpg\" alt=\"Lauren McKeon, 'Parts to rub,' bronze.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lauren McKeon, ‘Parts to rub,’ bronze. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Something face down is both tragic and funny,” McKeon says of the sculpture, made in memory of a friend who fell to his death.\u003c/p>\n\u003cp>\u003ci>Untitled\u003c/i> calls Buster Keaton to mind, but it also conjures thoughts of unmarked, unreachable exits. Assembled on-site, too large to travel through the gallery’s own door, the prop doorway wouldn’t be functional even if it could stand upright. It has no threshold; it’s designed for tripping.\u003c/p>\n\u003cfigure id=\"attachment_12618322\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/01_InstallationView1200.jpg\" alt=\"Lauren McKeon, Installation view of 'dos and donts but mostly donts.'\" width=\"1200\" height=\"750\" class=\"size-full wp-image-12618322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-520x325.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lauren McKeon, Installation view of ‘dos and donts but mostly donts.’ \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors to \u003ci>dos and donts\u003c/i> must circumnavigate the doorway on the floor. Physical progress through the exhibition is made more difficult by the artist’s active resistance to the “modern myth of human progress” in general.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Opposite the gallery entrance, \u003ci>WI-FI\u003c/i>, a seashell carved into the shape of an acrylic nail, sits bedazzled on top of a clear plastic pedestal. Per the artist’s instructions, an Oakland nail shop decorated the nail with silvery flakes, a tiny gold seashell and the cryptic black text “wifi.”\u003c/p>\n\u003cfigure id=\"attachment_12618326\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12618326\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/08_Wifi1200.jpg\" alt=\"Lauren McKeon, 'WI-FI,' seashell, acrylic, nail polish, acrylic display.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lauren McKeon, ‘WI-FI,’ seashell, acrylic, nail polish, acrylic display. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like all the works in the show, McKeon traces the realization of the piece back to a specific experience. On a trip to Essaouira, Morocco, the home of an intense purple dye made from predatory sea snails, McKeon found an analog between an ancient luxury commodity and the rare yet much-sought-after commodity of her own trip: wireless internet.\u003c/p>\n\u003cp>The cryptic, sparkly \u003ci>WI-FI\u003c/i> is yet another mode of adornment — a status symbol of the modern day.\u003c/p>\n\u003cfigure id=\"attachment_12618325\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12618325\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200.jpg\" alt=\"Lauren McKeon, 'Encrypted phantom,' beeswax, drone dust.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lauren McKeon, ‘Encrypted phantom,’ beeswax, drone dust. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In trying to understand (and resist) certain contemporary obsessions, other sculptures in \u003ci>dos and donts\u003c/i> take on more ritualistic forms. \u003ci>Encrypted phantom\u003c/i>, a stocky beeswax candle mixed with the pulverized remnants of a drone once felled by a bird, sits atop a beautifully translucent crystal shelf.\u003c/p>\n\u003cp>McKoen loves the drone’s backstory. “It’s this moment of resistance between nature and progress,” she says, remembering the horror of the drone’s original upon hearing why she bought it.\u003c/p>\n\u003cp>The objects on view at Interface are alluring in no small part because of the carefully considered pedestals, shelves and poles supporting them. McKeon also points to the gallery’s location in Temescal Alley, a quaint corridor of high-end boutique shops. At first glance, \u003ci>dos and donts, but mostly donts\u003c/i> could be mistaken for one of those stores in which the quantity of objects on sale is inversely proportional to the cost of said objects. Then, upon closer inspection, it is revealed the t-shirt against the left wall is tie-dyed with blood. \u003c/p>\n\u003cp>McKeon’s group of odd props are more likely the recipe for an occult ritual that will open a portal in the floor — a doorway down, through and against that list of rules and restrictions we like to call the path toward “progress.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>dos and donts, but mostly donts\u003c/b> is on view at Interface Gallery in Oakland through Feb. 12. For hours and information visit \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">interfaceartgallery.com\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The elements in Lauren McKeon’s first solo show at Oakland’s Interface Gallery, \u003ci>\u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">dos and donts, but mostly donts\u003c/a>\u003c/i>, sit throughout the small space like props in a Nikolai Gogol play. I say a Gogol play mostly because of \u003ca href=\"https://en.wikipedia.org/wiki/The_Nose_(Gogol_short_story)\" target=\"_blank\" rel=\"noopener\">the mysterious bronze nose\u003c/a> resting in one corner of the gallery, a shiny protuberance titled \u003ci>Parts to rub\u003c/i>.\u003c/p>\n\u003cp>The theatrical atmosphere is anchored by \u003ci>Untitled\u003c/i>, an 8-by-9-foot prop doorway laying flat on most of Interface’s square footage. The matte-black framework would overwhelm the delicate arrangement of objects in the space were it not horizontal and utterly useless.\u003c/p>\n\u003cfigure id=\"attachment_12618324\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12618324\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/10b_Parts1200.jpg\" alt=\"Lauren McKeon, 'Parts to rub,' bronze.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10b_Parts1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lauren McKeon, ‘Parts to rub,’ bronze. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Something face down is both tragic and funny,” McKeon says of the sculpture, made in memory of a friend who fell to his death.\u003c/p>\n\u003cp>\u003ci>Untitled\u003c/i> calls Buster Keaton to mind, but it also conjures thoughts of unmarked, unreachable exits. Assembled on-site, too large to travel through the gallery’s own door, the prop doorway wouldn’t be functional even if it could stand upright. It has no threshold; it’s designed for tripping.\u003c/p>\n\u003cfigure id=\"attachment_12618322\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/01_InstallationView1200.jpg\" alt=\"Lauren McKeon, Installation view of 'dos and donts but mostly donts.'\" width=\"1200\" height=\"750\" class=\"size-full wp-image-12618322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/01_InstallationView1200-520x325.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lauren McKeon, Installation view of ‘dos and donts but mostly donts.’ \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors to \u003ci>dos and donts\u003c/i> must circumnavigate the doorway on the floor. Physical progress through the exhibition is made more difficult by the artist’s active resistance to the “modern myth of human progress” in general.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Opposite the gallery entrance, \u003ci>WI-FI\u003c/i>, a seashell carved into the shape of an acrylic nail, sits bedazzled on top of a clear plastic pedestal. Per the artist’s instructions, an Oakland nail shop decorated the nail with silvery flakes, a tiny gold seashell and the cryptic black text “wifi.”\u003c/p>\n\u003cfigure id=\"attachment_12618326\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12618326\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/08_Wifi1200.jpg\" alt=\"Lauren McKeon, 'WI-FI,' seashell, acrylic, nail polish, acrylic display.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/08_Wifi1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lauren McKeon, ‘WI-FI,’ seashell, acrylic, nail polish, acrylic display. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like all the works in the show, McKeon traces the realization of the piece back to a specific experience. On a trip to Essaouira, Morocco, the home of an intense purple dye made from predatory sea snails, McKeon found an analog between an ancient luxury commodity and the rare yet much-sought-after commodity of her own trip: wireless internet.\u003c/p>\n\u003cp>The cryptic, sparkly \u003ci>WI-FI\u003c/i> is yet another mode of adornment — a status symbol of the modern day.\u003c/p>\n\u003cfigure id=\"attachment_12618325\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12618325\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200.jpg\" alt=\"Lauren McKeon, 'Encrypted phantom,' beeswax, drone dust.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/11_EncryptedPhantom1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lauren McKeon, ‘Encrypted phantom,’ beeswax, drone dust. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In trying to understand (and resist) certain contemporary obsessions, other sculptures in \u003ci>dos and donts\u003c/i> take on more ritualistic forms. \u003ci>Encrypted phantom\u003c/i>, a stocky beeswax candle mixed with the pulverized remnants of a drone once felled by a bird, sits atop a beautifully translucent crystal shelf.\u003c/p>\n\u003cp>McKoen loves the drone’s backstory. “It’s this moment of resistance between nature and progress,” she says, remembering the horror of the drone’s original upon hearing why she bought it.\u003c/p>\n\u003cp>The objects on view at Interface are alluring in no small part because of the carefully considered pedestals, shelves and poles supporting them. McKeon also points to the gallery’s location in Temescal Alley, a quaint corridor of high-end boutique shops. At first glance, \u003ci>dos and donts, but mostly donts\u003c/i> could be mistaken for one of those stores in which the quantity of objects on sale is inversely proportional to the cost of said objects. Then, upon closer inspection, it is revealed the t-shirt against the left wall is tie-dyed with blood. \u003c/p>\n\u003cp>McKeon’s group of odd props are more likely the recipe for an occult ritual that will open a portal in the floor — a doorway down, through and against that list of rules and restrictions we like to call the path toward “progress.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>dos and donts, but mostly donts\u003c/b> is on view at Interface Gallery in Oakland through Feb. 12. For hours and information visit \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">interfaceartgallery.com\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Underwater Art Installation Opens Near Catalina Coast",
"title": "Underwater Art Installation Opens Near Catalina Coast",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The artist Doug Aitken has a history of taking his audiences out of traditional museum or gallery spaces. His latest installation, a companion piece to his retrospective exhibition \u003ca href=\"http://www.moca.org/exhibition/doug-aitken-electric-earth\">Electric Earth\u003c/a> at MOCA, is a series of sculptures in the ocean called \u003ca href=\"https://www.underwaterpavilions.com/#underwaterpavilions\">Underwater Pavilions\u003c/a>. Viewing them involves a ferry ride to the island of Catalina, followed by a deep-sea dive.\u003c/p>\n\u003cp>The installation is on the other side of town in the Casino Point Dive Park in front of the Catalina Casino, with its famed art deco ballroom.\u003c/p>\n\u003cp>The artwork is only 100 yards or so from shore. The turquoise glow around it stands out from the dark blue sea.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/302609960\" params=\"auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true\" width=\"100%\" height=\"450\" iframe=\"true\" /]\u003c/p>\n\u003cp>\"As you swim closer, you find yourself, I think, really in the present. You find yourself kind of caught in that moment with nothing else in your mind,\" Aitken said. \"You find yourself swimming through a sea of monochrome, kind of blue gray, and in front of you in the distance you start making out shapes -- these strange geometric shapes -- hexagonal shapes.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The three sculptures all float at different depths. One has mirrors on the outside, and the other two have mirrors on the inside.\u003c/p>\n\u003cp>Those are the ones local dive instructor Joel Wilson really likes, \"because it’s kind of like a scuba diving changing room -- you go inside and you can kind of see yourself from all angles, and you really kind of get a sense of what I look like when I’m scuba diving.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kPE5rHTr5qs\u003c/p>\n\u003cp>They all have a textured surface designed for sea life to cling to, and live on. They’re big, 12 feet or so, enough to swim inside, look in the mirrors, turn around and swim out through one of the hexagonal openings.\u003c/p>\n\u003cp>Swimming through these sculptures was a cool experience. But getting to them was challenging. Aitken says it’s not just an inconvenience.\u003c/p>\n\u003cp>\"I think there’s something about taking this boat over there that kind of allows you to slow down and decelerate in a way,” Aitken said, “that disorienting sense of suddenly stepping into a completely different field of experience.