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"content": "\u003cp>Something strange happened when I walked into the press preview for Tomás Saraceno’s \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/tomas-saraceno/\" target=\"_blank\" rel=\"noopener\">Stillness in Motion — Cloud Cities\u003c/a>\u003c/i> at SFMOMA. The gallery — previously occupied by the excellent \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/typeface-interface/\" target=\"_blank\" rel=\"noopener\">Typeface to Interface\u003c/a>\u003c/i> exhibition — is jarringly remade as a wide-open NASA-like clean room, including a white floor that will doubtless drive the museum staff responsible for the exhibit’s maintenance crazy.\u003c/p>\n\u003cp>The strange thing that happened to me when I walked into the show’s press preview was feeling a feeling I hadn’t felt in a while. It was unfamiliar. It was optimism.\u003c/p>\n\u003cp>Berlin-based Saraceno is both a visual artist and an architect, so it’s fitting that \u003ci>Stillness in Motion\u003c/i> is both an exhibition and a proposal for future building projects. As we fret about dwindling supplies of natural resources, the unequal distribution of those resources, and the seemingly impossible task of slowing the man-made destruction of our only planet, Saraceno daringly places a stake in a utopian vision of the future. After the \u003ca href=\"https://en.wikipedia.org/wiki/Anthropocene\" target=\"_blank\" rel=\"noopener\">Anthropocene\u003c/a>, he proposes, we can have an Aerocene.\u003c/p>\n\u003cp>The radical approach in Saraceno’s vision isn’t the idea of floating cities, but the idea of floating cities powered by the sun and the wind, not battery cells or solar panels or wind turbines or fossil fuels. While \u003ci>Stillness in Motion\u003c/i> looks decidedly futuristic (a word that connotes impossibly clean lines and shiny surfaces), its visual language is rooted in nature: the architecture of spider webs, floating seed pods and bubbles.\u003c/p>\n\u003cp>Saraceno’s installation at SFMOMA is a network of thick and taut nylon cables, polished stainless steel plates, over 15,000 hand-tied knots and gently bobbing inflatables. Alongside the network of cables are examples of Saraceno’s research material: spider webs constructed in collaboration and in approximations of zero gravity, balloon tests against the scenic background of White Sands, New Mexico.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Walking through the installation takes time, and not just because every vantage point offers different reflections and portal-like views of endlessly repeating mirrored surfaces. By its very arrangement, \u003ci>Stillness in Motion\u003c/i> necessitates careful contemplation, lest one be clotheslined by the art. (I’m not saying this happened to me, but if it did, it could definitely happen to you.)\u003c/p>\n\u003cp>Saraceno’s installation, made specifically for SFMOMA, will likely feature prominently on social media over the next five months for its aesthetic value alone, but the ideas it puts forward — of radical non-governmental cooperation, emissions-free space travel, and the simple power of imagining and then working towards a future that is not dystopic — are worthy of far more than a mirrored selfie shot. Optimism is a feeling that shouldn’t be so rare.\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=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Stillness in Motion — Cloud Cities\u003c/b> is on view at the San Francisco Museum of Modern Art through May 21, 2017. Visit \u003ca href=\"https://www.sfmoma.org/exhibition/tomas-saraceno/\" target=\"_blank\" rel=\"noopener\">sfmoma.org\u003c/a> for more information.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Something strange happened when I walked into the press preview for Tomás Saraceno’s \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/tomas-saraceno/\" target=\"_blank\" rel=\"noopener\">Stillness in Motion — Cloud Cities\u003c/a>\u003c/i> at SFMOMA. The gallery — previously occupied by the excellent \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/typeface-interface/\" target=\"_blank\" rel=\"noopener\">Typeface to Interface\u003c/a>\u003c/i> exhibition — is jarringly remade as a wide-open NASA-like clean room, including a white floor that will doubtless drive the museum staff responsible for the exhibit’s maintenance crazy.\u003c/p>\n\u003cp>The strange thing that happened to me when I walked into the show’s press preview was feeling a feeling I hadn’t felt in a while. It was unfamiliar. It was optimism.\u003c/p>\n\u003cp>Berlin-based Saraceno is both a visual artist and an architect, so it’s fitting that \u003ci>Stillness in Motion\u003c/i> is both an exhibition and a proposal for future building projects. As we fret about dwindling supplies of natural resources, the unequal distribution of those resources, and the seemingly impossible task of slowing the man-made destruction of our only planet, Saraceno daringly places a stake in a utopian vision of the future. After the \u003ca href=\"https://en.wikipedia.org/wiki/Anthropocene\" target=\"_blank\" rel=\"noopener\">Anthropocene\u003c/a>, he proposes, we can have an Aerocene.\u003c/p>\n\u003cp>The radical approach in Saraceno’s vision isn’t the idea of floating cities, but the idea of floating cities powered by the sun and the wind, not battery cells or solar panels or wind turbines or fossil fuels. While \u003ci>Stillness in Motion\u003c/i> looks decidedly futuristic (a word that connotes impossibly clean lines and shiny surfaces), its visual language is rooted in nature: the architecture of spider webs, floating seed pods and bubbles.\u003c/p>\n\u003cp>Saraceno’s installation at SFMOMA is a network of thick and taut nylon cables, polished stainless steel plates, over 15,000 hand-tied knots and gently bobbing inflatables. Alongside the network of cables are examples of Saraceno’s research material: spider webs constructed in collaboration and in approximations of zero gravity, balloon tests against the scenic background of White Sands, New Mexico.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Walking through the installation takes time, and not just because every vantage point offers different reflections and portal-like views of endlessly repeating mirrored surfaces. By its very arrangement, \u003ci>Stillness in Motion\u003c/i> necessitates careful contemplation, lest one be clotheslined by the art. (I’m not saying this happened to me, but if it did, it could definitely happen to you.)\u003c/p>\n\u003cp>Saraceno’s installation, made specifically for SFMOMA, will likely feature prominently on social media over the next five months for its aesthetic value alone, but the ideas it puts forward — of radical non-governmental cooperation, emissions-free space travel, and the simple power of imagining and then working towards a future that is not dystopic — are worthy of far more than a mirrored selfie shot. Optimism is a feeling that shouldn’t be so rare.\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=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Stillness in Motion — Cloud Cities\u003c/b> is on view at the San Francisco Museum of Modern Art through May 21, 2017. Visit \u003ca href=\"https://www.sfmoma.org/exhibition/tomas-saraceno/\" target=\"_blank\" rel=\"noopener\">sfmoma.org\u003c/a> for more information.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco’s \u003ca href=\"http://www.academyart.edu/\" target=\"_blank\" rel=\"noopener\">Academy of Art University\u003c/a>, one of the nation’s largest for-profit art schools, has reached a settlement with the city valued at $60 million. The settlement, announced Monday, addresses more than a decade’s worth of zoning disputes.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.sfcityattorney.org/2016/12/19/herrera-secures-landmark-settlement-valued-60-million-academy-art-university/\" target=\"_blank\" rel=\"noopener\">settlement\u003c/a> resolves around a lawsuit filed by the San Francisco City Attorney’s office in May. The suit claimed that the college had repeatedly “thumbed its nose,” in city attorney Dennis Herrera’s words, at complaints from the city about its conversion of tourist hotels and residential buildings into dorms and classrooms.\u003c/p>\n\u003cp>The school is owned by president Elisa Stephens and her family, who are worth hundreds of millions of dollars and control swathes of real estate in downtown San Francisco. “No matter how wealthy or politically connected you may be, the same rules apply to everyone,” Herrera said at a press conference announcing the settlement of the suit.\u003c/p>\n\u003cp>The school will pay San Francisco $20 million in fines and fees, and spend an estimated $40 million converting two buildings into 160 units of affordable housing, mostly for seniors. The settlement specifies that the academy will lease the buildings to a non-profit developer for 66 years.\u003c/p>\n\u003cfigure id=\"attachment_12507322\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12507322 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395-800x492.jpg\" alt=\"Zane Gresham and James Brosnahan (l-r) senior counsels at Morrison Foerster\" width=\"800\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395-1180x725.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395-960x590.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395-520x320.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395.jpg 1832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zane Gresham and James Brosnahan (l-r) senior counsels at Morrison Foerster. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Herrera said he was pleased that $7 million would go to San Francisco’s \u003ca href=\"http://medasf.org/programs/community-real-estate/small-sites-program/\" target=\"_blank\" rel=\"noopener\">Small Sites Program\u003c/a>. The program provides city loans to groups like housing nonprofits to buy rent-controlled apartment buildings serving low-income tenants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The deal also requires Academy of Art to move the routes of its fleet of buses off busy streets, and provide all its students and staff with free public transportation passes.\u003c/p>\n\u003cp>At a meeting with reporters following Herrera’s news conference, the school’s attorney, \u003ca href=\"https://www.mofo.com/people/james-brosnahan.html\" target=\"_blank\" rel=\"noopener\">James Brosnahan of Morrison Foerster\u003c/a>, said the institution has been negotiating in good faith with the city since December 2015 to resolve the zoning disputes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We would have settled on these terms without the city attorney doing the hoop de doo,” Brosnahan said. “But that’s okay, we’re friends with the city attorney, and if he wants to take credit for something that would have happened anyway, that’s not a problem.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s \u003ca href=\"http://www.academyart.edu/\" target=\"_blank\" rel=\"noopener\">Academy of Art University\u003c/a>, one of the nation’s largest for-profit art schools, has reached a settlement with the city valued at $60 million. The settlement, announced Monday, addresses more than a decade’s worth of zoning disputes.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.sfcityattorney.org/2016/12/19/herrera-secures-landmark-settlement-valued-60-million-academy-art-university/\" target=\"_blank\" rel=\"noopener\">settlement\u003c/a> resolves around a lawsuit filed by the San Francisco City Attorney’s office in May. The suit claimed that the college had repeatedly “thumbed its nose,” in city attorney Dennis Herrera’s words, at complaints from the city about its conversion of tourist hotels and residential buildings into dorms and classrooms.\u003c/p>\n\u003cp>The school is owned by president Elisa Stephens and her family, who are worth hundreds of millions of dollars and control swathes of real estate in downtown San Francisco. “No matter how wealthy or politically connected you may be, the same rules apply to everyone,” Herrera said at a press conference announcing the settlement of the suit.\u003c/p>\n\u003cp>The school will pay San Francisco $20 million in fines and fees, and spend an estimated $40 million converting two buildings into 160 units of affordable housing, mostly for seniors. The settlement specifies that the academy will lease the buildings to a non-profit developer for 66 years.\u003c/p>\n\u003cfigure id=\"attachment_12507322\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12507322 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395-800x492.jpg\" alt=\"Zane Gresham and James Brosnahan (l-r) senior counsels at Morrison Foerster\" width=\"800\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395-1180x725.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395-960x590.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395-520x320.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/FullSizeRender-1-e1482192459395.jpg 1832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zane Gresham and James Brosnahan (l-r) senior counsels at Morrison Foerster. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Herrera said he was pleased that $7 million would go to San Francisco’s \u003ca href=\"http://medasf.org/programs/community-real-estate/small-sites-program/\" target=\"_blank\" rel=\"noopener\">Small Sites Program\u003c/a>. The program provides city loans to groups like housing nonprofits to buy rent-controlled apartment buildings serving low-income tenants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "‘Touch On’ Asks What It Means To Be In A Body Without Labels | KQED",
"content": "\u003cp>Painted completely in gold, boychild’s body shimmered iridescently and transformed as the glowing red light illuminated muscular indentations at different angles. The international performance artist cradled a bright, pulsating light in her mouth and slowly jerked across the stage as if her body was a tool being used for the first time. From a vase, she slowly poured a thick, chocolately substance down her bare chest, letting it drip to the ground and squish between her toes. With that, boychild’s body became an object — and she, an artist trapped inside an utterly sensual sculpture made of flesh.\u003c/p>\n\u003cp>This Dec. 1 performance marked the opening night of \u003cem>\u003ca href=\"http://www.somarts.org/touchon/\" target=\"_blank\" rel=\"noopener\">Touch On: Aesthetics in the Art, Politics and Ontology of Touch\u003c/a>\u003c/em>, a group show at San Francisco’s SOMArts Cultural Center co-curated by Kelly Lovemonster and James Fleming. Their intention is to incite a reconsideration of touch, reshaping our understanding of the word to allow for a multifaceted definition. As such, the works in the show touch on (see, it’s already working) ways that we can be touched not only physically, but emotionally, aurally, visually and even energetically. And, as Fleming put it, they end up asking: “What does it mean to be in a body?”\u003c/p>\n\u003cfigure id=\"attachment_12483553\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12483553\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Boychild1200.jpg\" alt=\"boychild performing at SOMArts.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Boychild1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Boychild1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Boychild1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Boychild1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Boychild1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Boychild1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Boychild1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Boychild1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Boychild1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Boychild1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">boychild performing at SOMArts. \u003ccite>(Photo by Kelly Wu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lovemonster and Fleming, who both identify as queer, arrived at the topic of touch and ontology while enjoying happy hour at The Mix in the Castro district. As Fleming recalls, they asked themselves what it would look like to “create a curatorial project that is fundamentally through the lens of queer artistry.” The conversation continuously returned to definitions of the body — how specific bodies should look and be used — and the question of how to reclaim those definitions from the heteronormative gaze.\u003c/p>\n\u003cp>“We had to start from the beginning,” says Fleming. “How do we engage with the world? We have to redefine that.”\u003c/p>\n\u003cp>As you enter the show at SOMArts, the most striking piece is \u003ca href=\"https://craigcalderwood.com/\" target=\"_blank\" rel=\"noopener\">Craig Calderwood\u003c/a>’s towering soft sculpture \u003cem>Beast of Burden\u003c/em>, which hangs from the gallery’s high ceilings. The plush figure, made of a velvety cow-print fabric, has the structure of a human body with the addition of a sagging utter and snout. Calderwood said she created the hybrid species to draw connections between the ways that society sees both cows and women: with a sense of unauthorized ownership. But by bringing the sculpture into a space where audiences aren’t allowed to touch it, Calderwood is able to “create a safe space for this thing that has no access to consent,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12483555\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12483555\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Calderwood1200.jpg\" alt=\"Craig Calderwood, 'Beast of Burden,' 2016. \" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Calderwood1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Calderwood1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Calderwood1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Calderwood1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Calderwood1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Calderwood1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Calderwood1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Calderwood1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Calderwood1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Calderwood1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Craig Calderwood, ‘Beast of Burden,’ 2016. \u003ccite>(Photo by Jenn Wong, Takeover Tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For \u003cem>Universal Exchange\u003c/em>, across the gallery, Oakland artist \u003ca href=\"https://www.instagram.com/ye.tunde/\" target=\"_blank\" rel=\"noopener\">Yetunde Olagbaju\u003c/a> asked friends to record themselves reciting affirmations, then created an audio compilation. For Olagbaju, phrases such as “I see you,” and “I hear you,” translate into a physical form of caring.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Hearing that on a daily basis and as a meditation almost is one of the most revolutionary things that we can do, especially as black and brown people,” she says.\u003c/p>\n\u003cp>What’s perhaps most remarkable about Fleming and Lovemonster’s curation is what it doesn’t directly discuss. While most shows featuring primarily queer and trans artists would use that inclusion as a selling point, none of the curatorial or marketing materials for \u003cem>Touch On\u003c/em> mention the gender or sexuality of those involved. For artists whose work is too often eclipsed by their identity labels, that opens up a rare platform to focus on the actual intellectual nuances of their practices — without being tokenized.\u003c/p>\n\u003cfigure id=\"attachment_12483556\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12483556\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Tovar1200.jpg\" alt=\"At the opening reception for 'Touch On': Virgie Tovar, 'You're A Cannibal (And There's Nothing You Can Do About It),' 2016.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tovar1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tovar1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tovar1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tovar1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tovar1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tovar1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tovar1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tovar1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tovar1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tovar1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">At the opening reception for ‘Touch On’: Virgie Tovar, ‘You’re A Cannibal (And There’s Nothing You Can Do About It),’ 2016. \u003ccite>(Photo by Jenn Wong, Takeover Tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Because we’re queer, we’re able to look past that,” says Lovemonster. “We’re like, ‘Oh, you’re queer, okay cool, let’s get to the meat of this.’”\u003c/p>\n\u003cp>For most of the artists featured, that meat is a deep and valuable reconfiguration of the way we see and interact with bodies. Plus, a subtle political stance.\u003cbr>\n“By saying that through art we can achieve a redefinition is also saying that the definitions of the past: They gotta go,” says Fleming. “The white male gaze of art is dead, and hopefully it can stay dead.”\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>Touch On: Aesthetics in the Art, Politics and Ontology of Touch\u003c/b> is on view at San Francisco’s SOMArts through Jan. 12 2017. Visit \u003ca href=\"http://www.somarts.org/touchon/\" target=\"_blank\" rel=\"noopener\">somarts.org\u003c/a> for more information.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Painted completely in gold, boychild’s body shimmered iridescently and transformed as the glowing red light illuminated muscular indentations at different angles. The international performance artist cradled a bright, pulsating light in her mouth and slowly jerked across the stage as if her body was a tool being used for the first time. From a vase, she slowly poured a thick, chocolately substance down her bare chest, letting it drip to the ground and squish between her toes. With that, boychild’s body became an object — and she, an artist trapped inside an utterly sensual sculpture made of flesh.\u003c/p>\n\u003cp>This Dec. 1 performance marked the opening night of \u003cem>\u003ca href=\"http://www.somarts.org/touchon/\" target=\"_blank\" rel=\"noopener\">Touch On: Aesthetics in the Art, Politics and Ontology of Touch\u003c/a>\u003c/em>, a group show at San Francisco’s SOMArts Cultural Center co-curated by Kelly Lovemonster and James Fleming. Their intention is to incite a reconsideration of touch, reshaping our understanding of the word to allow for a multifaceted definition. As such, the works in the show touch on (see, it’s already working) ways that we can be touched not only physically, but emotionally, aurally, visually and even energetically. And, as Fleming put it, they end up asking: “What does it mean to be in a body?”\u003c/p>\n\u003cfigure id=\"attachment_12483553\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12483553\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Boychild1200.jpg\" alt=\"boychild performing at SOMArts.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Boychild1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Boychild1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Boychild1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Boychild1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Boychild1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Boychild1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Boychild1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Boychild1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Boychild1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Boychild1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">boychild performing at SOMArts. \u003ccite>(Photo by Kelly Wu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lovemonster and Fleming, who both identify as queer, arrived at the topic of touch and ontology while enjoying happy hour at The Mix in the Castro district. As Fleming recalls, they asked themselves what it would look like to “create a curatorial project that is fundamentally through the lens of queer artistry.” The conversation continuously returned to definitions of the body — how specific bodies should look and be used — and the question of how to reclaim those definitions from the heteronormative gaze.\u003c/p>\n\u003cp>“We had to start from the beginning,” says Fleming. “How do we engage with the world? We have to redefine that.”\u003c/p>\n\u003cp>As you enter the show at SOMArts, the most striking piece is \u003ca href=\"https://craigcalderwood.com/\" target=\"_blank\" rel=\"noopener\">Craig Calderwood\u003c/a>’s towering soft sculpture \u003cem>Beast of Burden\u003c/em>, which hangs from the gallery’s high ceilings. The plush figure, made of a velvety cow-print fabric, has the structure of a human body with the addition of a sagging utter and snout. Calderwood said she created the hybrid species to draw connections between the ways that society sees both cows and women: with a sense of unauthorized ownership. But by bringing the sculpture into a space where audiences aren’t allowed to touch it, Calderwood is able to “create a safe space for this thing that has no access to consent,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12483555\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12483555\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Calderwood1200.jpg\" alt=\"Craig Calderwood, 'Beast of Burden,' 2016. \" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Calderwood1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Calderwood1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Calderwood1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Calderwood1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Calderwood1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Calderwood1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Calderwood1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Calderwood1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Calderwood1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Calderwood1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Craig Calderwood, ‘Beast of Burden,’ 2016. \u003ccite>(Photo by Jenn Wong, Takeover Tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For \u003cem>Universal Exchange\u003c/em>, across the gallery, Oakland artist \u003ca href=\"https://www.instagram.com/ye.tunde/\" target=\"_blank\" rel=\"noopener\">Yetunde Olagbaju\u003c/a> asked friends to record themselves reciting affirmations, then created an audio compilation. For Olagbaju, phrases such as “I see you,” and “I hear you,” translate into a physical form of caring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Hearing that on a daily basis and as a meditation almost is one of the most revolutionary things that we can do, especially as black and brown people,” she says.\u003c/p>\n\u003cp>What’s perhaps most remarkable about Fleming and Lovemonster’s curation is what it doesn’t directly discuss. While most shows featuring primarily queer and trans artists would use that inclusion as a selling point, none of the curatorial or marketing materials for \u003cem>Touch On\u003c/em> mention the gender or sexuality of those involved. For artists whose work is too often eclipsed by their identity labels, that opens up a rare platform to focus on the actual intellectual nuances of their practices — without being tokenized.\u003c/p>\n\u003cfigure id=\"attachment_12483556\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12483556\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Tovar1200.jpg\" alt=\"At the opening reception for 'Touch On': Virgie Tovar, 'You're A Cannibal (And There's Nothing You Can Do About It),' 2016.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tovar1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tovar1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tovar1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tovar1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tovar1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tovar1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tovar1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tovar1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tovar1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Tovar1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">At the opening reception for ‘Touch On’: Virgie Tovar, ‘You’re A Cannibal (And There’s Nothing You Can Do About It),’ 2016. \u003ccite>(Photo by Jenn Wong, Takeover Tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Because we’re queer, we’re able to look past that,” says Lovemonster. “We’re like, ‘Oh, you’re queer, okay cool, let’s get to the meat of this.’”\u003c/p>\n\u003cp>For most of the artists featured, that meat is a deep and valuable reconfiguration of the way we see and interact with bodies. Plus, a subtle political stance.\u003cbr>\n“By saying that through art we can achieve a redefinition is also saying that the definitions of the past: They gotta go,” says Fleming. “The white male gaze of art is dead, and hopefully it can stay dead.”\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>Touch On: Aesthetics in the Art, Politics and Ontology of Touch\u003c/b> is on view at San Francisco’s SOMArts through Jan. 12 2017. Visit \u003ca href=\"http://www.somarts.org/touchon/\" target=\"_blank\" rel=\"noopener\">somarts.org\u003c/a> for more information.