\"\u003c/p>\n\u003cfigure id=\"attachment_11268140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11268140\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/Scuba2-800x470.jpg\" alt=\"A diver is reflected in Doug Aitken's 'Underwater Pavilions' installation.\" width=\"800\" height=\"470\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-800x470.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-160x94.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-1020x599.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-1180x693.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-960x564.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-240x141.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-375x220.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-520x306.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A diver is reflected in Doug Aitken's 'Underwater Pavilions' installation. \u003ccite>(Courtesy Joel Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aitken has a history of taking his audiences out of the traditional museum or gallery spaces. He's staged performances on a train traveling across America, and has had large-scale video installations in an airplane hangar-like space in Arles, France, and on a barge floating off the coast of Athens.\u003c/p>\n\u003cp>Cyrill Gutsch, founder of the environmental organization \u003ca href=\"http://www.parley.tv/#fortheoceans\">Parley for the Oceans\u003c/a>, says there’s more below the surface. His group has partnered with Aitken’s studio and MOCA on this project.\u003c/p>\n\u003cp>“The oceans are under such a massive threat and still nobody really knows or cares, because the sea feels like so far away from everyday life, and nobody really understands why it is necessary actually to protect the sea,” Gutsch said.\u003c/p>\n\u003cp>Parley doesn’t focus on protests, but rather employs art to raise consciousness about the plight of the oceans.\u003c/p>\n\u003cp>“Jacques Cousteau said in a very nice way, ‘People only protect what they love.’ And art is the perfect way to create that love -- to kind of close the gap that is between us, mankind, and that life that feels so distant, so far away, and still we are so depending on it,\" he said.\u003c/p>\n\u003cp>For most of us, Aitken says, the Pacific Ocean is so vast, \"we don’t really know where to go or what to see or how to approach it, so it becomes intimidating. It becomes this kind of dark mysterious mass. The idea of the Underwater Pavilions is to create something which is almost like an aperture. It's almost like a door into the ocean.\"\u003c/p>\n\u003cp>And for Parley, Doug Aitken’s art can make that connection.\u003c/p>\n\u003cp>“It’s like a bait in a way, to lure people down to discover – to explore,” Gutsch said.\u003c/p>\n\u003cfigure id=\"attachment_11268216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11268216\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/SeaInstallation-800x601.jpg\" alt=\"One of Doug Aitken's sculptures, just before being submerged.\" width=\"800\" height=\"601\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-800x601.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-1020x766.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-1180x886.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-960x721.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-375x282.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-520x391.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Doug Aitken's sculptures, just before being submerged. \u003ccite>(Courtesy Doug Aitken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the town of Avalon, it's bait to further attract tourists to the island. And according to Richard Huband at the local scuba shop, there’s already plenty of interest from the mainland, too.\u003c/p>\n\u003cp>“We’ve had people calling just to come and see the sculptures before they are even installed. So yeah, we’ll get more divers because they want to come and see them,” Huband said.\u003c/p>\n\u003cp>In fact, divers travel to see great wrecks around the world, so this will be a draw for divers. But will it be a draw for art lovers in general?\u003c/p>\n\u003cp>The sculptures are expected to stay where they are for at least the next three months. You just need to drive, park, take a ferry to Catalina, rent your gear if you need it, and dive. The trip could cost $200, and that's if you don’t stay overnight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you’d rather experience Underwater Pavilions from dry land, for free, they’re in the process of installing a live video and audio feed of the sculptures.\u003c/p>\n\n",
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"excerpt": "Environmental groups hope artist Doug Aitken's latest installation will help raise consciousness about the plight of the world's oceans.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The artist Doug Aitken has a history of taking his audiences out of traditional museum or gallery spaces. His latest installation, a companion piece to his retrospective exhibition \u003ca href=\"http://www.moca.org/exhibition/doug-aitken-electric-earth\">Electric Earth\u003c/a> at MOCA, is a series of sculptures in the ocean called \u003ca href=\"https://www.underwaterpavilions.com/#underwaterpavilions\">Underwater Pavilions\u003c/a>. Viewing them involves a ferry ride to the island of Catalina, followed by a deep-sea dive.\u003c/p>\n\u003cp>The installation is on the other side of town in the Casino Point Dive Park in front of the Catalina Casino, with its famed art deco ballroom.\u003c/p>\n\u003cp>The artwork is only 100 yards or so from shore. The turquoise glow around it stands out from the dark blue sea.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='450'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/302609960&visual=true&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true'\n title='https://api.soundcloud.com/tracks/302609960'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"As you swim closer, you find yourself, I think, really in the present. You find yourself kind of caught in that moment with nothing else in your mind,\" Aitken said. \"You find yourself swimming through a sea of monochrome, kind of blue gray, and in front of you in the distance you start making out shapes -- these strange geometric shapes -- hexagonal shapes.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The three sculptures all float at different depths. One has mirrors on the outside, and the other two have mirrors on the inside.\u003c/p>\n\u003cp>Those are the ones local dive instructor Joel Wilson really likes, \"because it’s kind of like a scuba diving changing room -- you go inside and you can kind of see yourself from all angles, and you really kind of get a sense of what I look like when I’m scuba diving.\"\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kPE5rHTr5qs'\n title='//www.youtube.com/embed/kPE5rHTr5qs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>They all have a textured surface designed for sea life to cling to, and live on. They’re big, 12 feet or so, enough to swim inside, look in the mirrors, turn around and swim out through one of the hexagonal openings.\u003c/p>\n\u003cp>Swimming through these sculptures was a cool experience. But getting to them was challenging. Aitken says it’s not just an inconvenience.\u003c/p>\n\u003cp>\"I think there’s something about taking this boat over there that kind of allows you to slow down and decelerate in a way,” Aitken said, “that disorienting sense of suddenly stepping into a completely different field of experience.\"\u003c/p>\n\u003cfigure id=\"attachment_11268140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11268140\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/Scuba2-800x470.jpg\" alt=\"A diver is reflected in Doug Aitken's 'Underwater Pavilions' installation.\" width=\"800\" height=\"470\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-800x470.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-160x94.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-1020x599.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-1180x693.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-960x564.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-240x141.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-375x220.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Scuba2-520x306.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A diver is reflected in Doug Aitken's 'Underwater Pavilions' installation. \u003ccite>(Courtesy Joel Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aitken has a history of taking his audiences out of the traditional museum or gallery spaces. He's staged performances on a train traveling across America, and has had large-scale video installations in an airplane hangar-like space in Arles, France, and on a barge floating off the coast of Athens.\u003c/p>\n\u003cp>Cyrill Gutsch, founder of the environmental organization \u003ca href=\"http://www.parley.tv/#fortheoceans\">Parley for the Oceans\u003c/a>, says there’s more below the surface. His group has partnered with Aitken’s studio and MOCA on this project.\u003c/p>\n\u003cp>“The oceans are under such a massive threat and still nobody really knows or cares, because the sea feels like so far away from everyday life, and nobody really understands why it is necessary actually to protect the sea,” Gutsch said.\u003c/p>\n\u003cp>Parley doesn’t focus on protests, but rather employs art to raise consciousness about the plight of the oceans.\u003c/p>\n\u003cp>“Jacques Cousteau said in a very nice way, ‘People only protect what they love.’ And art is the perfect way to create that love -- to kind of close the gap that is between us, mankind, and that life that feels so distant, so far away, and still we are so depending on it,\" he said.\u003c/p>\n\u003cp>For most of us, Aitken says, the Pacific Ocean is so vast, \"we don’t really know where to go or what to see or how to approach it, so it becomes intimidating. It becomes this kind of dark mysterious mass. The idea of the Underwater Pavilions is to create something which is almost like an aperture. It's almost like a door into the ocean.\"\u003c/p>\n\u003cp>And for Parley, Doug Aitken’s art can make that connection.\u003c/p>\n\u003cp>“It’s like a bait in a way, to lure people down to discover – to explore,” Gutsch said.\u003c/p>\n\u003cfigure id=\"attachment_11268216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11268216\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/SeaInstallation-800x601.jpg\" alt=\"One of Doug Aitken's sculptures, just before being submerged.\" width=\"800\" height=\"601\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-800x601.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-1020x766.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-1180x886.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-960x721.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-375x282.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/SeaInstallation-520x391.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Doug Aitken's sculptures, just before being submerged. \u003ccite>(Courtesy Doug Aitken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the town of Avalon, it's bait to further attract tourists to the island. And according to Richard Huband at the local scuba shop, there’s already plenty of interest from the mainland, too.\u003c/p>\n\u003cp>“We’ve had people calling just to come and see the sculptures before they are even installed. So yeah, we’ll get more divers because they want to come and see them,” Huband said.\u003c/p>\n\u003cp>In fact, divers travel to see great wrecks around the world, so this will be a draw for divers. But will it be a draw for art lovers in general?\u003c/p>\n\u003cp>The sculptures are expected to stay where they are for at least the next three months. You just need to drive, park, take a ferry to Catalina, rent your gear if you need it, and dive. The trip could cost $200, and that's if you don’t stay overnight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you’d rather experience Underwater Pavilions from dry land, for free, they’re in the process of installing a live video and audio feed of the sculptures.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "new-to-america-raised-in-the-tenderloin",
"title": "New to America, Raised in the Tenderloin",
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"content": "\u003cp>Rea Lynn de Guzman’s new show \u003cem>TL Dreams\u003c/em> is a series of memories — a mix of her imagined and lived experiences in the Tenderloin — presented in a wash of bright acrylics and printed organza.\u003c/p>\n\u003cp>But more than anything, the pieces serve as a snapshot of all the different shapes liminality can take.\u003c/p>\n\u003cp>The earlier work in \u003cem>TL Dreams\u003c/em> captures de Guzman’s life mid-transition — her immigration from the Philippines to San Francisco’s Turk Street, her shift from youth to adulthood — in a chromatic palette that’s more fever dream than true-to-life. Children are portrayed in model-esque forms, surrounded by jeepneys and other paraphernalia of a life left in the Philippines.\u003c/p>\n\u003cfigure id=\"attachment_12617913\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12617913\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not.jpg\" alt=\"What Could've Been or Not, 2011. Acrylic & image transfer on canvas, 54" x 40" (Photo: Ramon Pintado)\" width=\"1000\" height=\"744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-520x387.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">‘What Could’ve Been or Not,’ 2011. Acrylic & image transfer on canvas, 54″ x 40″. (Photo: Ramon Pintado) \u003ccite>(Courtesy of Rea Lynn de Guzman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I am interested in the perplexing nature of these in-between, psychological experiences that are often difficult to process or talk about but could possibly flow freely in the form of art,” de Guzman says.\u003c/p>\n\u003cp>The show is inspired by a specific time and place: the Tenderloin in the early aughts, as remembered by de Guzman and fellow immigrant friends in the neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_12617914\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12617914\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/image1.jpg\" alt=\"Rea Lynn de Guzman stands in front of her work.\" width=\"2048\" height=\"1446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-1920x1355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-520x367.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Rea Lynn de Guzman. \u003ccite>(Photo: Lizzy Brooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Tenderloin holds a unique, special place in my heart. It’s where I ‘grew up’ in the United States,” de Guzman says. She recalls the neighborhood as a place where she developed friendships with other young immigrants who were similarly struggling to find their place in a new home. The Tenderloin was also where de Guzman began her foray into the arts, painting her very first piece during an art day at the former Tenderloin YMCA.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet just as present in her memories are the harsh realities of the Tenderloin and the violence that sometimes erupted in her neighborhood, which de Guzman says she revisits and attempts to work out in the second, newer part of her show. “I still have many questions and unresolved emotions about these experiences,” she says, “and I have no single answer to it.”\u003c/p>\n\u003cfigure id=\"attachment_12617915\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12617915\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Skewed-Fusion.jpg\" alt='\"Skewed Fusion,\" Image transfer on synthetic organza, 16\" x 20\" framed' width=\"2048\" height=\"1485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-800x580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-768x557.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-1020x740.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-1920x1392.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-1180x856.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-960x696.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-240x174.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-375x272.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-520x377.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">‘Skewed Fusion,’ Image transfer on synthetic organza, 16″ x 20″ framed. \u003ccite>(Courtesy of Rea Lynn de Guzman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>de Guzman opts for more muted colors in her recent pieces, her subjects less defined against the cityscapes image-transferred onto organza. They almost serve as a retrospective of both her previous work and her previous self, her restrained palette intentional in both mood and message (she says her move toward brown tones is an effort to question art’s hegemonic whiteness).\u003c/p>\n\u003cp>Lots of changes have come since de Guzman’s time in the Tenderloin — she has long since relocated to the Castro — but her love for the neighborhood and the memories that linger within it remain close to her heart.\u003c/p>\n\u003cp>“I think many people tend to magnify or focus on superficial stereotypes about the Tenderloin — crime, drugs, seediness,” she says, “but to me it is full of character, with a rich history, and a place to call home.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"alignright 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>‘TL Dreams’ runs from Jan. 12–Feb. 23, 2017, with a closing reception and artist lecture on Thursday, Feb. 23 at 7pm at the Tenderloin Museum, co-presented by Root Division. For more information, see \u003ca href=\"https://www.rootdivision.org/exhibition-offsite/rea-lynn-de-guzmans-tl-dreams\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rea Lynn de Guzman’s new show \u003cem>TL Dreams\u003c/em> is a series of memories — a mix of her imagined and lived experiences in the Tenderloin — presented in a wash of bright acrylics and printed organza.\u003c/p>\n\u003cp>But more than anything, the pieces serve as a snapshot of all the different shapes liminality can take.\u003c/p>\n\u003cp>The earlier work in \u003cem>TL Dreams\u003c/em> captures de Guzman’s life mid-transition — her immigration from the Philippines to San Francisco’s Turk Street, her shift from youth to adulthood — in a chromatic palette that’s more fever dream than true-to-life. Children are portrayed in model-esque forms, surrounded by jeepneys and other paraphernalia of a life left in the Philippines.\u003c/p>\n\u003cfigure id=\"attachment_12617913\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12617913\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not.jpg\" alt=\"What Could've Been or Not, 2011. Acrylic & image transfer on canvas, 54" x 40" (Photo: Ramon Pintado)\" width=\"1000\" height=\"744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/what-couldve-been-or-not-520x387.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">‘What Could’ve Been or Not,’ 2011. Acrylic & image transfer on canvas, 54″ x 40″. (Photo: Ramon Pintado) \u003ccite>(Courtesy of Rea Lynn de Guzman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I am interested in the perplexing nature of these in-between, psychological experiences that are often difficult to process or talk about but could possibly flow freely in the form of art,” de Guzman says.\u003c/p>\n\u003cp>The show is inspired by a specific time and place: the Tenderloin in the early aughts, as remembered by de Guzman and fellow immigrant friends in the neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_12617914\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12617914\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/image1.jpg\" alt=\"Rea Lynn de Guzman stands in front of her work.\" width=\"2048\" height=\"1446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-1920x1355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/image1-520x367.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Rea Lynn de Guzman. \u003ccite>(Photo: Lizzy Brooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Tenderloin holds a unique, special place in my heart. It’s where I ‘grew up’ in the United States,” de Guzman says. She recalls the neighborhood as a place where she developed friendships with other young immigrants who were similarly struggling to find their place in a new home. The Tenderloin was also where de Guzman began her foray into the arts, painting her very first piece during an art day at the former Tenderloin YMCA.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet just as present in her memories are the harsh realities of the Tenderloin and the violence that sometimes erupted in her neighborhood, which de Guzman says she revisits and attempts to work out in the second, newer part of her show. “I still have many questions and unresolved emotions about these experiences,” she says, “and I have no single answer to it.”\u003c/p>\n\u003cfigure id=\"attachment_12617915\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12617915\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Skewed-Fusion.jpg\" alt='\"Skewed Fusion,\" Image transfer on synthetic organza, 16\" x 20\" framed' width=\"2048\" height=\"1485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-800x580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-768x557.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-1020x740.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-1920x1392.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-1180x856.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-960x696.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-240x174.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-375x272.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Skewed-Fusion-520x377.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">‘Skewed Fusion,’ Image transfer on synthetic organza, 16″ x 20″ framed. \u003ccite>(Courtesy of Rea Lynn de Guzman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>de Guzman opts for more muted colors in her recent pieces, her subjects less defined against the cityscapes image-transferred onto organza. They almost serve as a retrospective of both her previous work and her previous self, her restrained palette intentional in both mood and message (she says her move toward brown tones is an effort to question art’s hegemonic whiteness).\u003c/p>\n\u003cp>Lots of changes have come since de Guzman’s time in the Tenderloin — she has long since relocated to the Castro — but her love for the neighborhood and the memories that linger within it remain close to her heart.\u003c/p>\n\u003cp>“I think many people tend to magnify or focus on superficial stereotypes about the Tenderloin — crime, drugs, seediness,” she says, “but to me it is full of character, with a rich history, and a place to call home.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"alignright 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>‘TL Dreams’ runs from Jan. 12–Feb. 23, 2017, with a closing reception and artist lecture on Thursday, Feb. 23 at 7pm at the Tenderloin Museum, co-presented by Root Division. For more information, see \u003ca href=\"https://www.rootdivision.org/exhibition-offsite/rea-lynn-de-guzmans-tl-dreams\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170113.mp3\u003cbr>\n\u003c/aside>\n\u003cp>Last week, we talked about \u003ca href=\"http://www.fogfair.com\" target=\"_blank\" rel=\"noopener\">Fog Design + Art\u003c/a>, the art fair opening today (Jan. 12) at Fort Mason, but we neglected another gathering of galleries: \u003ca href=\"http://www.art-untitled.com\" target=\"_blank\" rel=\"noopener\">Untitled, San Francisco\u003c/a> at Pier 70 in the Dogpatch, a new outpost for an art fair out of Miami Beach. Perhaps the competition will make them both better, and the art more affordable (not likely). Now here’s the show:\u003c/p>\n\u003cfigure id=\"attachment_12617116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg\" alt=\"Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms' German Requiem \" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms’ German Requiem. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 13\u003c/strong>: Brahms’ \u003cem>German Requiem\u003c/em> is a gorgeous expression of the joy that can come after great sorrow. The student musicians from the Ruth Asawa School of the Arts have every right to those emotions, after the death of junior and chorus member \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/draven-mcgill/\" target=\"_blank\" rel=\"noopener\">Draven McGill\u003c/a> and alum \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener\">Johnny Igaz \u003c/a>in the Ghost Ship fire in December. The performance at the Calvary Presyterian Church in San Francisco is dedicated to the two young men. Details \u003ca href=\"http://www.sfsota.org/calendar3/brahms-requiem1132017\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg\" alt=\"Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis)\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1020x468.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1180x541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-960x440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-520x238.