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Thirty-six lives were lost in the Oakland Warehouse Fire on the night of Dec. 2, 2016. They were artists, musicians, sound engineers, DJs, events organizers, and more. They came from the Bay and from around the world. This is KQED Arts’ tribute to their lives and to the inextinguishable spirit and power of their creativity.\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener noreferrer\">remembrances page here\u003c/a>. Download a hi-res version of the \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/OaklandFireMemorial-11x17.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">illustration here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Thirty-six lives were lost in the Oakland Warehouse Fire on the night of Dec. 2, 2016. They were artists, musicians, sound engineers, DJs, events organizers, activists and more. They came from the Bay and from around the world.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thirty-six lives were lost in the Oakland Warehouse Fire on the night of Dec. 2, 2016. They were artists, musicians, sound engineers, DJs, events organizers, and more. They came from the Bay and from around the world. This is KQED Arts’ tribute to their lives and to the inextinguishable spirit and power of their creativity.\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener noreferrer\">remembrances page here\u003c/a>. Download a hi-res version of the \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/OaklandFireMemorial-11x17.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">illustration here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/12/TDL20161216.mp3\u003c/p>\n\u003cp>This is the last weekend for \u003cem>Inversion: Circus Disobedience, \u003c/em>an intimate and beautifully performed circus show at Kinetic Arts in West Oakland. Details \u003ca href=\"http://www.kineticartsproductions.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And it’s the last weekend for one of the big art shows of the fall, For-Site Foundation’s\u003cem> Homeland Security,\u003c/em> an exhibit on national security in the WWII era bunkers and buildings in the Presidio. Details \u003ca href=\"http://www.for-site.org/project/home-land-security/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And we’re featuring more benefits for the families, friends and roommates of those who died in the Ghost Ship fire (see below).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kKZLbZmll4w\u003c/p>\n\u003cp>\u003cstrong>Dec 31\u003c/strong>: How do you say goodbye to a year some are calling the worst ever? Laugh through the tears. Paula Poundstone, a regular on NPR’s \u003ca href=\"http://www.npr.org/programs/wait-wait-dont-tell-me/504987196/wait-wait-dont-tell-me-for-dec-10-2016\" target=\"_blank\" rel=\"noopener\">\u003cem>Wait Wait… Don’t Tell Me\u003c/em>\u003c/a>, does her sneakily subversive style of family comedy at the Nourse Theatre on New Year’s Eve. Details \u003ca href=\"http://www.axs.com/events/310261/paula-poundstone-tickets?skin=goldenvoice%20%7D\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 31: \u003c/strong>If you want to support \u003cem>local\u003c/em> comedians, try the Brava Theater Center’s New Year’s Eve Comedy Fiesta. Headliner Marga Gomez is fresh from a stint in New York with her 12th autobiographical show, and she’s joined by Tom Ammiano, former standup comedian and state lawmaker, plus Priya Prasad, Butch Escobar, and Chey Bell. This one may not be much fun for supporters of President-elect Trump. Details \u003ca href=\"http://www.brava.org/current-shows/pp/bravas-4th-annual-new-years-eve-comedy-fiesta-w-marga-gome/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8qoOtUMQ12k\u003c/p>\n\u003cp>\u003cstrong>Dec. 31: \u003c/strong>The San Francisco Symphony managed a big get for it’s Holiday Concert Series: two guests who can sing, tell jokes, do Broadway musicals and star in a popular television series. Tituss Burgess and Jane Krakowski are in the Netflix show \u003cem>\u003ca href=\"https://www.netflix.com/title/80025384\" target=\"_blank\" rel=\"noopener\">The Unbreakable Kimmy Schmidt\u003c/a>\u003c/em>\u003cem>, \u003c/em>and they’ll sing and crack wise with the San Francisco Symphony at Davies Hall New Year’s Eve. Details \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2016-2017/New-Year-Tituss-Burgess-Jane-Krakowski.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003cem>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2016-2017/New-Year-Tituss-Burgess-Jane-Krakowski.aspx\" target=\"_blank\" rel=\"noopener\">. \u003c/a> \u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_12483971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12483971\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-800x596.jpg\" alt=\"Opera San Jose has formed a chorus of military veterans, which will perform a program of Christmas and patriotic songs\" width=\"800\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-1920x1430.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-1180x879.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-960x715.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-520x387.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Opera San Jose has formed a chorus of military veterans, which will perform a program of Christmas and patriotic songs \u003ccite>(Photo: Collage courtesy of Opera San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 16: \u003c/strong>Opera San Jose\u003cstrong> \u003c/strong>has done a kind of star-search for military veterans, and recruited them into a chorus for a holiday concert. It’s a commemoration of the little-known Christmas Eve truce of 1914, when Scottish, French and German soldiers celebrated Christmas in the trenches on the Western front. It’s also a preview for Opera San Jose’s upcoming production (Feb. 2017) of the Pulitzer Prize-winning \u003cem>\u003ca href=\"https://www.operasj.org/buy-tickets/single-tickets/\" target=\"_blank\" rel=\"noopener\">Silent Night\u003c/a>,\u003c/em> by Kevin Puts and Mark Campbell\u003cem>,\u003c/em> an opera about that same Christmas truce. Details on the veterans’ chorus concert at \u003ca href=\"http://www.trianontheatre.com/\" target=\"_blank\" rel=\"noopener\">Le Petit Trianon Theatre\u003c/a> in San Jose are \u003ca href=\"https://www.operasj.org/buy-tickets/single-tickets/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12488622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12488622\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/P1070627-e1481841966794-800x508.jpg\" alt=\"William Scott's cityscapes are featured at the gallery 836M in San Francisco\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/P1070627-e1481841966794-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/P1070627-e1481841966794-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/P1070627-e1481841966794-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/P1070627-e1481841966794-960x610.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/P1070627-e1481841966794-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/P1070627-e1481841966794-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/P1070627-e1481841966794-520x330.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/P1070627-e1481841966794.jpg 1011w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Scott’s cityscapes are featured at the gallery 836M in San Francisco \u003ccite>(Photo: Courtesy of Creative Growth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Jan. 31\u003c/strong>: William Scott paints utopian cityscapes, in which San Francisco becomes Praise Frisco, a community of love and harmony. Scott, who grew up in the Bayview, is developmentally disabled, and he’s painted for years at \u003ca href=\"http://creativegrowth.org/category/news/\" target=\"_blank\" rel=\"noopener\">Creative Growth \u003c/a>in Oakland, a non-profit for people with learning disabilities. Scott’s work is in the permanent collection at New York’s MOMA, and he’s getting an exhibit in San Francisco at 836M, a gallery that’s been showcasing Creative Growth artists this fall.\u003c/p>\n\u003cp>Creative Growth Director Tom di Maria says the exhibit is about being home for the holidays. “But it also brings up issues around displacement and families,” di Maria said, “For a lot of our people and artists with disabilities, it’s a really difficult time for them. Some of them don’t know their families, some are challenged by a time when they’re supposed to be happy, but they can feel alone. But William Scott’s work is so amazing. He’s the nicest guy on the planet, he wants to make the city perfect and clean and wholesome so that people’s lives will be better.” Details for the show at 836M are \u003ca href=\"http://www.836m.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And Creative Growth has its own terrific gallery with work by Scott and other artists. What a nice place to shop for holiday gifts. Details \u003ca href=\"http://creativegrowth.org/exhibitions/holiday-2016-revel/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BFRCUoK-gkw\u003cbr>\n\u003cstrong>Dec. 16\u003c/strong>: Members of The Atom Age are punk legends, and they’re part of the lineup with Dirty Denim and others in a benefit for families and friends of those who died in the Ghost Ship fire. Details for their concert at the Starry Plough in Berkeley (with donations going to the\u003ca href=\"https://www.youcaring.com/firevictimsofoaklandfiredec232016-706684\" target=\"_blank\" rel=\"noopener\"> Fire\u003c/a>\u003ca href=\"https://www.youcaring.com/firevictimsofoaklandfiredec232016-706684\" target=\"_blank\" rel=\"noopener\"> Relief fund \u003c/a>organized by Gray Area Foundation for The Arts) are \u003ca href=\"http://calendar.thebaybridged.com/events/2016/12/16/ghost-ship-benefit-show-with-the-atom-age-and-dirty-denim\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Dec 17\u003c/strong>: \u003ca href=\"https://about.me/elcircodia\" target=\"_blank\" rel=\"noopener\">El Circo Dia\u003c/a>‘s is restaging their aerial dance/theater piece \u003cem>Refuge: A Ballad for the Renting Class \u003c/em>at Project Artaud, as a benefit for the Ghost Ship fire. Details \u003ca href=\"http://www.refugebenefit.brownpapertickets.com\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O5fIZinvWxc\u003cbr>\n\u003cstrong>Dec. 18:\u003c/strong> And there’s another way to heal and and to mourn those lost in the Ghost Ship fire. The Chapel of the Chimes is holding its annual free concert called \u003cem>Musical Reflections\u003c/em>, dedicated to those who died in the musical community this year. The concert features members of Kitka, the Temple of Light Georgian Community Choir, the William Winant Percussion Group, the Cardew Choir, Samuel Carl Adams, Ellen Fullman, Pamela Z, Sarah Cahill, members of Volti, and many more. Details \u003ca href=\"http://oakland.chapelofthechimes.com/who-we-are/community-events\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This is the last weekend for \u003cem>Inversion: Circus Disobedience, \u003c/em>an intimate and beautifully performed circus show at Kinetic Arts in West Oakland. Details \u003ca href=\"http://www.kineticartsproductions.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And it’s the last weekend for one of the big art shows of the fall, For-Site Foundation’s\u003cem> Homeland Security,\u003c/em> an exhibit on national security in the WWII era bunkers and buildings in the Presidio. Details \u003ca href=\"http://www.for-site.org/project/home-land-security/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And we’re featuring more benefits for the families, friends and roommates of those who died in the Ghost Ship fire (see below).\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/kKZLbZmll4w'\n title='//www.youtube.com/embed/kKZLbZmll4w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec 31\u003c/strong>: How do you say goodbye to a year some are calling the worst ever? Laugh through the tears. Paula Poundstone, a regular on NPR’s \u003ca href=\"http://www.npr.org/programs/wait-wait-dont-tell-me/504987196/wait-wait-dont-tell-me-for-dec-10-2016\" target=\"_blank\" rel=\"noopener\">\u003cem>Wait Wait… Don’t Tell Me\u003c/em>\u003c/a>, does her sneakily subversive style of family comedy at the Nourse Theatre on New Year’s Eve. Details \u003ca href=\"http://www.axs.com/events/310261/paula-poundstone-tickets?skin=goldenvoice%20%7D\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 31: \u003c/strong>If you want to support \u003cem>local\u003c/em> comedians, try the Brava Theater Center’s New Year’s Eve Comedy Fiesta. Headliner Marga Gomez is fresh from a stint in New York with her 12th autobiographical show, and she’s joined by Tom Ammiano, former standup comedian and state lawmaker, plus Priya Prasad, Butch Escobar, and Chey Bell. This one may not be much fun for supporters of President-elect Trump. Details \u003ca href=\"http://www.brava.org/current-shows/pp/bravas-4th-annual-new-years-eve-comedy-fiesta-w-marga-gome/\" 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/8qoOtUMQ12k'\n title='//www.youtube.com/embed/8qoOtUMQ12k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 31: \u003c/strong>The San Francisco Symphony managed a big get for it’s Holiday Concert Series: two guests who can sing, tell jokes, do Broadway musicals and star in a popular television series. Tituss Burgess and Jane Krakowski are in the Netflix show \u003cem>\u003ca href=\"https://www.netflix.com/title/80025384\" target=\"_blank\" rel=\"noopener\">The Unbreakable Kimmy Schmidt\u003c/a>\u003c/em>\u003cem>, \u003c/em>and they’ll sing and crack wise with the San Francisco Symphony at Davies Hall New Year’s Eve. Details \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2016-2017/New-Year-Tituss-Burgess-Jane-Krakowski.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003cem>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2016-2017/New-Year-Tituss-Burgess-Jane-Krakowski.aspx\" target=\"_blank\" rel=\"noopener\">. \u003c/a> \u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_12483971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12483971\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-800x596.jpg\" alt=\"Opera San Jose has formed a chorus of military veterans, which will perform a program of Christmas and patriotic songs\" width=\"800\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-1920x1430.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-1180x879.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-960x715.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487-520x387.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SilentNIght_Collage_small-e1481760742487.