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2.jpg 1560w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis). \u003ccite>(Photo: Taylor Sanders/City Lights Theater Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 19–Feb. 19\u003c/strong>: Berkeley playwright \u003ca href=\"http://corporate.kabam.com/leadership/\" target=\"_blank\" rel=\"noopener\">Aaron Loeb\u003c/a> (\u003cem>Abraham Lincoln’s Big Gay Dance Party) \u003c/em>wrote \u003cem>Ideation\u003c/em> a few years ago while working with consultants in his day job as a video game executive, and while his wife led a civil suit against the former defense minister of Somalia. \u003cem>Ideation\u003c/em> melds those elements into a show that will seem very familiar at first to anyone who works in a modern office — with tightly wound corporate types outlining strategies on a white board — except they’re plotting something very creepy, reminiscent of a police state. It’s good to see this show get a fresh production in Silicon Valley, where companies sometimes help foreign governments do not-so-nice things like spy on dissidents. Details for \u003cem>Ideation\u003c/em>’s run at \u003ca href=\"http://cltc.org/\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company \u003c/a>in San Jose are \u003ca href=\"http://cltc.org/explore-our-2016-17-season/ideation/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aIjjB2KLCJQ\u003c/p>\n\u003cp>\u003cstrong>Jan. 19\u003c/strong>: Glasgow-based \u003ca href=\"http://www.mogwai.co.uk/\" target=\"_blank\" rel=\"noopener\">Mogwai\u003c/a> makes trance-like prog rock, and the band’s new album, \u003cem>Atomic\u003c/em>, serves a double mission: it’s also the soundtrack to the British documentary \u003cem>Atomic: Living in Dread and Promise\u003c/em>, about the prospect of nuclear warfare. Band member Stuart Braithwaite says Mogwai has been wanting to make music about the threat of nuclear annihilation ever since visiting Hiroshima some years ago. Mogwai is showing the film and doing the live soundtrack on its current tour; perhaps our President-elect should see the film before \u003ca href=\"https://twitter.com/realdonaldtrump/status/811977223326625792?lang=en\" target=\"_blank\" rel=\"noopener\">tweeting about the need for a new arms race\u003c/a>. Details for Mogwai’s show at the UC Theatre in Berkeley are \u003ca href=\"//www.theuctheatre.org/event/1394713-mogwai-play-atomic-berkeley/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jiXy25ejFzU\u003c/p>\n\u003cp>Jan. 13–14: \u003ca href=\"http://www.dancebrigade.org/\" target=\"_blank\" rel=\"noopener\">Dance Brigade\u003c/a> founder Krissy Keefer says the company’s idea has always been to make dance infused with the same passion and politics as one finds in the songs of Woody Guthrie or Holly Near. The company is now celebrating 40 years of that kinetic mix of feminist activism and modern dance with a timely anniversary show, \u003cem>Gracias a la Vida — Love in a Bitter Time\u003c/em>, featuring dances on NSA Spying and the election of Donald Trump. “We don’t mince our words,” Keefer told me at her Mission District studio. “We make proclamations, declarations, and accusations and observations and we articulate them with humor and poetry and great resolve. People’s heart channels are opened because the dancing is so beautiful.” And it’s a \u003cstrong>cheap thrill\u003c/strong> — tickets for their \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> shows start at just $10, with a matinee for just $5. Details \u003ca href=\"https://www.ybca.org/whats-on/dance-brigade\" target=\"_blank\" rel=\"noopener\">here \u003c/a>or \u003ca href=\"http://www.dancebrigade.org/performances/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hL28CrEaOsE\u003c/p>\n\u003cp>\u003cstrong>Jan. 13\u003c/strong>: \u003ca href=\"http://joebagale.com/\" target=\"_blank\" rel=\"noopener\">Joe Bagale\u003c/a> sounds a bit like the love child of Stevie Wonder and Parliament Funkadelic. He calls his new band Otis McDonald (Adam Theis, Nino Moschella, Daniel Casares, Max Cowan and Max Miller); “Otis” coming from bluesman Shuggie Otis and “McDonald” from the Doobie Brothers’ Michael McDonald. But all you need to know is that the new songs are a funky success. Details for his show at Slim’s are right \u003ca href=\"http://www.slimspresents.com/event/sals-greenhouse-slims-w-otis-mcdonald-agapesoul-w-special-guest-martin-luther-mccoy/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg\" alt=\"Litquake asks a panel of writers to respond to President-elect Donald Trump\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-520x364.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358.jpg 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Litquake asks a panel of writers to respond to President-elect Donald Trump. \u003ccite>(Photo: Image courtesy of Litquake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15 & 18\u003c/strong>: Many writers around the country and the Bay Area are troubled by President-elect Donald Trump’s comments on limits to press freedom. On Sunday, Jan. 15, Oakland’s Starline Social Club will host \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/15/writers-resist\" target=\"_blank\" rel=\"noopener\">Writers Resist\u003c/a>, featuring Jane Hirshfield, D.A. Powell, Solmaz Sharif, Beth Nguyen, Ishmael Reed and others. Details \u003ca href=\"https://www.facebook.com/events/1879182968971703/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And on Wednesday, Jan. 18, \u003ca href=\"http://www.litquake.org/\" target=\"_blank\" rel=\"noopener\">Litquake\u003c/a> sponsors \u003cem>Writers Respond to Trump\u003c/em>, where they ask the question, “Do we publish a manifesto, or curl up in the fetal position?” The program at the main branch of the SF Public Library will feature Mills Professor and poet Elmaz Abinader, comedian Zahra Noorbaksh, novelist Robert Mailer Anderson, poet devorah major, and chief pot-stirrer Ishmael Reed. That’s free, and a \u003cstrong>cheap thrill\u003c/strong>. Details \u003ca href=\"http://www.litquake.org/events/no-shadow-without-light-writers-respond-trump\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170113.mp3\u003cbr>\n\u003c/aside>\n\u003cp>Last week, we talked about \u003ca href=\"http://www.fogfair.com\" target=\"_blank\" rel=\"noopener\">Fog Design + Art\u003c/a>, the art fair opening today (Jan. 12) at Fort Mason, but we neglected another gathering of galleries: \u003ca href=\"http://www.art-untitled.com\" target=\"_blank\" rel=\"noopener\">Untitled, San Francisco\u003c/a> at Pier 70 in the Dogpatch, a new outpost for an art fair out of Miami Beach. Perhaps the competition will make them both better, and the art more affordable (not likely). Now here’s the show:\u003c/p>\n\u003cfigure id=\"attachment_12617116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg\" alt=\"Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms' German Requiem \" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms’ German Requiem. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 13\u003c/strong>: Brahms’ \u003cem>German Requiem\u003c/em> is a gorgeous expression of the joy that can come after great sorrow. The student musicians from the Ruth Asawa School of the Arts have every right to those emotions, after the death of junior and chorus member \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/draven-mcgill/\" target=\"_blank\" rel=\"noopener\">Draven McGill\u003c/a> and alum \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener\">Johnny Igaz \u003c/a>in the Ghost Ship fire in December. The performance at the Calvary Presyterian Church in San Francisco is dedicated to the two young men. Details \u003ca href=\"http://www.sfsota.org/calendar3/brahms-requiem1132017\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg\" alt=\"Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis)\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1020x468.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1180x541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-960x440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-520x238.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2.jpg 1560w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis). \u003ccite>(Photo: Taylor Sanders/City Lights Theater Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 19–Feb. 19\u003c/strong>: Berkeley playwright \u003ca href=\"http://corporate.kabam.com/leadership/\" target=\"_blank\" rel=\"noopener\">Aaron Loeb\u003c/a> (\u003cem>Abraham Lincoln’s Big Gay Dance Party) \u003c/em>wrote \u003cem>Ideation\u003c/em> a few years ago while working with consultants in his day job as a video game executive, and while his wife led a civil suit against the former defense minister of Somalia. \u003cem>Ideation\u003c/em> melds those elements into a show that will seem very familiar at first to anyone who works in a modern office — with tightly wound corporate types outlining strategies on a white board — except they’re plotting something very creepy, reminiscent of a police state. It’s good to see this show get a fresh production in Silicon Valley, where companies sometimes help foreign governments do not-so-nice things like spy on dissidents. Details for \u003cem>Ideation\u003c/em>’s run at \u003ca href=\"http://cltc.org/\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company \u003c/a>in San Jose are \u003ca href=\"http://cltc.org/explore-our-2016-17-season/ideation/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aIjjB2KLCJQ'\n title='//www.youtube.com/embed/aIjjB2KLCJQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 19\u003c/strong>: Glasgow-based \u003ca href=\"http://www.mogwai.co.uk/\" target=\"_blank\" rel=\"noopener\">Mogwai\u003c/a> makes trance-like prog rock, and the band’s new album, \u003cem>Atomic\u003c/em>, serves a double mission: it’s also the soundtrack to the British documentary \u003cem>Atomic: Living in Dread and Promise\u003c/em>, about the prospect of nuclear warfare. Band member Stuart Braithwaite says Mogwai has been wanting to make music about the threat of nuclear annihilation ever since visiting Hiroshima some years ago. Mogwai is showing the film and doing the live soundtrack on its current tour; perhaps our President-elect should see the film before \u003ca href=\"https://twitter.com/realdonaldtrump/status/811977223326625792?lang=en\" target=\"_blank\" rel=\"noopener\">tweeting about the need for a new arms race\u003c/a>. Details for Mogwai’s show at the UC Theatre in Berkeley are \u003ca href=\"//www.theuctheatre.org/event/1394713-mogwai-play-atomic-berkeley/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jiXy25ejFzU'\n title='//www.youtube.com/embed/jiXy25ejFzU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jan. 13–14: \u003ca href=\"http://www.dancebrigade.org/\" target=\"_blank\" rel=\"noopener\">Dance Brigade\u003c/a> founder Krissy Keefer says the company’s idea has always been to make dance infused with the same passion and politics as one finds in the songs of Woody Guthrie or Holly Near. The company is now celebrating 40 years of that kinetic mix of feminist activism and modern dance with a timely anniversary show, \u003cem>Gracias a la Vida — Love in a Bitter Time\u003c/em>, featuring dances on NSA Spying and the election of Donald Trump. “We don’t mince our words,” Keefer told me at her Mission District studio. “We make proclamations, declarations, and accusations and observations and we articulate them with humor and poetry and great resolve. People’s heart channels are opened because the dancing is so beautiful.” And it’s a \u003cstrong>cheap thrill\u003c/strong> — tickets for their \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> shows start at just $10, with a matinee for just $5. Details \u003ca href=\"https://www.ybca.org/whats-on/dance-brigade\" target=\"_blank\" rel=\"noopener\">here \u003c/a>or \u003ca href=\"http://www.dancebrigade.org/performances/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hL28CrEaOsE'\n title='//www.youtube.com/embed/hL28CrEaOsE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 13\u003c/strong>: \u003ca href=\"http://joebagale.com/\" target=\"_blank\" rel=\"noopener\">Joe Bagale\u003c/a> sounds a bit like the love child of Stevie Wonder and Parliament Funkadelic. He calls his new band Otis McDonald (Adam Theis, Nino Moschella, Daniel Casares, Max Cowan and Max Miller); “Otis” coming from bluesman Shuggie Otis and “McDonald” from the Doobie Brothers’ Michael McDonald. But all you need to know is that the new songs are a funky success. Details for his show at Slim’s are right \u003ca href=\"http://www.slimspresents.com/event/sals-greenhouse-slims-w-otis-mcdonald-agapesoul-w-special-guest-martin-luther-mccoy/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg\" alt=\"Litquake asks a panel of writers to respond to President-elect Donald Trump\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-520x364.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358.jpg 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Litquake asks a panel of writers to respond to President-elect Donald Trump. \u003ccite>(Photo: Image courtesy of Litquake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15 & 18\u003c/strong>: Many writers around the country and the Bay Area are troubled by President-elect Donald Trump’s comments on limits to press freedom. On Sunday, Jan. 15, Oakland’s Starline Social Club will host \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/15/writers-resist\" target=\"_blank\" rel=\"noopener\">Writers Resist\u003c/a>, featuring Jane Hirshfield, D.A. Powell, Solmaz Sharif, Beth Nguyen, Ishmael Reed and others. Details \u003ca href=\"https://www.facebook.com/events/1879182968971703/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And on Wednesday, Jan. 18, \u003ca href=\"http://www.litquake.org/\" target=\"_blank\" rel=\"noopener\">Litquake\u003c/a> sponsors \u003cem>Writers Respond to Trump\u003c/em>, where they ask the question, “Do we publish a manifesto, or curl up in the fetal position?” The program at the main branch of the SF Public Library will feature Mills Professor and poet Elmaz Abinader, comedian Zahra Noorbaksh, novelist Robert Mailer Anderson, poet devorah major, and chief pot-stirrer Ishmael Reed. That’s free, and a \u003cstrong>cheap thrill\u003c/strong>. Details \u003ca href=\"http://www.litquake.org/events/no-shadow-without-light-writers-respond-trump\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "alcatraz-displays-irrational-numbers-irrationally-long-prison-sentences",