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Opera San Jose has formed a chorus of military veterans, which will perform a program of Christmas and patriotic songs \u003ccite>(Photo: Collage courtesy of Opera San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 16: \u003c/strong>Opera San Jose\u003cstrong> \u003c/strong>has done a kind of star-search for military veterans, and recruited them into a chorus for a holiday concert. It’s a commemoration of the little-known Christmas Eve truce of 1914, when Scottish, French and German soldiers celebrated Christmas in the trenches on the Western front. It’s also a preview for Opera San Jose’s upcoming production (Feb. 2017) of the Pulitzer Prize-winning \u003cem>\u003ca href=\"https://www.operasj.org/buy-tickets/single-tickets/\" target=\"_blank\" rel=\"noopener\">Silent Night\u003c/a>,\u003c/em> by Kevin Puts and Mark Campbell\u003cem>,\u003c/em> an opera about that same Christmas truce. Details on the veterans’ chorus concert at \u003ca href=\"http://www.trianontheatre.com/\" target=\"_blank\" rel=\"noopener\">Le Petit Trianon Theatre\u003c/a> in San Jose are \u003ca href=\"https://www.operasj.org/buy-tickets/single-tickets/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12488622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12488622\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/P1070627-e1481841966794-800x508.jpg\" alt=\"William Scott's cityscapes are featured at the gallery 836M in San Francisco\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/P1070627-e1481841966794-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/P1070627-e1481841966794-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/P1070627-e1481841966794-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/P1070627-e1481841966794-960x610.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/P1070627-e1481841966794-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/P1070627-e1481841966794-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/P1070627-e1481841966794-520x330.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/P1070627-e1481841966794.jpg 1011w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Scott’s cityscapes are featured at the gallery 836M in San Francisco \u003ccite>(Photo: Courtesy of Creative Growth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Jan. 31\u003c/strong>: William Scott paints utopian cityscapes, in which San Francisco becomes Praise Frisco, a community of love and harmony. Scott, who grew up in the Bayview, is developmentally disabled, and he’s painted for years at \u003ca href=\"http://creativegrowth.org/category/news/\" target=\"_blank\" rel=\"noopener\">Creative Growth \u003c/a>in Oakland, a non-profit for people with learning disabilities. Scott’s work is in the permanent collection at New York’s MOMA, and he’s getting an exhibit in San Francisco at 836M, a gallery that’s been showcasing Creative Growth artists this fall.\u003c/p>\n\u003cp>Creative Growth Director Tom di Maria says the exhibit is about being home for the holidays. “But it also brings up issues around displacement and families,” di Maria said, “For a lot of our people and artists with disabilities, it’s a really difficult time for them. Some of them don’t know their families, some are challenged by a time when they’re supposed to be happy, but they can feel alone. But William Scott’s work is so amazing. He’s the nicest guy on the planet, he wants to make the city perfect and clean and wholesome so that people’s lives will be better.” Details for the show at 836M are \u003ca href=\"http://www.836m.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And Creative Growth has its own terrific gallery with work by Scott and other artists. What a nice place to shop for holiday gifts. Details \u003ca href=\"http://creativegrowth.org/exhibitions/holiday-2016-revel/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BFRCUoK-gkw\u003cbr>\n\u003cstrong>Dec. 16\u003c/strong>: Members of The Atom Age are punk legends, and they’re part of the lineup with Dirty Denim and others in a benefit for families and friends of those who died in the Ghost Ship fire. Details for their concert at the Starry Plough in Berkeley (with donations going to the\u003ca href=\"https://www.youcaring.com/firevictimsofoaklandfiredec232016-706684\" target=\"_blank\" rel=\"noopener\"> Fire\u003c/a>\u003ca href=\"https://www.youcaring.com/firevictimsofoaklandfiredec232016-706684\" target=\"_blank\" rel=\"noopener\"> Relief fund \u003c/a>organized by Gray Area Foundation for The Arts) are \u003ca href=\"http://calendar.thebaybridged.com/events/2016/12/16/ghost-ship-benefit-show-with-the-atom-age-and-dirty-denim\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Dec 17\u003c/strong>: \u003ca href=\"https://about.me/elcircodia\" target=\"_blank\" rel=\"noopener\">El Circo Dia\u003c/a>‘s is restaging their aerial dance/theater piece \u003cem>Refuge: A Ballad for the Renting Class \u003c/em>at Project Artaud, as a benefit for the Ghost Ship fire. Details \u003ca href=\"http://www.refugebenefit.brownpapertickets.com\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O5fIZinvWxc\u003cbr>\n\u003cstrong>Dec. 18:\u003c/strong> And there’s another way to heal and and to mourn those lost in the Ghost Ship fire. The Chapel of the Chimes is holding its annual free concert called \u003cem>Musical Reflections\u003c/em>, dedicated to those who died in the musical community this year. The concert features members of Kitka, the Temple of Light Georgian Community Choir, the William Winant Percussion Group, the Cardew Choir, Samuel Carl Adams, Ellen Fullman, Pamela Z, Sarah Cahill, members of Volti, and many more. Details \u003ca href=\"http://oakland.chapelofthechimes.com/who-we-are/community-events\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When a giant toilet sculpture made of clear plastic sheeting and PVC piping appeared in San Francisco’s Hayes Valley neighborhood on a recent Saturday morning, it inspired passersby to have conversations about a topic that most of us never think about: what it’s like to be homeless and have no access to a bathroom.\u003c/p>\n\u003cp>“I think the perception is that people are defecating and urinating in the streets because they want to, because they are lazy,” says Doniece Sandoval, founder of \u003ca href=\"http://lavamae.org/\" target=\"_blank\" rel=\"noopener\">Lava Mae\u003c/a>, a non-profit which turns old buses into mobile bathrooms and showers to serve the estimated 7,500 people living on the streets in San Francisco. “But the truth is that they don’t have access to safe, reliable sanitation.”\u003c/p>\n\u003cp>Sandoval is a former marketing executive. To mark the United Nations’ \u003ca href=\"http://www.worldtoiletday.info\" target=\"_blank\" rel=\"noopener\">World Toilet Day\u003c/a> (Nov. 19) she reached out to Oakland artist Robin Lasser with the idea of building a giant toilet. Lasser is known for creating temporary public sculptures — “\u003ca href=\"http://www.robinlasser.com/artwork/dress_images.html\">dress tents\u003c/a>” — that tackle social issues, and loved the idea. The artist quickly recruited her neighbor Sean Collins, a plumber, to build the toilet frame with PVC piping, and collaborator Rachel Richardson, a fashion designer, to design the plastic seat and clear vinyl shell.\u003c/p>\n\u003cp>“There is a little humor in this giant 14-foot toilet,” Lasser says. “But standing inside what feels like a giant toilet bowl, you hear the very poignant stories of Lava Mae clients who share about what it is like to live on the streets, to never have privacy. It’s almost like you are in a fishbowl.”\u003c/p>\n\u003cdiv class=\"yj6qo ajU\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When a giant toilet sculpture made of clear plastic sheeting and PVC piping appeared in San Francisco’s Hayes Valley neighborhood on a recent Saturday morning, it inspired passersby to have conversations about a topic that most of us never think about: what it’s like to be homeless and have no access to a bathroom.\u003c/p>\n\u003cp>“I think the perception is that people are defecating and urinating in the streets because they want to, because they are lazy,” says Doniece Sandoval, founder of \u003ca href=\"http://lavamae.org/\" target=\"_blank\" rel=\"noopener\">Lava Mae\u003c/a>, a non-profit which turns old buses into mobile bathrooms and showers to serve the estimated 7,500 people living on the streets in San Francisco. “But the truth is that they don’t have access to safe, reliable sanitation.”\u003c/p>\n\u003cp>Sandoval is a former marketing executive. To mark the United Nations’ \u003ca href=\"http://www.worldtoiletday.info\" target=\"_blank\" rel=\"noopener\">World Toilet Day\u003c/a> (Nov. 19) she reached out to Oakland artist Robin Lasser with the idea of building a giant toilet. Lasser is known for creating temporary public sculptures — “\u003ca href=\"http://www.robinlasser.com/artwork/dress_images.html\">dress tents\u003c/a>” — that tackle social issues, and loved the idea. The artist quickly recruited her neighbor Sean Collins, a plumber, to build the toilet frame with PVC piping, and collaborator Rachel Richardson, a fashion designer, to design the plastic seat and clear vinyl shell.\u003c/p>\n\u003cp>“There is a little humor in this giant 14-foot toilet,” Lasser says. “But standing inside what feels like a giant toilet bowl, you hear the very poignant stories of Lava Mae clients who share about what it is like to live on the streets, to never have privacy. It’s almost like you are in a fishbowl.”\u003c/p>\n\u003cdiv class=\"yj6qo ajU\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "\"Little\" Eddie Sanchez Uses Art to Stay Off the Street",
"headTitle": "“Little” Eddie Sanchez Uses Art to Stay Off the Street | KQED",
"content": "\u003cp>On a rainy afternoon in San Francisco, “Little” Eddie Sanchez hunches over a work table at the back of Hospitality House’s Community Arts Program center on Market Street, his flamboyant top hat bopping up and down as he lays out his goods. For the past two years, selling artwork on the street has helped the previously homeless San Francisco native afford an SRO senior housing unit on 6th Street. \u003c/p>\n\u003cp>To make the art, Sanchez says he’s been visiting the public art studio every day for the past two-and-a-half years. The practice acts as a kind of self-driven art therapy for him. “I’d rather be constructive than destructive,” he says. \u003c/p>\n\u003cp>“I’ve never been able to beg,” Sanchez continued. “I don’t want to ask for something for nothing.” By creating and selling art, he’s able to contribute to the culture of the city. Much of the money he makes goes back into buying art supplies, some of which he distributes to homeless youth he meets on the streets. During the holidays, he devotes a chunk of money to making copies of his Santa Claus poster to pass out to homeless children. \u003c/p>\n\u003cp>“The main reason I [make art] is to put a smile on people’s faces,” says Sanchez. \u003c/p>\n\u003cfigure id=\"attachment_12448086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Eddie.2-800x533.jpg\" alt='Artwork by \"Little\" Eddie Sanchez.' width=\"800\" height=\"533\" class=\"size-medium wp-image-12448086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by “Little” Eddie Sanchez. \u003ccite>(Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That day, Sanchez had covered an entire table with his work: vibrant visual love letters — and notes of criticism — to San Francisco. On the right, are his signature San Francisco post cards, featuring Betty Boop posing in front of the Golden Gate Bridge and a banner with the nickname “Frisco” across the top. He originally created the scene as a large painting, but made small copies so he could sell them for $3 a pop to tourists. Like the rest of his artwork, the image is rendered in an aesthetic nostalgic for the San Francisco of the ‘60s — a playful, gritty illustration style reminiscent of early underground comics, mixed with a psychedelic palette harkening back to Haight and Ashbury’s heyday. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite his stylistic allusions to the past, Sanchez’s content is cleverly contemporary. On the left, a clock with a painted face features a comical critique of texting: Two skeleton-like figures are drawn with their eyes literally popped out of their sockets and glued to their smart phones; In the center, a massive hand emerges from the ground like an awakened zombie, clutching a phone chained to its wrist. \u003c/p>\n\u003cp>“I get inspiration from the news,” said Sanchez, pulling out a poster that comments on house flipping practices, featuring a caricature of mayor Ed Lee with his hands up in a panic. “Luckily, the mayor looks like a cartoon.”\u003c/p>\n\u003cfigure id=\"attachment_12448087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Eddie.1-800x533.jpg\" alt='Artwork by \"Little\" Eddie Sanchez.' width=\"800\" height=\"533\" class=\"size-medium wp-image-12448087\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by “Little” Eddie Sanchez. \u003ccite>(Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sanchez says he pushes his artwork around in a mail cart and sells it wherever he happens to be: “On BART, in a café, on the street.” Aside from cards, he has a huge selection of posters, which he gets printed at a copy shop. He also sells screen-printed shirts and hand-painted jackets with his original designs. And, once in a while, his illustrations are published in the newspaper Street Sheet, which focuses on problems that homeless people face. \u003c/p>\n\u003cp>When speaking about the past, Sanchez maneuvers around the less savory stuff, always staying positive. He speaks only sparingly about his time living on the streets and in his car, and how seeing kids attempting to light homeless people on fire drove him to finally find housing. \u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘I get inspiration from the news. Luckily, the mayor looks like a cartoon.’\u003c/aside>\n\u003cp>Instead, he talks about being born on Candlestick Drive into a family with 11 kids, riding bikes around the city with his siblings and being thrown free peanuts from the salesman at Candlestick Park. A poet and musician before he was ever a visual artist, Sanchez also recalls jamming at big bonfire parties in the late ’70s and reading poetry at City Lights bookstore. Sometimes, he would make art under a now towering tree in Golden Gate Park that he and fellow classmates planted 45 years ago as a seedling. \u003c/p>\n\u003cp>But in the decades since, Sanchez says that his daughter and grandkids were evicted from their home on the basis of the Ellis Act and forced to move out of the Bay Area because they could no longer afford it. So, his primary goal is to acquire a vehicle in order to visit them. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“San Francisco isn’t the same as it used to be,” he says. \u003c/p>\n\n",
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"excerpt": "The formerly homeless artist illustrates love letters to San Francisco as therapy, and sells them for income. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a rainy afternoon in San Francisco, “Little” Eddie Sanchez hunches over a work table at the back of Hospitality House’s Community Arts Program center on Market Street, his flamboyant top hat bopping up and down as he lays out his goods. For the past two years, selling artwork on the street has helped the previously homeless San Francisco native afford an SRO senior housing unit on 6th Street. \u003c/p>\n\u003cp>To make the art, Sanchez says he’s been visiting the public art studio every day for the past two-and-a-half years. The practice acts as a kind of self-driven art therapy for him. “I’d rather be constructive than destructive,” he says. \u003c/p>\n\u003cp>“I’ve never been able to beg,” Sanchez continued. “I don’t want to ask for something for nothing.” By creating and selling art, he’s able to contribute to the culture of the city. Much of the money he makes goes back into buying art supplies, some of which he distributes to homeless youth he meets on the streets. During the holidays, he devotes a chunk of money to making copies of his Santa Claus poster to pass out to homeless children. \u003c/p>\n\u003cp>“The main reason I [make art] is to put a smile on people’s faces,” says Sanchez. \u003c/p>\n\u003cfigure id=\"attachment_12448086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Eddie.2-800x533.jpg\" alt='Artwork by \"Little\" Eddie Sanchez.' width=\"800\" height=\"533\" class=\"size-medium wp-image-12448086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by “Little” Eddie Sanchez. \u003ccite>(Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That day, Sanchez had covered an entire table with his work: vibrant visual love letters — and notes of criticism — to San Francisco. On the right, are his signature San Francisco post cards, featuring Betty Boop posing in front of the Golden Gate Bridge and a banner with the nickname “Frisco” across the top. He originally created the scene as a large painting, but made small copies so he could sell them for $3 a pop to tourists. Like the rest of his artwork, the image is rendered in an aesthetic nostalgic for the San Francisco of the ‘60s — a playful, gritty illustration style reminiscent of early underground comics, mixed with a psychedelic palette harkening back to Haight and Ashbury’s heyday. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite his stylistic allusions to the past, Sanchez’s content is cleverly contemporary. On the left, a clock with a painted face features a comical critique of texting: Two skeleton-like figures are drawn with their eyes literally popped out of their sockets and glued to their smart phones; In the center, a massive hand emerges from the ground like an awakened zombie, clutching a phone chained to its wrist. \u003c/p>\n\u003cp>“I get inspiration from the news,” said Sanchez, pulling out a poster that comments on house flipping practices, featuring a caricature of mayor Ed Lee with his hands up in a panic. “Luckily, the mayor looks like a cartoon.”\u003c/p>\n\u003cfigure id=\"attachment_12448087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Eddie.1-800x533.jpg\" alt='Artwork by \"Little\" Eddie Sanchez.' width=\"800\" height=\"533\" class=\"size-medium wp-image-12448087\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Eddie.1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by “Little” Eddie Sanchez. \u003ccite>(Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sanchez says he pushes his artwork around in a mail cart and sells it wherever he happens to be: “On BART, in a café, on the street.” Aside from cards, he has a huge selection of posters, which he gets printed at a copy shop. He also sells screen-printed shirts and hand-painted jackets with his original designs. And, once in a while, his illustrations are published in the newspaper Street Sheet, which focuses on problems that homeless people face. \u003c/p>\n\u003cp>When speaking about the past, Sanchez maneuvers around the less savory stuff, always staying positive. He speaks only sparingly about his time living on the streets and in his car, and how seeing kids attempting to light homeless people on fire drove him to finally find housing. \u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘I get inspiration from the news. Luckily, the mayor looks like a cartoon.’\u003c/aside>\n\u003cp>Instead, he talks about being born on Candlestick Drive into a family with 11 kids, riding bikes around the city with his siblings and being thrown free peanuts from the salesman at Candlestick Park. A poet and musician before he was ever a visual artist, Sanchez also recalls jamming at big bonfire parties in the late ’70s and reading poetry at City Lights bookstore. Sometimes, he would make art under a now towering tree in Golden Gate Park that he and fellow classmates planted 45 years ago as a seedling. \u003c/p>\n\u003cp>But in the decades since, Sanchez says that his daughter and grandkids were evicted from their home on the basis of the Ellis Act and forced to move out of the Bay Area because they could no longer afford it. So, his primary goal is to acquire a vehicle in order to visit them. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“San Francisco isn’t the same as it used to be,” he says. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You probably have a few people in your life who already appreciate handmade, bespoke, artisanal gifts. They love ceramics and succulents. They get excited about lining their shelves with colorful objects d’art. You can easily check them off your holiday shopping list with one trip to a local craft fair.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12409450\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016.jpg\" alt=\"art_nerd-holidayguide-2016\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Then there are those who are a bit harder to pin down. They don’t seem the type to want watercolor sets over this year’s hottest electronic gadget. But the art world is vast and varied, and I’m here to argue there’s something out there under $100 for everyone, you just have to get a little creative in your creative gift-giving.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12415222\" class=\"wp-caption alignleft\" style=\"max-width: 485px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12415222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/73-interior-riley-pages-may-11-1024x768_CROP-1020x669.jpg\" alt=\"Spread from Jenifer Wofford's '73+,' 2016.\" width=\"485\" height=\"318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/73-interior-riley-pages-may-11-1024x768_CROP-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/73-interior-riley-pages-may-11-1024x768_CROP-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/73-interior-riley-pages-may-11-1024x768_CROP-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/73-interior-riley-pages-may-11-1024x768_CROP-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/73-interior-riley-pages-may-11-1024x768_CROP-960x630.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/73-interior-riley-pages-may-11-1024x768_CROP-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/73-interior-riley-pages-may-11-1024x768_CROP-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/73-interior-riley-pages-may-11-1024x768_CROP-520x341.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/73-interior-riley-pages-may-11-1024x768_CROP.jpg 1024w\" sizes=\"(max-width: 485px) 100vw, 485px\">\u003cfigcaption class=\"wp-caption-text\">Spread from Jenifer Wofford’s ’73+,’ 2016. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>For the sports fan\u003c/h3>\n\u003ch5>Jenifer Wofford, \u003ci>73+ Playoffs Book\u003c/i>, 2016\u003cbr>\nPrice: \u003ca href=\"http://wofflehouse.com/store/73playoffs-book/\" target=\"_blank\" rel=\"noopener\">$30\u003c/a>\u003c/h5>\n\u003cp>For so many Bay Area denizens, the Golden State Warriors’ April 13 record-breaking 73rd regular-season victory was an unforgettable moment. Instead of letting that excitement dissipate into fist pumps, San Francisco-based artist \u003ca href=\"http://wofflehouse.com/\" target=\"_blank\" rel=\"noopener\">Jenifer Wofford\u003c/a> channeled her enthusiasm into illustrations of key moments (and players’ facial expressions) from each postseason game. Originally shared on Facebook, this full-color book collects the 25 images in one gift-worthy volume. From a glowing rendering of Steph Curry’s “mouthguard of destiny” to Steve Kerr holding a battered clipboard, \u003ci>73+\u003c/i> charts the Dubs’ ill-fated but valiant run at the 2016 NBA championships. Even more heartwarming: 20 percent of the sales from these books go to nonprofits “working towards protecting the people and environments most imminently at risk in our present situation,” the artist says.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12415225\" class=\"wp-caption alignleft\" style=\"max-width: 485px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12415225\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/https-2F2Fcdn.evbuc_.com2Fimages2F262214522F1538423223842F12Foriginal-800x400.png\" alt=\"BUZZ: A New Year's Eve Party for The Lab\" width=\"485\" height=\"243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/https-2F2Fcdn.evbuc_.com2Fimages2F262214522F1538423223842F12Foriginal.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/https-2F2Fcdn.evbuc_.com2Fimages2F262214522F1538423223842F12Foriginal-160x80.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/https-2F2Fcdn.evbuc_.com2Fimages2F262214522F1538423223842F12Foriginal-768x384.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/https-2F2Fcdn.evbuc_.com2Fimages2F262214522F1538423223842F12Foriginal-240x120.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/https-2F2Fcdn.evbuc_.com2Fimages2F262214522F1538423223842F12Foriginal-375x188.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/https-2F2Fcdn.evbuc_.com2Fimages2F262214522F1538423223842F12Foriginal-520x260.png 520w\" sizes=\"(max-width: 485px) 100vw, 485px\">\u003cfigcaption class=\"wp-caption-text\">BUZZ: A New Year’s Eve Party for The Lab \u003ccite>(Courtesy of The Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>For the disconsolate party animal\u003c/h3>\n\u003ch5>BUZZ: A New Year’s Eve Party for The Lab\u003cbr>\nDec. 31, 9pm – Jan. 1, 3am\u003cbr>\nThe Lab, San Francisco\u003cbr>\nTickets: \u003ca href=\"https://www.eventbrite.com/e/buzz-a-new-years-eve-party-for-the-lab-tickets-29129644551\" target=\"_blank\" rel=\"noopener\">$85\u003c/a>\u003c/h5>\n\u003cp>While we’re on the topic of killing two birds with one stone — that is, supporting worthy nonprofits while gifting great gifts — San Francisco’s \u003ca href=\"http://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a> hosts a well-timed dystopian New Year’s Eve celebration that’s perfect for the fatalist in your midst. With an open bar, performances and dancing till 3am, BUZZ promises to be “like partying in a nuclear fallout shelter while watching a Jerry Lewis-style Telethon on LSD… with Peaches Christ.” Don your best end-of-the-world flamboyant party attire. As long as radical, experimental and truly all-inclusive spaces like The Lab continue to exist, all is not lost.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11283312\" class=\"wp-caption alignleft\" style=\"max-width: 485px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11283312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-400x267.jpg\" alt=\"Diller Scofidio + Renfro, UC Berkeley Art Museum and Pacific Film Archive, 2016; Aerial view from the UC Berkeley Campus.\" width=\"485\" height=\"323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A.jpg 1200w\" sizes=\"(max-width: 485px) 100vw, 485px\">\u003cfigcaption class=\"wp-caption-text\">Diller Scofidio + Renfro, UC Berkeley Art Museum and Pacific Film Archive, 2016; Aerial view from the UC Berkeley Campus. \u003ccite>(Courtesy Diller Scofidio + Renfro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>For the homebody who needs to get out more\u003c/h3>\n\u003cp>Tried and true methods for getting people out of their comfort zones: a) gentle, insistent persuasion; b) trickery; and c) guilt tripping. Provide someone with the gift that keeps giving (for a year, at least) with added bonus of gaining an art viewing partner in crime. That’s right, I’m talking about a museum membership! Individual membership levels at all the local institutions grant members free admission for themselves and a guest, discounts on museum shops and cafes and other special perks — like early admission and first dibs at event tickets. Membership prices range from Yerba Buena Center for the Arts, which has a \u003ca href=\"https://www.ybca.org/membership/pay-what-you-can\" target=\"_blank\" rel=\"noopener\">“pay what you can” level\u003c/a> ($40 suggested), to the \u003ca href=\"https://www.sfmoma.org/get-involved/membership/individual/\" target=\"_blank\" rel=\"noopener\">San Francisco Museum of Modern Art\u003c/a>’s $100.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12443160\" class=\"wp-caption alignleft\" style=\"max-width: 485px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12443160\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/IMG_1492.jpg\" alt=\"Tiny Splendor’s Zine Habitat at Giant Robot’s 'Silent Wonderment Exhibition' at the Vincent Price Art Museum.\" width=\"485\" height=\"364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492-520x390.jpg 520w\" sizes=\"(max-width: 485px) 100vw, 485px\">\u003cfigcaption class=\"wp-caption-text\">Tiny Splendor’s Zine Habitat at Giant Robot’s ‘Silent Wonderment Exhibition’ at the Vincent Price Art Museum. \u003ccite>(Courtesy of Tiny Splendor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>For the interior decorating-challenged\u003c/h3>\n\u003ch5>\u003ca href=\"https://www.facebook.com/events/321624304897412/?active_tab=about\" target=\"_blank\" rel=\"noopener\">East Bay Print Sale\u003c/a>\u003cbr>\n1006 Pardee Street, Berkeley\u003cbr>\nDec. 10-11, 10am-4pm\u003c/h5>\n\u003cp>If you know someone lucky enough to have walls in the Bay Area, but unlucky enough to have terrible taste regarding the covering of said walls, the East Bay Print Sale is a one-stop shop for affordable, responsible print purchases. Organized by \u003ca href=\"http://maxsgaragepress.com/\" target=\"_blank\" rel=\"noopener\">Max’s Garage Press\u003c/a>, the two-day event sports enough lithographs, etchings, woodcuts, screenprints and risograph prints to suit any future home. Buy directly from over 80 artists instead of \u003ca href=\"https://mic.com/articles/149311/artists-take-a-bold-stand-after-accusing-zara-of-ripping-off-over-a-dozen-of-their-designs#.MPETWJUBd\" target=\"_blank\" rel=\"noopener\">the companies that rip them off\u003c/a> (the organizer takes a 25 percent cut to fund its community print shop), mill about to old-timey live music from the \u003ca href=\"http://www.rhythmrangellers.com/\" target=\"_blank\" rel=\"noopener\">Rhythm Rangellers\u003c/a> and get your purchases gift-wrapped in one feel swoop.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12415219\" class=\"wp-caption alignleft\" style=\"max-width: 485px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12415219\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/kagami_laces1-e1480472025249.jpg\" alt=\"Ken Kagami shoelaces.\" width=\"485\" height=\"324\">\u003cfigcaption class=\"wp-caption-text\">Ken Kagami shoelaces. \u003ccite>(Courtesy of THE THING Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>For the person who wears shoes\u003c/h3>\n\u003ch5>Ken Kagami shoelaces\u003cbr>\nTHE THING Quarterly\u003cbr>\nPrice: \u003ca href=\"http://thethingquarterly.com/shop/projects/kk-shoelaces.html\" target=\"_blank\" rel=\"noopener\">$12\u003c/a>\u003c/h5>\n\u003cp>A holiday truism: No one can ever have enough socks. This also means everyone’s go-to for last resort gifts are socks. Break from convention with another foot-focused wearable art object — artist-designed shoelaces. Irreverent Japanese artist \u003ca href=\"http://kenkagamiart.blogspot.com/\" target=\"_blank\" rel=\"noopener\">Ken Kagami\u003c/a> deconstructs and scrambles the features of Charlie Brown’s lovable dog Snoopy in these snappy white laces that’ll knock the socks off anyone who wears shoes. (Please note: Wearing shoes without socks is not recommended, for basic olfactory reasons.)\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "What do you get for the sports-watching, shoe-wearing, aesthetically-challenged disconsolate party animal homebodies on your holiday shopping list?",