"title": "Alcatraz Displays Irrational Numbers & Irrationally Long Prison Sentences",
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"content": "\u003cp>Along the left side of a cold, gray cement building on Alcatraz Island, hundreds of colorful NFL jerseys suspended on clothesline hang limp in the cold air.\u003c/p>\n\u003cp>The building is about as long as a football field. Broken windows, peeling paint and the busted out remains of what used to be toilets line the walls. It looks like the dirtiest NFL pro shop imaginable, only the jerseys aren’t for sale. They’re art.\u003c/p>\n\u003cp>“It’s really about shortening irrationally long prison sentences that are too often given for nonviolent minor drug crimes,” says Nelson Saiers, the New York-based artist behind \u003cem>\u003ca href=\"http://www.parksconservancy.org/visit/art/current-exhibits/shortening-on-alcatraz.html?referrer=https://www.google.com/\" target=\"_blank\" rel=\"noopener\">Shortening: Making the Irrational Rational\u003c/a>, \u003c/em>currently on display on Alcatraz through Sunday, Feb. 5.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/302155438″ 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 exhibition starts in the corner of the New Industries Building with a giant white “3” on a green piece of synthetic turf suspended from the ceiling. From there, the jerseys wind throughout the building, with the numbers on the back spelling out the first several hundred digits of the number pi.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Pi is what’s called an irrational number which means it never ends nor repeats,” says the 41-year-old Saiers, who earned a Ph.D. in mathematics at the age of 23 and ran a hedge fund before becoming a full-time artist. “Now the way to turn it into a rational number is to shorten it. So that’s a very good metaphor for what needs to be done to these irrational prison sentences.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3OcZYZTS6q8&feature=youtu.be\u003c/p>\n\u003ch3>Inspired by news headlines\u003c/h3>\n\u003cp>Saiers’ process began with the news of the death of Freddie Gray, a black man in Baltimore, who died while in police custody in the spring of 2015.\u003c/p>\n\u003cp>The incident provoked a discussion between Saiers and a friend about the ongoing issues between communities of color and police departments.\u003c/p>\n\u003cp>“And he said, ‘Well the number one thing they gotta get rid of is football numbers because it’s destroying families,” Saiers says of that conversation. “It’s destroying entire communities.'”\u003c/p>\n\u003cp>Saiers’ friend told him that “football numbers” referred to double-digit prison sentences.\u003c/p>\n\u003cp>“It comes from the idea that if you get 30 years or 44 years or 25 years, it’s a number that looks like a number on a football jersey,” Saiers says. “So the football jerseys hanging in the room point to that expression.”\u003c/p>\n\u003cp>[gallery type=\"rectangular\" ids=\"12605449,12605450,12605451,12605452,12605453\"]\u003c/p>\n\u003ch3>California’s stance on long prison sentences\u003c/h3>\n\u003cp>Many of those double-digit sentences for nonviolent drug crimes date back to tough on crime laws like California’s 1994 “Three Strikes” Law, which established mandatory long prison sentences for repeat offenders.\u003c/p>\n\u003cp>But those sentences have become less common in recent years. Two recent ballot measures — 2012’s Proposition 36 and 2014’s Proposition 47 — as well as Governor Jerry Brown’s prison realignment plan passed in 2011, were all designed in part to reduce the kinds of long prison terms Saiers protests in his work.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/news/2012/11/12/prop-36-may-release-felons-from-prison-but-how-many/\" target=\"_blank\" rel=\"noopener\">Proposition 36\u003c/a> amended the 1994 Three Strikes Law to establish more lenient sentencing for nonviolent offenders, and \u003ca href=\"https://ww2.kqed.org/news/2015/08/22/proposition-47-gives-former-felons-a-new-chance/\" target=\"_blank\" rel=\"noopener\">Proposition 47\u003c/a> reclassified some nonviolent drug offenses from felonies down to misdemeanors. Both measures included opportunities for offenders already behind bars to appeal and potentially reduce their current sentences. \u003ca href=\"https://ww2.kqed.org/news/2016/09/29/five-years-later-many-see-criminal-justice-realignment-as-success/\" target=\"_blank\" rel=\"noopener\">Realignment\u003c/a> called for moving some nonviolent offenders, including those with drug convictions, out of state prisons and into county jails.\u003c/p>\n\u003cfigure id=\"attachment_12605440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605440 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-800x530.jpg\" alt='A football jersey is strung on hemp rope as part of the art installation \"Shortening: Making the Irrational Rational\" on Tuesday, November 15, 2016. The hemp rope alludes to minor drug offenses such as marijuana possession that the artist says too often result in unnecessarily long prison sentences.' width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A football jersey is strung on hemp rope as part of the art installation “Shortening: Making the Irrational Rational”. The hemp rope alludes to minor drug offenses such as marijuana possession that the artist says too often result in unnecessarily long prison sentences. \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But even with all of that progress — plus the possibility of even more reduced sentences after the passage last November of \u003ca href=\"http://elections.kqed.org/article/11076610/6-ways-recreational-pot-would-change-california-and-7-ways-it-wouldnt\" target=\"_blank\" rel=\"noopener\">Proposition 64\u003c/a> legalizing recreational marijuana — this is not a settled issue.\u003c/p>\n\u003cp>“While those changes have happened and continue to happen, you will still find people in state prison who are serving long sentences, life sentences,” says Krissi Khokhobashvili, spokeswoman for the California Department of Corrections and Rehabilitation.\u003c/p>\n\u003ch3>The many layers of \u003cem>Shortening\u003c/em>\u003c/h3>\n\u003cp>The complexities of Saiers’ artwork go beyond football jerseys and the number pi. For example, the piece also relates to the storied history of Alcatraz.\u003c/p>\n\u003cfigure id=\"attachment_12605438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605438 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-800x530.jpg\" alt='Black duct tape covers up the term \"Redskins\" on a football jersey at the art installation \"Shortening: Making the Irrational Rational\" on Tuesday, November 15, 2016. The artist says he used the duct tape to mute what he views as a derogatory term towards Native Americans.' width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black duct tape covers up the term “Redskins” on a football jersey at the art installation “Shortening: Making the Irrational Rational”. The artist says he used the duct tape to mute what he views as a derogatory term towards Native Americans. \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saiers repeatedly pays homage in the exhibition to the Native American presence on The Rock. He put duct tape over jerseys emblazoned with the word “Redskins” to “mute” what he sees as a derogatory term. The numbers on those jerseys — 19 and 89 — also reflect the Native American occupation of Alcatraz, where 89 Native Americans held the island for 19 months between Nov. 1969 and Jun. 1971 — an action that helped give birth to the modern Native American civil rights movement.\u003c/p>\n\u003cfigure id=\"attachment_12605439\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605439 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-800x530.jpg\" alt=\"A white number 11 Chicago Bears jersey with the name "Capone" is strung up as part of the art installation "Shortening: Making the Irrational Rational" at Alcatraz on Tuesday, October 25, 2016. According to the artist, the smaller Capone jersey signifies that Capone's sentence, 11 years, should have been longer unlike the nonviolent drug sentences he would like to see shortened.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A white number 11 Chicago Bears jersey with the name “Capone” is strung up as part of the art installation “Shortening: Making the Irrational Rational” on Alcatraz. According to the artist, the smaller Capone jersey signifies that Capone’s sentence, 11 years, should have been longer unlike the nonviolent drug sentences he would like to see shortened. \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work also references famous Alcatraz inmates like Chicago mob boss Al Capone and Robert Stroud (better known as the Birdman of Alcatraz). Saiers says the numbers on the jerseys of bird-related teams (Eagles, Ravens, Seahawks, Cardinals, etc.) add up to 594, which was Stroud’s inmate number at Alcatraz.\u003c/p>\n\u003cp>In the same vein, most of the Chicago Bears jerseys show number 85, representing Capone, who wore that number while imprisoned on Alcatraz. Saiers says this number 11 jersey with Capone’s name on the back represents the crime boss’ 11-year prison sentence for tax evasion. He says the jersey is smaller than all the others because Capone’s is an example of a sentence that should’ve been lengthened instead of shortened.\u003c/p>\n\u003cfigure id=\"attachment_12605441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605441 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-800x530.jpg\" alt=\"Three jerseys are strung near the ceiling as part of the art installation "Shortening: Making the Irrational Rational on Tuesday, October 25, 2016. The letters on the back of the jersey are a scrambled version of "Off with his head," a reference to the irrational sentences handed down by the Queen of Hearts in Lewis Carroll's "Alice in Wonderland."\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three jerseys are strung near the ceiling as part of the art installation “Shortening: Making the Irrational Rational.” The letters on the back of the jersey are a scrambled version of “Off with his head,” a reference to the irrational sentences handed down by the Queen of Hearts in Lewis Carroll’s “Alice in Wonderland.” \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Protest art on Alcatraz\u003c/h3>\n\u003cp>Saiers isn’t the first artist to use Alcatraz as a platform to speak out against unfair incarceration.\u003c/p>\n\u003cp>For example, in 2012, a group of Bay Area artists staged a choreographed dance film at Alcatraz called \u003ca href=\"https://vimeo.com/52877758\" target=\"_blank\" rel=\"noopener\">\u003cem>Well Contested Sites\u003c/em>\u003c/a>. They were attracted by the site’s complex history of activism and incarceration as well as its physical incongruity as both an old, decrepit prison and one of the world’s most scenic tourist attractions.\u003c/p>\n\u003cp>“What happens all too often is that these beautiful places become distant places of oppression for certain people,” says Reggie Daniels, one of several artists involved in the film who was previously incarcerated. “So while other people are experiencing the beauty, there are people who are experiencing these dreadful harms and living and suffering with a very harsh quality of life in beautiful spaces like San Francisco.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/52877758\" width=\"800\" frameborder=\"0\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cem>\u003ca href=\"https://vimeo.com/52877758\">Well Contested Sites\u003c/a> from \u003ca href=\"https://vimeo.com/raptproductions\">Rapt Productions\u003c/a> on \u003ca href=\"https://vimeo.com\">Vimeo\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Perhaps the most well-known recent example of art activism on Alcatraz was \u003ca href=\"https://ww2.kqed.org/arts/series/ai-weiwei-on-alcatraz/\" target=\"_blank\" rel=\"noopener\">\u003cem>@Large\u003c/em>\u003c/a>, a 2014-15 exhibition designed by the famous Chinese artist Ai Wei Wei. \u003cem>@Large \u003c/em>explored what it means to be free and was seen by nearly 900,000 people during its seven month stay on the island.\u003c/p>\n\u003cp>“Alcatraz is a place of protest,” says Kate Bickert, who helps run the Golden Gate National Parks Conservancy’s \u003cem>Arts in the Parks\u003c/em> program. This program brought \u003cem>Shortening: Making the Irrational Rational \u003c/em>to The Rock.\u003c/p>\n\u003ch3>Drawing out the meaning\u003c/h3>\n\u003cp>Beyond historical symbolism, Saiers has a much more practical reason for staging his piece on Alcatraz: The setting helps bring out the meaning in a work that might otherwise seem abstract and impenetrable.\u003c/p>\n\u003cp>“Having the backdrop be Alcatraz would certainly point people in the direction that this is about prisons,” Saiers says. “Otherwise, you come in and see a room of football jerseys with strange numbers on it and duct tape and things like that, and you may not naturally think about prison sentences.”\u003c/p>\n\u003cp>Even with the Alcatraz hint, some people still don’t get it. A fair number of visitors do a quick loop through the installation without really stopping. But for some people, like Galen Tom of Fairfield, the unique setting helps the work click into place.\u003c/p>\n\u003cfigure id=\"attachment_12605454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605454 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-800x600.jpg\" alt='Visitors at Alcatraz share their feelings about the art installation \"Shortening: Making the Irrational Rational.\" Rangers at Alcatraz have used the white board to provoke thought and elicit feedback from visitors on the exhibit.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors at Alcatraz share their feelings about the art installation “Shortening: Making the Irrational Rational.” Rangers at Alcatraz have used the white board to provoke thought and elicit feedback from visitors on the exhibit. \u003ccite>(Photo: Courtesy of the National Park Service)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For me, it really sends a message especially when you don’t get it at first and you think, ‘Oh, I’m in a prison and I’m going through it and these numbers represent people who have served years — some low some high — in drug related offenses,'” Tom says. “It definitely hits at home of understanding and seeing the gloom of the interior of this place.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For more details about ‘Shortening on Alcatraz,’ \u003ca href=\"http://www.parksconservancy.org/visit/art/current-exhibits/shortening-on-alcatraz.html?referrer=https://www.google.com/\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Nelson Saiers' abstract art installation on The Rock combines football jerseys, the number Pi and prison terms to protest lengthy sentences for nonviolent offenders.",