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"title": "How to Force More Art on Everyone in Your Life, One Gift at a Time | KQED",
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"headline": "How to Force More Art on Everyone in Your Life, One Gift at a Time",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You probably have a few people in your life who already appreciate handmade, bespoke, artisanal gifts. They love ceramics and succulents. They get excited about lining their shelves with colorful objects d’art. You can easily check them off your holiday shopping list with one trip to a local craft fair.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12409450\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016.jpg\" alt=\"art_nerd-holidayguide-2016\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Art_Nerd-HolidayGuide-2016-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Then there are those who are a bit harder to pin down. They don’t seem the type to want watercolor sets over this year’s hottest electronic gadget. But the art world is vast and varied, and I’m here to argue there’s something out there under $100 for everyone, you just have to get a little creative in your creative gift-giving.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12415222\" class=\"wp-caption alignleft\" style=\"max-width: 485px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12415222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/73-interior-riley-pages-may-11-1024x768_CROP-1020x669.jpg\" alt=\"Spread from Jenifer Wofford's '73+,' 2016.\" width=\"485\" height=\"318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/73-interior-riley-pages-may-11-1024x768_CROP-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/73-interior-riley-pages-may-11-1024x768_CROP-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/73-interior-riley-pages-may-11-1024x768_CROP-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/73-interior-riley-pages-may-11-1024x768_CROP-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/73-interior-riley-pages-may-11-1024x768_CROP-960x630.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/73-interior-riley-pages-may-11-1024x768_CROP-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/73-interior-riley-pages-may-11-1024x768_CROP-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/73-interior-riley-pages-may-11-1024x768_CROP-520x341.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/73-interior-riley-pages-may-11-1024x768_CROP.jpg 1024w\" sizes=\"(max-width: 485px) 100vw, 485px\">\u003cfigcaption class=\"wp-caption-text\">Spread from Jenifer Wofford’s ’73+,’ 2016. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>For the sports fan\u003c/h3>\n\u003ch5>Jenifer Wofford, \u003ci>73+ Playoffs Book\u003c/i>, 2016\u003cbr>\nPrice: \u003ca href=\"http://wofflehouse.com/store/73playoffs-book/\" target=\"_blank\" rel=\"noopener\">$30\u003c/a>\u003c/h5>\n\u003cp>For so many Bay Area denizens, the Golden State Warriors’ April 13 record-breaking 73rd regular-season victory was an unforgettable moment. Instead of letting that excitement dissipate into fist pumps, San Francisco-based artist \u003ca href=\"http://wofflehouse.com/\" target=\"_blank\" rel=\"noopener\">Jenifer Wofford\u003c/a> channeled her enthusiasm into illustrations of key moments (and players’ facial expressions) from each postseason game. Originally shared on Facebook, this full-color book collects the 25 images in one gift-worthy volume. From a glowing rendering of Steph Curry’s “mouthguard of destiny” to Steve Kerr holding a battered clipboard, \u003ci>73+\u003c/i> charts the Dubs’ ill-fated but valiant run at the 2016 NBA championships. Even more heartwarming: 20 percent of the sales from these books go to nonprofits “working towards protecting the people and environments most imminently at risk in our present situation,” the artist says.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12415225\" class=\"wp-caption alignleft\" style=\"max-width: 485px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12415225\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/https-2F2Fcdn.evbuc_.com2Fimages2F262214522F1538423223842F12Foriginal-800x400.png\" alt=\"BUZZ: A New Year's Eve Party for The Lab\" width=\"485\" height=\"243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/https-2F2Fcdn.evbuc_.com2Fimages2F262214522F1538423223842F12Foriginal.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/https-2F2Fcdn.evbuc_.com2Fimages2F262214522F1538423223842F12Foriginal-160x80.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/https-2F2Fcdn.evbuc_.com2Fimages2F262214522F1538423223842F12Foriginal-768x384.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/https-2F2Fcdn.evbuc_.com2Fimages2F262214522F1538423223842F12Foriginal-240x120.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/https-2F2Fcdn.evbuc_.com2Fimages2F262214522F1538423223842F12Foriginal-375x188.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/https-2F2Fcdn.evbuc_.com2Fimages2F262214522F1538423223842F12Foriginal-520x260.png 520w\" sizes=\"(max-width: 485px) 100vw, 485px\">\u003cfigcaption class=\"wp-caption-text\">BUZZ: A New Year’s Eve Party for The Lab \u003ccite>(Courtesy of The Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>For the disconsolate party animal\u003c/h3>\n\u003ch5>BUZZ: A New Year’s Eve Party for The Lab\u003cbr>\nDec. 31, 9pm – Jan. 1, 3am\u003cbr>\nThe Lab, San Francisco\u003cbr>\nTickets: \u003ca href=\"https://www.eventbrite.com/e/buzz-a-new-years-eve-party-for-the-lab-tickets-29129644551\" target=\"_blank\" rel=\"noopener\">$85\u003c/a>\u003c/h5>\n\u003cp>While we’re on the topic of killing two birds with one stone — that is, supporting worthy nonprofits while gifting great gifts — San Francisco’s \u003ca href=\"http://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a> hosts a well-timed dystopian New Year’s Eve celebration that’s perfect for the fatalist in your midst. With an open bar, performances and dancing till 3am, BUZZ promises to be “like partying in a nuclear fallout shelter while watching a Jerry Lewis-style Telethon on LSD… with Peaches Christ.” Don your best end-of-the-world flamboyant party attire. As long as radical, experimental and truly all-inclusive spaces like The Lab continue to exist, all is not lost.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11283312\" class=\"wp-caption alignleft\" style=\"max-width: 485px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11283312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-400x267.jpg\" alt=\"Diller Scofidio + Renfro, UC Berkeley Art Museum and Pacific Film Archive, 2016; Aerial view from the UC Berkeley Campus.\" width=\"485\" height=\"323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A.jpg 1200w\" sizes=\"(max-width: 485px) 100vw, 485px\">\u003cfigcaption class=\"wp-caption-text\">Diller Scofidio + Renfro, UC Berkeley Art Museum and Pacific Film Archive, 2016; Aerial view from the UC Berkeley Campus. \u003ccite>(Courtesy Diller Scofidio + Renfro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>For the homebody who needs to get out more\u003c/h3>\n\u003cp>Tried and true methods for getting people out of their comfort zones: a) gentle, insistent persuasion; b) trickery; and c) guilt tripping. Provide someone with the gift that keeps giving (for a year, at least) with added bonus of gaining an art viewing partner in crime. That’s right, I’m talking about a museum membership! Individual membership levels at all the local institutions grant members free admission for themselves and a guest, discounts on museum shops and cafes and other special perks — like early admission and first dibs at event tickets. Membership prices range from Yerba Buena Center for the Arts, which has a \u003ca href=\"https://www.ybca.org/membership/pay-what-you-can\" target=\"_blank\" rel=\"noopener\">“pay what you can” level\u003c/a> ($40 suggested), to the \u003ca href=\"https://www.sfmoma.org/get-involved/membership/individual/\" target=\"_blank\" rel=\"noopener\">San Francisco Museum of Modern Art\u003c/a>’s $100.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12443160\" class=\"wp-caption alignleft\" style=\"max-width: 485px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12443160\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/IMG_1492.jpg\" alt=\"Tiny Splendor’s Zine Habitat at Giant Robot’s 'Silent Wonderment Exhibition' at the Vincent Price Art Museum.\" width=\"485\" height=\"364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/IMG_1492-520x390.jpg 520w\" sizes=\"(max-width: 485px) 100vw, 485px\">\u003cfigcaption class=\"wp-caption-text\">Tiny Splendor’s Zine Habitat at Giant Robot’s ‘Silent Wonderment Exhibition’ at the Vincent Price Art Museum. \u003ccite>(Courtesy of Tiny Splendor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>For the interior decorating-challenged\u003c/h3>\n\u003ch5>\u003ca href=\"https://www.facebook.com/events/321624304897412/?active_tab=about\" target=\"_blank\" rel=\"noopener\">East Bay Print Sale\u003c/a>\u003cbr>\n1006 Pardee Street, Berkeley\u003cbr>\nDec. 10-11, 10am-4pm\u003c/h5>\n\u003cp>If you know someone lucky enough to have walls in the Bay Area, but unlucky enough to have terrible taste regarding the covering of said walls, the East Bay Print Sale is a one-stop shop for affordable, responsible print purchases. Organized by \u003ca href=\"http://maxsgaragepress.com/\" target=\"_blank\" rel=\"noopener\">Max’s Garage Press\u003c/a>, the two-day event sports enough lithographs, etchings, woodcuts, screenprints and risograph prints to suit any future home. Buy directly from over 80 artists instead of \u003ca href=\"https://mic.com/articles/149311/artists-take-a-bold-stand-after-accusing-zara-of-ripping-off-over-a-dozen-of-their-designs#.MPETWJUBd\" target=\"_blank\" rel=\"noopener\">the companies that rip them off\u003c/a> (the organizer takes a 25 percent cut to fund its community print shop), mill about to old-timey live music from the \u003ca href=\"http://www.rhythmrangellers.com/\" target=\"_blank\" rel=\"noopener\">Rhythm Rangellers\u003c/a> and get your purchases gift-wrapped in one feel swoop.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12415219\" class=\"wp-caption alignleft\" style=\"max-width: 485px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12415219\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/kagami_laces1-e1480472025249.jpg\" alt=\"Ken Kagami shoelaces.\" width=\"485\" height=\"324\">\u003cfigcaption class=\"wp-caption-text\">Ken Kagami shoelaces. \u003ccite>(Courtesy of THE THING Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>For the person who wears shoes\u003c/h3>\n\u003ch5>Ken Kagami shoelaces\u003cbr>\nTHE THING Quarterly\u003cbr>\nPrice: \u003ca href=\"http://thethingquarterly.com/shop/projects/kk-shoelaces.html\" target=\"_blank\" rel=\"noopener\">$12\u003c/a>\u003c/h5>\n\u003cp>A holiday truism: No one can ever have enough socks. This also means everyone’s go-to for last resort gifts are socks. Break from convention with another foot-focused wearable art object — artist-designed shoelaces. Irreverent Japanese artist \u003ca href=\"http://kenkagamiart.blogspot.com/\" target=\"_blank\" rel=\"noopener\">Ken Kagami\u003c/a> deconstructs and scrambles the features of Charlie Brown’s lovable dog Snoopy in these snappy white laces that’ll knock the socks off anyone who wears shoes. (Please note: Wearing shoes without socks is not recommended, for basic olfactory reasons.)\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "L.A. Cartoonist Finds Himself At Crossroads After Trump Win",
"title": "L.A. Cartoonist Finds Himself At Crossroads After Trump Win",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>For days after the election, Steven Weissman’s final comic strip of the election cycle sat on the drafting board of his home studio in L.A.’s Little Armenia neighborhood. It's a sketch of Hillary Clinton and Donald Trump, both candidates feverishly tracking election night results on their devices.\u003c/p>\n\u003cp>“Trump in his little secret underground lair and Hillary Clinton on a frozen wasteland just updating their feeds and getting results from states,” says Weissman with a chuckle.\u003c/p>\n\u003cfigure id=\"attachment_11201822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11201822\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/obama-comix-draft-table-800x600.jpg\" alt=\"Steven Weissman’s final comic strip of the election cycle is still sitting on the drafting board of his home studio \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comix-draft-table-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comix-draft-table-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comix-draft-table-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comix-draft-table.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comix-draft-table-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comix-draft-table-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comix-draft-table-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comix-draft-table-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comix-draft-table-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Weissman’s final comic strip of the election cycle is still sitting on the drafting board of his home studio \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Weissman broke into the world of alternative comics about 20 years ago with a DIY comic book series called “Yikes!” It revolved around a cast of Charlie Brown-like characters modeled after famous Hollywood Monsters.\u003c/p>\n\u003cp>Weissman’s first foray into political cartooning began around the end of President Obama’s first term. He was recruited by publisher \u003ca href=\"http://www.fantagraphics.com/artists/steven-weissman/\">Fantagraphics\u003c/a> to craft a weekly online strip revolving around Obama, his family and his closest advisers.\u003c/p>\n\u003cfigure id=\"attachment_11201908\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11201908\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/OBAMA-COM-BHO-ex2-800x600.jpg\" alt=\"Excerpt from Steven Weissman's 2012 book ‘Barak Hussein Obama’\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-BHO-ex2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-BHO-ex2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-BHO-ex2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-BHO-ex2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-BHO-ex2-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-BHO-ex2-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-BHO-ex2-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-BHO-ex2-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-BHO-ex2-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Excerpt from Steven Weissman's 2012 book ‘Barack Hussein Obama’ \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That eventually led to the 2012 book, \"Barack Hussein Obama.\" His politically minded work also appears at the edgy, alternative comics and humor website \u003ca href=\"http://stevenweissman.tumblr.com/post/145661126199/superdeluxe-the-trump-boyzz-are-in-a-whole-heap\">Super Deluxe\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In his new collection, \"Looking for America’s Dog,\" the action hinges on first daughters Sasha and Malia, first dog Bo and a vast supporting cast that includes a shape-shifting Hillary Clinton, a hapless Joe Biden and an unsettlingly severe John Kerry.\u003c/p>\n\u003cfigure id=\"attachment_11201835\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11201835\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/obama-comic-gif-800x800.gif\" alt=\"Image of Hillary Clinton from GIF animation created by Steven Weissman\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-800x800.gif 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-160x160.gif 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-1020x1020.gif 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-1920x1920.gif 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-1180x1180.gif 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-960x960.gif 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-240x240.gif 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-375x375.gif 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-520x520.gif 520w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-32x32.gif 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-50x50.gif 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-64x64.gif 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-96x96.gif 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-128x128.gif 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-150x150.gif 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Image of Hillary Clinton from GIF animation created by Steven Weissman \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Obama and his staffers are depicted as well-meaning but petulant and sometimes clueless teens.\u003c/p>\n\u003cp>“At the beginning (of the book) Vice President Biden is having a meeting at the White House and actually leaves the gate open and Bo Obama, the president's first dog, runs out,\" he says.\u003c/p>\n\u003cfigure id=\"attachment_11201827\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11201827\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/OBAMA-Comix-snow-bo-800x600.jpg\" alt=\"Excerpt from Steven Weissman's 'Looking for America's Dog'\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-Comix-snow-bo-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-Comix-snow-bo-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-Comix-snow-bo-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-Comix-snow-bo.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-Comix-snow-bo-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-Comix-snow-bo-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-Comix-snow-bo-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-Comix-snow-bo-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-Comix-snow-bo-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Excerpt from Steven Weissman's 'Looking for America's Dog' \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so begins an around-the-world odyssey that includes stops in North Africa and a harrowing and darkly humorous encounter with the murderous Islamic extremist group Boko Haram, and a stop in North Korea where Bo Obama encounters \"Supreme Leader\" Kim Jong-un hanging out with former cross-dressing NBA star and reality TV fixture Dennis Rodman.\u003c/p>\n\u003cp>“The dog engages in hot points all over the world where news is happening, whether it was in Africa, the Korean peninsula, wherever there was something happening that seemed really interesting,” says Weissman.\u003c/p>\n\u003cp>Meanwhile, first daughters Sasha and Malia desperately track Bo’s movements. Sasha has developed a mysterious clairvoyance. But it’s hit and miss, like trying to tune in a distant radio station in a sea of static.\u003c/p>\n\u003cp>“Malia is always asking her to check up on celebrities like, well what’s happening with Chris Brown? And she’s like: No, I don’t want to look at those guys!”\u003c/p>\n\u003cfigure id=\"attachment_11201832\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11201832 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/OBAMA-COMIX-SW-table-art-800x600.jpg\" alt=\"Steven Wiessman at his home in L.A.’s Little Armenia. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COMIX-SW-table-art-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COMIX-SW-table-art-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COMIX-SW-table-art-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COMIX-SW-table-art.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COMIX-SW-table-art-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COMIX-SW-table-art-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COMIX-SW-table-art-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COMIX-SW-table-art-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COMIX-SW-table-art-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Weissman at his home in L.A.’s Little Armenia. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Weissman plumbs some dark areas throughout the story. Bo turns up in the offices of the French satirical magazine Charlie Hebdo the day it’s shot up by terrorists. Sasha and Malia forge a sweet but frightening connection with a group of African schoolgirls kidnapped by Boko Haram terrorists.\u003c/p>\n\u003cp>“I don't like a lot of the mean things that are happening in this world. but for good comics I think you can really explore them. And yes, it gets really bloody and it gets ugly and I'm sorry about that,” Weissman laughs.\u003c/p>\n\u003cp>Now with the U.S. at a political crossroads, Weissman is at a creative crossroads. He often depicted Hillary Clinton as a thin-skinned bureaucrat capable of erupting with Hulk-like fury. But he voted for her, not for Donald Trump. And he’s struggled to develop a convincing comic portrayal of the president-elect. Trump remains an elusive character.\u003c/p>\n\u003cp>“He's more like a professional wrestler character,” explains Weissman.\u003c/p>\n\u003cfigure id=\"attachment_11201833\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11201833\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/ObamaComix-Trump-tests-800x600.jpg\" alt=\"Some rough sketches for one of Weissman's Donald Trump comic strips.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/12/ObamaComix-Trump-tests-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/ObamaComix-Trump-tests-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/ObamaComix-Trump-tests-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/ObamaComix-Trump-tests.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/ObamaComix-Trump-tests-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/ObamaComix-Trump-tests-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/ObamaComix-Trump-tests-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/ObamaComix-Trump-tests-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/ObamaComix-Trump-tests-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some rough sketches for one of Weissman's Donald Trump comic strips. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I drew comics about President Obama or Hillary, they seem like real grown-ups with real grown-up problems,” he says. “You can relate to someone who seems to have some real (inner) conflict. I don’t see conflict in Donald Trump. You just sort of see this ego.”\u003c/p>\n\u003cp>And so, after chronicling a presidency and a brutal presidential election, Weissman’s online political strip may draw to a close.\u003c/p>\n\u003cp>“I don't know if I want to stay in this world right now. It seems a little mean-spirited and ugly,” says Weissman, reflecting on what’s to come under a Trump presidency.\u003c/p>\n\u003cp>“I don't think the world’s going to end,” laughs Weissman. “I just think it's gonna be kind of a meaner place for the next few years.”\u003c/p>\n\u003cp>Near the start of \"Looking for America’s Dog,\" there’s a single-page black-and-white comic that breaks up the action. It’s inspired by \"Little House on the Prairie\" author Laura Ingalls Wilder. It’s a pastoral scene in a cabin by a warm hearth, an oasis of calm in the middle of a political world spinning off its axis.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Weissman says he’d like to devote more time to that kind of work, to stories that focus on simple but often elusive qualities like faith and kindness.\u003c/p>\n\u003cfigure id=\"attachment_11201837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11201837\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/OBAMA-COM-LittleHouse-800x600.jpg\" alt=\"Excerpt from Steven Weissman's ‘Looking for America’s Dog’\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-LittleHouse-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-LittleHouse-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-LittleHouse-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-LittleHouse.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-LittleHouse-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-LittleHouse-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-LittleHouse-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-LittleHouse-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-LittleHouse-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Excerpt from Steven Weissman's ‘Looking for America’s Dog’ \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Cartoonist Steven Weissman spent years drawing comics of the Obama White House. He's not sure he wants to continue his political strip when President-Elect Trump takes office. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For days after the election, Steven Weissman’s final comic strip of the election cycle sat on the drafting board of his home studio in L.A.’s Little Armenia neighborhood. It's a sketch of Hillary Clinton and Donald Trump, both candidates feverishly tracking election night results on their devices.\u003c/p>\n\u003cp>“Trump in his little secret underground lair and Hillary Clinton on a frozen wasteland just updating their feeds and getting results from states,” says Weissman with a chuckle.\u003c/p>\n\u003cfigure id=\"attachment_11201822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11201822\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/obama-comix-draft-table-800x600.jpg\" alt=\"Steven Weissman’s final comic strip of the election cycle is still sitting on the drafting board of his home studio \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comix-draft-table-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comix-draft-table-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comix-draft-table-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comix-draft-table.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comix-draft-table-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comix-draft-table-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comix-draft-table-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comix-draft-table-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comix-draft-table-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Weissman’s final comic strip of the election cycle is still sitting on the drafting board of his home studio \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Weissman broke into the world of alternative comics about 20 years ago with a DIY comic book series called “Yikes!” It revolved around a cast of Charlie Brown-like characters modeled after famous Hollywood Monsters.\u003c/p>\n\u003cp>Weissman’s first foray into political cartooning began around the end of President Obama’s first term. He was recruited by publisher \u003ca href=\"http://www.fantagraphics.com/artists/steven-weissman/\">Fantagraphics\u003c/a> to craft a weekly online strip revolving around Obama, his family and his closest advisers.\u003c/p>\n\u003cfigure id=\"attachment_11201908\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11201908\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/OBAMA-COM-BHO-ex2-800x600.jpg\" alt=\"Excerpt from Steven Weissman's 2012 book ‘Barak Hussein Obama’\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-BHO-ex2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-BHO-ex2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-BHO-ex2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-BHO-ex2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-BHO-ex2-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-BHO-ex2-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-BHO-ex2-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-BHO-ex2-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-BHO-ex2-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Excerpt from Steven Weissman's 2012 book ‘Barack Hussein Obama’ \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That eventually led to the 2012 book, \"Barack Hussein Obama.