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"title": "Alcatraz Displays Irrational Numbers & Irrationally Long Prison Sentences | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Along the left side of a cold, gray cement building on Alcatraz Island, hundreds of colorful NFL jerseys suspended on clothesline hang limp in the cold air.\u003c/p>\n\u003cp>The building is about as long as a football field. Broken windows, peeling paint and the busted out remains of what used to be toilets line the walls. It looks like the dirtiest NFL pro shop imaginable, only the jerseys aren’t for sale. They’re art.\u003c/p>\n\u003cp>“It’s really about shortening irrationally long prison sentences that are too often given for nonviolent minor drug crimes,” says Nelson Saiers, the New York-based artist behind \u003cem>\u003ca href=\"http://www.parksconservancy.org/visit/art/current-exhibits/shortening-on-alcatraz.html?referrer=https://www.google.com/\" target=\"_blank\" rel=\"noopener\">Shortening: Making the Irrational Rational\u003c/a>, \u003c/em>currently on display on Alcatraz through Sunday, Feb. 5.\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/302155438″&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/302155438″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The exhibition starts in the corner of the New Industries Building with a giant white “3” on a green piece of synthetic turf suspended from the ceiling. From there, the jerseys wind throughout the building, with the numbers on the back spelling out the first several hundred digits of the number pi.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Pi is what’s called an irrational number which means it never ends nor repeats,” says the 41-year-old Saiers, who earned a Ph.D. in mathematics at the age of 23 and ran a hedge fund before becoming a full-time artist. “Now the way to turn it into a rational number is to shorten it. So that’s a very good metaphor for what needs to be done to these irrational prison sentences.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3OcZYZTS6q8'\n title='//www.youtube.com/embed/3OcZYZTS6q8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Inspired by news headlines\u003c/h3>\n\u003cp>Saiers’ process began with the news of the death of Freddie Gray, a black man in Baltimore, who died while in police custody in the spring of 2015.\u003c/p>\n\u003cp>The incident provoked a discussion between Saiers and a friend about the ongoing issues between communities of color and police departments.\u003c/p>\n\u003cp>“And he said, ‘Well the number one thing they gotta get rid of is football numbers because it’s destroying families,” Saiers says of that conversation. “It’s destroying entire communities.'”\u003c/p>\n\u003cp>Saiers’ friend told him that “football numbers” referred to double-digit prison sentences.\u003c/p>\n\u003cp>“It comes from the idea that if you get 30 years or 44 years or 25 years, it’s a number that looks like a number on a football jersey,” Saiers says. “So the football jerseys hanging in the room point to that expression.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>California’s stance on long prison sentences\u003c/h3>\n\u003cp>Many of those double-digit sentences for nonviolent drug crimes date back to tough on crime laws like California’s 1994 “Three Strikes” Law, which established mandatory long prison sentences for repeat offenders.\u003c/p>\n\u003cp>But those sentences have become less common in recent years. Two recent ballot measures — 2012’s Proposition 36 and 2014’s Proposition 47 — as well as Governor Jerry Brown’s prison realignment plan passed in 2011, were all designed in part to reduce the kinds of long prison terms Saiers protests in his work.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/news/2012/11/12/prop-36-may-release-felons-from-prison-but-how-many/\" target=\"_blank\" rel=\"noopener\">Proposition 36\u003c/a> amended the 1994 Three Strikes Law to establish more lenient sentencing for nonviolent offenders, and \u003ca href=\"https://ww2.kqed.org/news/2015/08/22/proposition-47-gives-former-felons-a-new-chance/\" target=\"_blank\" rel=\"noopener\">Proposition 47\u003c/a> reclassified some nonviolent drug offenses from felonies down to misdemeanors. Both measures included opportunities for offenders already behind bars to appeal and potentially reduce their current sentences. \u003ca href=\"https://ww2.kqed.org/news/2016/09/29/five-years-later-many-see-criminal-justice-realignment-as-success/\" target=\"_blank\" rel=\"noopener\">Realignment\u003c/a> called for moving some nonviolent offenders, including those with drug convictions, out of state prisons and into county jails.\u003c/p>\n\u003cfigure id=\"attachment_12605440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605440 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-800x530.jpg\" alt='A football jersey is strung on hemp rope as part of the art installation \"Shortening: Making the Irrational Rational\" on Tuesday, November 15, 2016. The hemp rope alludes to minor drug offenses such as marijuana possession that the artist says too often result in unnecessarily long prison sentences.' width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23531_DSC_9884-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A football jersey is strung on hemp rope as part of the art installation “Shortening: Making the Irrational Rational”. The hemp rope alludes to minor drug offenses such as marijuana possession that the artist says too often result in unnecessarily long prison sentences. \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But even with all of that progress — plus the possibility of even more reduced sentences after the passage last November of \u003ca href=\"http://elections.kqed.org/article/11076610/6-ways-recreational-pot-would-change-california-and-7-ways-it-wouldnt\" target=\"_blank\" rel=\"noopener\">Proposition 64\u003c/a> legalizing recreational marijuana — this is not a settled issue.\u003c/p>\n\u003cp>“While those changes have happened and continue to happen, you will still find people in state prison who are serving long sentences, life sentences,” says Krissi Khokhobashvili, spokeswoman for the California Department of Corrections and Rehabilitation.\u003c/p>\n\u003ch3>The many layers of \u003cem>Shortening\u003c/em>\u003c/h3>\n\u003cp>The complexities of Saiers’ artwork go beyond football jerseys and the number pi. For example, the piece also relates to the storied history of Alcatraz.\u003c/p>\n\u003cfigure id=\"attachment_12605438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605438 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-800x530.jpg\" alt='Black duct tape covers up the term \"Redskins\" on a football jersey at the art installation \"Shortening: Making the Irrational Rational\" on Tuesday, November 15, 2016. The artist says he used the duct tape to mute what he views as a derogatory term towards Native Americans.' width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23526_DSC_9849-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black duct tape covers up the term “Redskins” on a football jersey at the art installation “Shortening: Making the Irrational Rational”. The artist says he used the duct tape to mute what he views as a derogatory term towards Native Americans. \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saiers repeatedly pays homage in the exhibition to the Native American presence on The Rock. He put duct tape over jerseys emblazoned with the word “Redskins” to “mute” what he sees as a derogatory term. The numbers on those jerseys — 19 and 89 — also reflect the Native American occupation of Alcatraz, where 89 Native Americans held the island for 19 months between Nov. 1969 and Jun. 1971 — an action that helped give birth to the modern Native American civil rights movement.\u003c/p>\n\u003cfigure id=\"attachment_12605439\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605439 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-800x530.jpg\" alt=\"A white number 11 Chicago Bears jersey with the name "Capone" is strung up as part of the art installation "Shortening: Making the Irrational Rational" at Alcatraz on Tuesday, October 25, 2016. According to the artist, the smaller Capone jersey signifies that Capone's sentence, 11 years, should have been longer unlike the nonviolent drug sentences he would like to see shortened.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23522_DSC_9799-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A white number 11 Chicago Bears jersey with the name “Capone” is strung up as part of the art installation “Shortening: Making the Irrational Rational” on Alcatraz. According to the artist, the smaller Capone jersey signifies that Capone’s sentence, 11 years, should have been longer unlike the nonviolent drug sentences he would like to see shortened. \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work also references famous Alcatraz inmates like Chicago mob boss Al Capone and Robert Stroud (better known as the Birdman of Alcatraz). Saiers says the numbers on the jerseys of bird-related teams (Eagles, Ravens, Seahawks, Cardinals, etc.) add up to 594, which was Stroud’s inmate number at Alcatraz.\u003c/p>\n\u003cp>In the same vein, most of the Chicago Bears jerseys show number 85, representing Capone, who wore that number while imprisoned on Alcatraz. Saiers says this number 11 jersey with Capone’s name on the back represents the crime boss’ 11-year prison sentence for tax evasion. He says the jersey is smaller than all the others because Capone’s is an example of a sentence that should’ve been lengthened instead of shortened.\u003c/p>\n\u003cfigure id=\"attachment_12605441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605441 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-800x530.jpg\" alt=\"Three jerseys are strung near the ceiling as part of the art installation "Shortening: Making the Irrational Rational on Tuesday, October 25, 2016. The letters on the back of the jersey are a scrambled version of "Off with his head," a reference to the irrational sentences handed down by the Queen of Hearts in Lewis Carroll's "Alice in Wonderland."\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23534_DSC_9792-qut-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three jerseys are strung near the ceiling as part of the art installation “Shortening: Making the Irrational Rational.” The letters on the back of the jersey are a scrambled version of “Off with his head,” a reference to the irrational sentences handed down by the Queen of Hearts in Lewis Carroll’s “Alice in Wonderland.” \u003ccite>(Photo: Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Protest art on Alcatraz\u003c/h3>\n\u003cp>Saiers isn’t the first artist to use Alcatraz as a platform to speak out against unfair incarceration.\u003c/p>\n\u003cp>For example, in 2012, a group of Bay Area artists staged a choreographed dance film at Alcatraz called \u003ca href=\"https://vimeo.com/52877758\" target=\"_blank\" rel=\"noopener\">\u003cem>Well Contested Sites\u003c/em>\u003c/a>. They were attracted by the site’s complex history of activism and incarceration as well as its physical incongruity as both an old, decrepit prison and one of the world’s most scenic tourist attractions.\u003c/p>\n\u003cp>“What happens all too often is that these beautiful places become distant places of oppression for certain people,” says Reggie Daniels, one of several artists involved in the film who was previously incarcerated. “So while other people are experiencing the beauty, there are people who are experiencing these dreadful harms and living and suffering with a very harsh quality of life in beautiful spaces like San Francisco.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/52877758\" width=\"800\" frameborder=\"0\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cem>\u003ca href=\"https://vimeo.com/52877758\">Well Contested Sites\u003c/a> from \u003ca href=\"https://vimeo.com/raptproductions\">Rapt Productions\u003c/a> on \u003ca href=\"https://vimeo.com\">Vimeo\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Perhaps the most well-known recent example of art activism on Alcatraz was \u003ca href=\"https://ww2.kqed.org/arts/series/ai-weiwei-on-alcatraz/\" target=\"_blank\" rel=\"noopener\">\u003cem>@Large\u003c/em>\u003c/a>, a 2014-15 exhibition designed by the famous Chinese artist Ai Wei Wei. \u003cem>@Large \u003c/em>explored what it means to be free and was seen by nearly 900,000 people during its seven month stay on the island.\u003c/p>\n\u003cp>“Alcatraz is a place of protest,” says Kate Bickert, who helps run the Golden Gate National Parks Conservancy’s \u003cem>Arts in the Parks\u003c/em> program. This program brought \u003cem>Shortening: Making the Irrational Rational \u003c/em>to The Rock.\u003c/p>\n\u003ch3>Drawing out the meaning\u003c/h3>\n\u003cp>Beyond historical symbolism, Saiers has a much more practical reason for staging his piece on Alcatraz: The setting helps bring out the meaning in a work that might otherwise seem abstract and impenetrable.\u003c/p>\n\u003cp>“Having the backdrop be Alcatraz would certainly point people in the direction that this is about prisons,” Saiers says. “Otherwise, you come in and see a room of football jerseys with strange numbers on it and duct tape and things like that, and you may not naturally think about prison sentences.”\u003c/p>\n\u003cp>Even with the Alcatraz hint, some people still don’t get it. A fair number of visitors do a quick loop through the installation without really stopping. But for some people, like Galen Tom of Fairfield, the unique setting helps the work click into place.\u003c/p>\n\u003cfigure id=\"attachment_12605454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12605454 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-800x600.jpg\" alt='Visitors at Alcatraz share their feelings about the art installation \"Shortening: Making the Irrational Rational.\" Rangers at Alcatraz have used the white board to provoke thought and elicit feedback from visitors on the exhibit.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23533_White-Board-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors at Alcatraz share their feelings about the art installation “Shortening: Making the Irrational Rational.” Rangers at Alcatraz have used the white board to provoke thought and elicit feedback from visitors on the exhibit. \u003ccite>(Photo: Courtesy of the National Park Service)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For me, it really sends a message especially when you don’t get it at first and you think, ‘Oh, I’m in a prison and I’m going through it and these numbers represent people who have served years — some low some high — in drug related offenses,'” Tom says. “It definitely hits at home of understanding and seeing the gloom of the interior of this place.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For more details about ‘Shortening on Alcatraz,’ \u003ca href=\"http://www.parksconservancy.org/visit/art/current-exhibits/shortening-on-alcatraz.html?referrer=https://www.google.com/\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fair-ly Overwhelmed? A Helpful Guide to this Week’s Art Events",
"headTitle": "Fair-ly Overwhelmed? A Helpful Guide to this Week’s Art Events | KQED",
"content": "\u003cp>Art fairs can overwhelm. Whether it’s their maze-like architecture of temporary booths filled with an enormous variety of contemporary art, or the crowds of people intent on not just looking at that art, but actually purchasing it, fairs can be exhausting, both visually and physically. \u003c/p>\n\u003cp>And with not one but two commercial art fairs overtaking the edges of San Francisco this week — the fourth annual \u003ca href=\"https://fogfair.com/\" target=\"_blank\" rel=\"noopener\">FOG Design+Art Fair\u003c/a> and newcomer \u003ca href=\"https://art-untitled.com/san-francisco\" target=\"_blank\" rel=\"noopener\">UNTITLED\u003c/a> — a strategy for allocating one’s time and energy is in order. \u003c/p>\n\u003cp>Because on the flipside of exhaustion is exhilaration. Fairs bring far-flung galleries and artists to our doorstep, saving us the expense of international travel. Programmers pull out the stops, organizing talks, performances and moments worth braving these (sometimes claustrophobic) environments of enormous wealth and enormous spending. If you’re an art lover, you’ll want to bust out your comfy shoes.\u003c/p>\n\u003cfigure id=\"attachment_12610530\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/YVES-master640.jpg\" alt=\"Yves Klein in a conceptual art performance in 1959.\" width=\"640\" height=\"468\" class=\"size-full wp-image-12610530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YVES-master640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YVES-master640-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YVES-master640-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YVES-master640-375x274.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YVES-master640-520x380.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Yves Klein in a conceptual art performance in 1959. \u003ccite>(Photo by Charles Wilp; Yves Klein, Artists Rights Society, New York/ADAGP, Paris 2013)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.gracecathedral.org/events/yves-kleins-monotone-silence-symphony/\" target=\"_blank\" rel=\"noopener\">Yves Klein’s \u003ci>Monotone-Silence Symphony\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Thursday, Jan. 12; doors at 6pm, performance begins at 6:30pm\u003cbr>\nGrace Cathedral, San Francisco\u003cbr>\nFREE with \u003ca href=\"http://rsvp.artsy.net/levy-gorvy-and-artsy\" target=\"_blank\" rel=\"noopener\">RSVP\u003c/a>\u003c/h5>\n\u003cp>Begin the busy next few days in a meditative state with an experimental symphony by Yves Klein, the modernist perhaps best known for monochrome paintings rendered in his \u003ca href=\"https://en.wikipedia.org/wiki/International_Klein_Blue\" target=\"_blank\" rel=\"noopener\">signature, electric blue\u003c/a>. The \u003ci>Monotone-Silence Symphony\u003c/i>, developed by Klein around 1947-48, similarly explores the concept of a single artistic material — in this case, a single note performed by a group of musicians and singers for 20 minutes straight. The group then “performs” an equal amount of absolute silence. Klein himself described the symphony — performed only once in his brief lifetime — as creating “aspiration outside of time.” It’s an exercise in stamina that might prove transcendent, especially against the backdrop of Grace Cathedral and its seven-second acoustic delay. \u003c/p>\n\u003cfigure id=\"attachment_12610721\" class=\"wp-caption alignright\" style=\"max-width: 548px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gif-bonanza.gif\" alt=\"Constance Hockaday, 'ATTENTION! We've moved.' Jan. 13-15.\" width=\"548\" height=\"317\" class=\"size-full wp-image-12610721\">\u003cfigcaption class=\"wp-caption-text\">Constance Hockaday, ‘ATTENTION! We’ve moved.’ Jan. 13-15. \u003ccite>(Courtesy of The Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.thelab.org/projects/2017/1/12/noiseclub\" target=\"_blank\" rel=\"noopener\">Constance Hockaday, \u003ci>Attention! We’ve moved.\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Jan. 12, 7pm; Jan. 13-14 cruises at 7 and 9pm\u003cbr>\nLaunching from Pier 40, San Francisco\u003cbr>\nTickets: \u003ca href=\"http://www.thelab.org/projects/2017/1/12/noiseclub\" target=\"_blank\" rel=\"noopener\">$35 regular; $160 VIP on Jan. 12\u003c/a>\u003c/h5>\n\u003cp>In conjunction with UNTITLED, The Lab takes its programming offshore for three nights of a “floating noise club” party cruise in the San Francisco Bay. Conceived by Oakland-based artist Constance Hockaday, \u003ci>Attention! We’ve moved.\u003c/i> counters the ongoing displacement of radical, queer and experimental communities from the Bay Area landscape, carving out a space for these groups to exist on the water. Emceed by Jibz Cameron’s outrageous alter ego \u003ca href=\"https://ww2.kqed.org/arts/2015/06/18/jibz-cameron-and-her-alter-ego-the-outrageous-dynasty-handbag/\" target=\"_blank\" rel=\"noopener\">Dynasty Handbag\u003c/a>, each cruise features performances from local acts like \u003ca href=\"https://ww2.kqed.org/arts/2016/05/04/wrecking-the-patriarchy-with-oakland-reggaeton-duo-las-sucias/\" target=\"_blank\" rel=\"noopener\">Las Sucias\u003c/a>, \u003ca href=\"https://www.facebook.com/voicehandler/\" target=\"_blank\" rel=\"noopener\">Voicehandler\u003c/a> and psychedelic dance party organizers \u003ca href=\"https://www.facebook.com/groups/58630483103/\" target=\"_blank\" rel=\"noopener\">International Freakout A Go-Go\u003c/a> — and, of course, a cash bar to keep the party going.\u003c/p>\n\u003cfigure id=\"attachment_12610526\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/51_Cincelli_Ireland_Portrait_640.jpg\" alt=\"Portraits of David Ireland with Dumbball, 1998.\" width=\"640\" height=\"486\" class=\"size-full wp-image-12610526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/51_Cincelli_Ireland_Portrait_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/51_Cincelli_Ireland_Portrait_640-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/51_Cincelli_Ireland_Portrait_640-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/51_Cincelli_Ireland_Portrait_640-375x285.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/51_Cincelli_Ireland_Portrait_640-520x395.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Portraits of David Ireland with Dumbball, 1998. \u003ccite>(Photo by Elisa Cicinelli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://art-untitled.com/san-francisco/program/event/01-14-2017\" target=\"_blank\" rel=\"noopener\">500 Capp Street presents David Ireland’s Dumbballs\u003c/a>\u003c/h3>\n\u003ch5>Saturday, Jan. 14, 1-4pm\u003cbr>\nUNTITLED, Pier 70, San Francisco\u003cbr>\nFREE with fair admission: \u003ca href=\"https://art-untitled.com/san-francisco/tickets\" target=\"_blank\" rel=\"noopener\">$20-30\u003c/a>\u003c/h5>\n\u003cp>Local artists Rebecca Goldfarb (the late David Ireland’s last studio assistant) and Andrew Sheets ( filmmaker and artist guide at \u003ca href=\"https://ww2.kqed.org/arts/2016/01/13/david-irelands-cabinet-of-curiosities-opens-its-mission-district-doors/\" target=\"_blank\" rel=\"noopener\">500 Capp Street\u003c/a>) lead a free workshop on the making of Ireland’s “quintessential” artwork — a concrete sphere he dubbed the “dumbball.” Participate in Ireland’s ritualistic, meditative practice of tossing a lump of (quick-dry) concrete back and forth between your hands. Artistic decision-making is replaced by the material’s drying time, a metaphor for Ireland’s approach to artmaking across media. Most importantly, if you can’t afford to purchase anything at UNTITLED, you’ll leave this workshop with a dumbball of your very own.\u003c/p>\n\u003cfigure id=\"attachment_12610528\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Kare.jpg\" alt=\"Icons by Susan Kare, 1983-2015.\" width=\"640\" height=\"438\" class=\"size-full wp-image-12610528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Kare.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Kare-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Kare-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Kare-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Kare-520x356.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Icons by Susan Kare, 1983-2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://fogfair.com/schedule/\" target=\"_blank\" rel=\"noopener\">Susan Kare, A Perspective on Icon Design\u003c/a>\u003c/h3>\n\u003ch5>FOG Art+Design, Fort Mason Festival Pavilion, San Francisco\u003cbr>\nFriday, Jan. 13, 5pm\u003cbr>\nFREE with fair admission: \u003ca href=\"https://www.eventbrite.com/e/fog-designart-tickets-29177162679\" target=\"_blank\" rel=\"noopener\">$20\u003c/a>\u003c/h5>\n\u003cp>FOG is stacked with four very full days of artist and designer talks, panel discussions and screenings, but none have me as excited as this one. If the name Susan Kare draws a blank, think back to the early days of the original Apple Macintosh. Its icons — the watch, the trash can, the pouring bucket of paint, the happy boxy little Mac — now accepted without question as the symbols of computing, are all courtesy of Kare. She’s been called the “icon of icons” by \u003ci>Wired\u003c/i>, and if you have any interest in how the bits and pieces of our digital visual culture get made, this talk won’t disappoint. \u003c/p>\n\u003cfigure id=\"attachment_12610529\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/MindControl640.jpg\" alt=\"Mind Control at Alter Space, Jan. 12-15.\" width=\"640\" height=\"694\" class=\"size-full wp-image-12610529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MindControl640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MindControl640-160x174.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MindControl640-240x260.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MindControl640-375x407.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MindControl640-520x564.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mind Control at Alter Space, Jan. 12-15. \u003ccite>(Courtesy of Alter Space)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.alterspace.gallery/mind-control/\" target=\"_blank\" rel=\"noopener\">\u003ci>Mind Control\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Jan. 12-15, 12-6pm\u003cbr>\nAlter Space, San Francisco\u003cbr>\nFREE\u003c/h5>\n\u003cp>It wouldn’t be a week of art fairs without an artist-organized alternative “fair” of a scrappier sort. Alter Space hosts \u003ci>Mind Control\u003c/i>, a gathering of twelve commercial galleries, curatorial projects, online spaces and artist collectives from Reno, New York, Los Angeles, San Diego and the Bay Area. Never quite able to catch a project by \u003ca href=\"http://qualityoakland.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Quality\u003c/a>, \u003ca href=\"https://www.facebook.com/NookArtGallery/\" target=\"_blank\" rel=\"noopener\">Nook Gallery\u003c/a> or \u003ca href=\"https://www.instagram.com/gallery_y2k/\" target=\"_blank\" rel=\"noopener\">Y2K\u003c/a>? Now’s your chance. As a bonus, \u003ci>Mind Control\u003c/i> remains open long after FOG and UNTITLED break down their temporary art mazes and pack up, with open hours through Jan. 28, Thursday through Saturday, 1-6pm.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Not one but two commercial art fairs are about to descend on San Francisco. Stay hydrated, my friends.",
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"title": "Fair-ly Overwhelmed? A Helpful Guide to this Week’s Art Events | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Art fairs can overwhelm. Whether it’s their maze-like architecture of temporary booths filled with an enormous variety of contemporary art, or the crowds of people intent on not just looking at that art, but actually purchasing it, fairs can be exhausting, both visually and physically. \u003c/p>\n\u003cp>And with not one but two commercial art fairs overtaking the edges of San Francisco this week — the fourth annual \u003ca href=\"https://fogfair.com/\" target=\"_blank\" rel=\"noopener\">FOG Design+Art Fair\u003c/a> and newcomer \u003ca href=\"https://art-untitled.com/san-francisco\" target=\"_blank\" rel=\"noopener\">UNTITLED\u003c/a> — a strategy for allocating one’s time and energy is in order. \u003c/p>\n\u003cp>Because on the flipside of exhaustion is exhilaration. Fairs bring far-flung galleries and artists to our doorstep, saving us the expense of international travel. Programmers pull out the stops, organizing talks, performances and moments worth braving these (sometimes claustrophobic) environments of enormous wealth and enormous spending. If you’re an art lover, you’ll want to bust out your comfy shoes.\u003c/p>\n\u003cfigure id=\"attachment_12610530\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/YVES-master640.jpg\" alt=\"Yves Klein in a conceptual art performance in 1959.\" width=\"640\" height=\"468\" class=\"size-full wp-image-12610530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YVES-master640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YVES-master640-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YVES-master640-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YVES-master640-375x274.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/YVES-master640-520x380.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Yves Klein in a conceptual art performance in 1959. \u003ccite>(Photo by Charles Wilp; Yves Klein, Artists Rights Society, New York/ADAGP, Paris 2013)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.gracecathedral.org/events/yves-kleins-monotone-silence-symphony/\" target=\"_blank\" rel=\"noopener\">Yves Klein’s \u003ci>Monotone-Silence Symphony\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Thursday, Jan. 12; doors at 6pm, performance begins at 6:30pm\u003cbr>\nGrace Cathedral, San Francisco\u003cbr>\nFREE with \u003ca href=\"http://rsvp.artsy.net/levy-gorvy-and-artsy\" target=\"_blank\" rel=\"noopener\">RSVP\u003c/a>\u003c/h5>\n\u003cp>Begin the busy next few days in a meditative state with an experimental symphony by Yves Klein, the modernist perhaps best known for monochrome paintings rendered in his \u003ca href=\"https://en.wikipedia.org/wiki/International_Klein_Blue\" target=\"_blank\" rel=\"noopener\">signature, electric blue\u003c/a>. The \u003ci>Monotone-Silence Symphony\u003c/i>, developed by Klein around 1947-48, similarly explores the concept of a single artistic material — in this case, a single note performed by a group of musicians and singers for 20 minutes straight. The group then “performs” an equal amount of absolute silence. Klein himself described the symphony — performed only once in his brief lifetime — as creating “aspiration outside of time.” It’s an exercise in stamina that might prove transcendent, especially against the backdrop of Grace Cathedral and its seven-second acoustic delay. \u003c/p>\n\u003cfigure id=\"attachment_12610721\" class=\"wp-caption alignright\" style=\"max-width: 548px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gif-bonanza.gif\" alt=\"Constance Hockaday, 'ATTENTION! We've moved.' Jan. 13-15.\" width=\"548\" height=\"317\" class=\"size-full wp-image-12610721\">\u003cfigcaption class=\"wp-caption-text\">Constance Hockaday, ‘ATTENTION! We’ve moved.’ Jan. 13-15. \u003ccite>(Courtesy of The Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.thelab.org/projects/2017/1/12/noiseclub\" target=\"_blank\" rel=\"noopener\">Constance Hockaday, \u003ci>Attention! We’ve moved.\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Jan. 12, 7pm; Jan. 13-14 cruises at 7 and 9pm\u003cbr>\nLaunching from Pier 40, San Francisco\u003cbr>\nTickets: \u003ca href=\"http://www.thelab.org/projects/2017/1/12/noiseclub\" target=\"_blank\" rel=\"noopener\">$35 regular; $160 VIP on Jan. 12\u003c/a>\u003c/h5>\n\u003cp>In conjunction with UNTITLED, The Lab takes its programming offshore for three nights of a “floating noise club” party cruise in the San Francisco Bay. Conceived by Oakland-based artist Constance Hockaday, \u003ci>Attention! We’ve moved.\u003c/i> counters the ongoing displacement of radical, queer and experimental communities from the Bay Area landscape, carving out a space for these groups to exist on the water. Emceed by Jibz Cameron’s outrageous alter ego \u003ca href=\"https://ww2.kqed.org/arts/2015/06/18/jibz-cameron-and-her-alter-ego-the-outrageous-dynasty-handbag/\" target=\"_blank\" rel=\"noopener\">Dynasty Handbag\u003c/a>, each cruise features performances from local acts like \u003ca href=\"https://ww2.kqed.org/arts/2016/05/04/wrecking-the-patriarchy-with-oakland-reggaeton-duo-las-sucias/\" target=\"_blank\" rel=\"noopener\">Las Sucias\u003c/a>, \u003ca href=\"https://www.facebook.com/voicehandler/\" target=\"_blank\" rel=\"noopener\">Voicehandler\u003c/a> and psychedelic dance party organizers \u003ca href=\"https://www.facebook.com/groups/58630483103/\" target=\"_blank\" rel=\"noopener\">International Freakout A Go-Go\u003c/a> — and, of course, a cash bar to keep the party going.\u003c/p>\n\u003cfigure id=\"attachment_12610526\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/51_Cincelli_Ireland_Portrait_640.jpg\" alt=\"Portraits of David Ireland with Dumbball, 1998.\" width=\"640\" height=\"486\" class=\"size-full wp-image-12610526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/51_Cincelli_Ireland_Portrait_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/51_Cincelli_Ireland_Portrait_640-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/51_Cincelli_Ireland_Portrait_640-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/51_Cincelli_Ireland_Portrait_640-375x285.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/51_Cincelli_Ireland_Portrait_640-520x395.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Portraits of David Ireland with Dumbball, 1998. \u003ccite>(Photo by Elisa Cicinelli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://art-untitled.com/san-francisco/program/event/01-14-2017\" target=\"_blank\" rel=\"noopener\">500 Capp Street presents David Ireland’s Dumbballs\u003c/a>\u003c/h3>\n\u003ch5>Saturday, Jan. 14, 1-4pm\u003cbr>\nUNTITLED, Pier 70, San Francisco\u003cbr>\nFREE with fair admission: \u003ca href=\"https://art-untitled.com/san-francisco/tickets\" target=\"_blank\" rel=\"noopener\">$20-30\u003c/a>\u003c/h5>\n\u003cp>Local artists Rebecca Goldfarb (the late David Ireland’s last studio assistant) and Andrew Sheets ( filmmaker and artist guide at \u003ca href=\"https://ww2.kqed.org/arts/2016/01/13/david-irelands-cabinet-of-curiosities-opens-its-mission-district-doors/\" target=\"_blank\" rel=\"noopener\">500 Capp Street\u003c/a>) lead a free workshop on the making of Ireland’s “quintessential” artwork — a concrete sphere he dubbed the “dumbball.” Participate in Ireland’s ritualistic, meditative practice of tossing a lump of (quick-dry) concrete back and forth between your hands. Artistic decision-making is replaced by the material’s drying time, a metaphor for Ireland’s approach to artmaking across media. Most importantly, if you can’t afford to purchase anything at UNTITLED, you’ll leave this workshop with a dumbball of your very own.\u003c/p>\n\u003cfigure id=\"attachment_12610528\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Kare.jpg\" alt=\"Icons by Susan Kare, 1983-2015.\" width=\"640\" height=\"438\" class=\"size-full wp-image-12610528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Kare.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Kare-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Kare-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Kare-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Kare-520x356.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Icons by Susan Kare, 1983-2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://fogfair.com/schedule/\" target=\"_blank\" rel=\"noopener\">Susan Kare, A Perspective on Icon Design\u003c/a>\u003c/h3>\n\u003ch5>FOG Art+Design, Fort Mason Festival Pavilion, San Francisco\u003cbr>\nFriday, Jan. 13, 5pm\u003cbr>\nFREE with fair admission: \u003ca href=\"https://www.eventbrite.com/e/fog-designart-tickets-29177162679\" target=\"_blank\" rel=\"noopener\">$20\u003c/a>\u003c/h5>\n\u003cp>FOG is stacked with four very full days of artist and designer talks, panel discussions and screenings, but none have me as excited as this one. If the name Susan Kare draws a blank, think back to the early days of the original Apple Macintosh. Its icons — the watch, the trash can, the pouring bucket of paint, the happy boxy little Mac — now accepted without question as the symbols of computing, are all courtesy of Kare. She’s been called the “icon of icons” by \u003ci>Wired\u003c/i>, and if you have any interest in how the bits and pieces of our digital visual culture get made, this talk won’t disappoint. \u003c/p>\n\u003cfigure id=\"attachment_12610529\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/MindControl640.jpg\" alt=\"Mind Control at Alter Space, Jan. 12-15.\" width=\"640\" height=\"694\" class=\"size-full wp-image-12610529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MindControl640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MindControl640-160x174.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MindControl640-240x260.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MindControl640-375x407.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MindControl640-520x564.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mind Control at Alter Space, Jan. 12-15. \u003ccite>(Courtesy of Alter Space)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.alterspace.gallery/mind-control/\" target=\"_blank\" rel=\"noopener\">\u003ci>Mind Control\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Jan. 12-15, 12-6pm\u003cbr>\nAlter Space, San Francisco\u003cbr>\nFREE\u003c/h5>\n\u003cp>It wouldn’t be a week of art fairs without an artist-organized alternative “fair” of a scrappier sort. Alter Space hosts \u003ci>Mind Control\u003c/i>, a gathering of twelve commercial galleries, curatorial projects, online spaces and artist collectives from Reno, New York, Los Angeles, San Diego and the Bay Area. Never quite able to catch a project by \u003ca href=\"http://qualityoakland.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Quality\u003c/a>, \u003ca href=\"https://www.facebook.com/NookArtGallery/\" target=\"_blank\" rel=\"noopener\">Nook Gallery\u003c/a> or \u003ca href=\"https://www.instagram.com/gallery_y2k/\" target=\"_blank\" rel=\"noopener\">Y2K\u003c/a>? Now’s your chance. As a bonus, \u003ci>Mind Control\u003c/i> remains open long after FOG and UNTITLED break down their temporary art mazes and pack up, with open hours through Jan. 28, Thursday through Saturday, 1-6pm.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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