\" His politically minded work also appears at the edgy, alternative comics and humor website \u003ca href=\"http://stevenweissman.tumblr.com/post/145661126199/superdeluxe-the-trump-boyzz-are-in-a-whole-heap\">Super Deluxe\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his new collection, \"Looking for America’s Dog,\" the action hinges on first daughters Sasha and Malia, first dog Bo and a vast supporting cast that includes a shape-shifting Hillary Clinton, a hapless Joe Biden and an unsettlingly severe John Kerry.\u003c/p>\n\u003cfigure id=\"attachment_11201835\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11201835\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/obama-comic-gif-800x800.gif\" alt=\"Image of Hillary Clinton from GIF animation created by Steven Weissman\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-800x800.gif 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-160x160.gif 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-1020x1020.gif 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-1920x1920.gif 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-1180x1180.gif 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-960x960.gif 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-240x240.gif 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-375x375.gif 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-520x520.gif 520w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-32x32.gif 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-50x50.gif 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-64x64.gif 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-96x96.gif 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-128x128.gif 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/obama-comic-gif-150x150.gif 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Image of Hillary Clinton from GIF animation created by Steven Weissman \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Obama and his staffers are depicted as well-meaning but petulant and sometimes clueless teens.\u003c/p>\n\u003cp>“At the beginning (of the book) Vice President Biden is having a meeting at the White House and actually leaves the gate open and Bo Obama, the president's first dog, runs out,\" he says.\u003c/p>\n\u003cfigure id=\"attachment_11201827\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11201827\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/OBAMA-Comix-snow-bo-800x600.jpg\" alt=\"Excerpt from Steven Weissman's 'Looking for America's Dog'\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-Comix-snow-bo-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-Comix-snow-bo-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-Comix-snow-bo-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-Comix-snow-bo.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-Comix-snow-bo-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-Comix-snow-bo-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-Comix-snow-bo-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-Comix-snow-bo-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-Comix-snow-bo-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Excerpt from Steven Weissman's 'Looking for America's Dog' \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so begins an around-the-world odyssey that includes stops in North Africa and a harrowing and darkly humorous encounter with the murderous Islamic extremist group Boko Haram, and a stop in North Korea where Bo Obama encounters \"Supreme Leader\" Kim Jong-un hanging out with former cross-dressing NBA star and reality TV fixture Dennis Rodman.\u003c/p>\n\u003cp>“The dog engages in hot points all over the world where news is happening, whether it was in Africa, the Korean peninsula, wherever there was something happening that seemed really interesting,” says Weissman.\u003c/p>\n\u003cp>Meanwhile, first daughters Sasha and Malia desperately track Bo’s movements. Sasha has developed a mysterious clairvoyance. But it’s hit and miss, like trying to tune in a distant radio station in a sea of static.\u003c/p>\n\u003cp>“Malia is always asking her to check up on celebrities like, well what’s happening with Chris Brown? And she’s like: No, I don’t want to look at those guys!”\u003c/p>\n\u003cfigure id=\"attachment_11201832\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11201832 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/OBAMA-COMIX-SW-table-art-800x600.jpg\" alt=\"Steven Wiessman at his home in L.A.’s Little Armenia. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COMIX-SW-table-art-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COMIX-SW-table-art-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COMIX-SW-table-art-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COMIX-SW-table-art.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COMIX-SW-table-art-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COMIX-SW-table-art-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COMIX-SW-table-art-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COMIX-SW-table-art-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COMIX-SW-table-art-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Weissman at his home in L.A.’s Little Armenia. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Weissman plumbs some dark areas throughout the story. Bo turns up in the offices of the French satirical magazine Charlie Hebdo the day it’s shot up by terrorists. Sasha and Malia forge a sweet but frightening connection with a group of African schoolgirls kidnapped by Boko Haram terrorists.\u003c/p>\n\u003cp>“I don't like a lot of the mean things that are happening in this world. but for good comics I think you can really explore them. And yes, it gets really bloody and it gets ugly and I'm sorry about that,” Weissman laughs.\u003c/p>\n\u003cp>Now with the U.S. at a political crossroads, Weissman is at a creative crossroads. He often depicted Hillary Clinton as a thin-skinned bureaucrat capable of erupting with Hulk-like fury. But he voted for her, not for Donald Trump. And he’s struggled to develop a convincing comic portrayal of the president-elect. Trump remains an elusive character.\u003c/p>\n\u003cp>“He's more like a professional wrestler character,” explains Weissman.\u003c/p>\n\u003cfigure id=\"attachment_11201833\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11201833\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/ObamaComix-Trump-tests-800x600.jpg\" alt=\"Some rough sketches for one of Weissman's Donald Trump comic strips.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/12/ObamaComix-Trump-tests-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/ObamaComix-Trump-tests-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/ObamaComix-Trump-tests-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/ObamaComix-Trump-tests.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/ObamaComix-Trump-tests-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/ObamaComix-Trump-tests-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/ObamaComix-Trump-tests-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/ObamaComix-Trump-tests-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/ObamaComix-Trump-tests-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some rough sketches for one of Weissman's Donald Trump comic strips. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I drew comics about President Obama or Hillary, they seem like real grown-ups with real grown-up problems,” he says. “You can relate to someone who seems to have some real (inner) conflict. I don’t see conflict in Donald Trump. You just sort of see this ego.”\u003c/p>\n\u003cp>And so, after chronicling a presidency and a brutal presidential election, Weissman’s online political strip may draw to a close.\u003c/p>\n\u003cp>“I don't know if I want to stay in this world right now. It seems a little mean-spirited and ugly,” says Weissman, reflecting on what’s to come under a Trump presidency.\u003c/p>\n\u003cp>“I don't think the world’s going to end,” laughs Weissman. “I just think it's gonna be kind of a meaner place for the next few years.”\u003c/p>\n\u003cp>Near the start of \"Looking for America’s Dog,\" there’s a single-page black-and-white comic that breaks up the action. It’s inspired by \"Little House on the Prairie\" author Laura Ingalls Wilder. It’s a pastoral scene in a cabin by a warm hearth, an oasis of calm in the middle of a political world spinning off its axis.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Weissman says he’d like to devote more time to that kind of work, to stories that focus on simple but often elusive qualities like faith and kindness.\u003c/p>\n\u003cfigure id=\"attachment_11201837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11201837\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/OBAMA-COM-LittleHouse-800x600.jpg\" alt=\"Excerpt from Steven Weissman's ‘Looking for America’s Dog’\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-LittleHouse-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-LittleHouse-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-LittleHouse-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-LittleHouse.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-LittleHouse-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-LittleHouse-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-LittleHouse-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-LittleHouse-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/OBAMA-COM-LittleHouse-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Excerpt from Steven Weissman's ‘Looking for America’s Dog’ \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "quran-exhibition-shines-a-light-on-the-holy-books-dedicated-artists",
"title": "Quran Exhibition Shines a Light on the Holy Books' Dedicated Artists",
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"headTitle": "Quran Exhibition Shines a Light on the Holy Books’ Dedicated Artists | KQED",
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"content": "\u003cp>When you walk into the Smithsonian’s “\u003ca href=\"http://www.asia.si.edu/exhibitions/current/art-of-the-quran/default.php\" target=\"_blank\" rel=\"noopener\">Art of the Qur’an\u003c/a>” exhibition, you’re met with a book that weighs 150 pounds. The tome, which dates back to the late-1500s, has giant pages that are covered in gold and black Arabic script.\u003c/p>\n\u003cp>“Somebody spent a lot of time, probably years, to complete this manuscript,” says curator Massumeh Farhad. “… The size tells you a great deal about it. I mean, clearly this was not a manuscript that could have been taken out every day for private reading. This was a manuscript that was intended for public display.”\u003c/p>\n\u003cp>That manuscript is among more than 50 centuries-old Qurans on display at the Arthur M. Sackler Gallery in Washington, D.C. The exhibition isn’t about the words of the Quran so much as the people who laboriously copied the book, letter by letter. Some of their names are listed (one manuscript was written by a vizier, or prime minister, of the Ottoman Empire), but most of the creators are unknown.\u003c/p>\n\u003cfigure id=\"attachment_12429393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-800x538.jpg\" alt=\"(Top row left) Artists used burnishers, gum arabic, lapis lazuli and gold leaf for calligraphy and designs. (Right) Artists also covered silk panels with religious invocations, names of God and testaments of faith. (Bottom row left) A 150-pound Quran from 16th century Iran is full of rich details. (Right) Gallery visitor Macks Stacie Corpuz Lazo looks through Quran pages with a magnifying glass.\" width=\"800\" height=\"538\" class=\"size-medium wp-image-12429393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-1920x1292.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-1180x794.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-960x646.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top row left) Artists used burnishers, gum arabic, lapis lazuli and gold leaf for calligraphy and designs. (Right) Artists also covered silk panels with religious invocations, names of God and testaments of faith. (Bottom row left) A 150-pound Quran from 16th century Iran is full of rich details. (Right) Gallery visitor Macks Stacie Corpuz Lazo looks through Quran pages with a magnifying glass. \u003ccite>(Photo: Raquel Zaldivar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Either way, each of the pages is one of a kind, and Farhad has flipped through all of them. She says it was a meditative experience: “You notice things that, you know, nobody else had noticed. For instance, human fallibility — because God is infallible but humans aren’t. So there are instances where the calligrapher omitted a verse, but then they always found a way around it. … They put a little asterisk where the verse actually fits in.”\u003c/p>\n\u003cp>In one Quran, that asterisk looks like an eyelash; it directs the reader to look for the missing verse on the edge of the page. In another, the writer corrected a wrong word by covering it with gold. “It’s the gold white out,” Farhad says.\u003c/p>\n\u003cfigure id=\"attachment_12429384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-800x541.jpg\" alt='she flipped through all of the books on display. \"Every page is absolutely breathtaking,\" she says.' width=\"800\" height=\"541\" class=\"size-medium wp-image-12429384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-1920x1299.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-960x649.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-520x352.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">she flipped through all of the books on display. “Every page is absolutely breathtaking,” she says. \u003ccite>(Photo: Raquel Zaldivar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Quran copies are like little peepholes, allowing us to peer back into the lives of people we never knew. When Farhad flips through the books, she says she’s really flipping through the past. “And every page is absolutely breathtaking.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Quran+Exhibition+Shines+A+Light+On+The+Holy+Books%27+Dedicated+Artists&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The Smithsonian show isn't about the words of the Quran so much as the people who laboriously copied it, letter by letter. When they made a mistake, they fixed it with flourish — and sometimes gold.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you walk into the Smithsonian’s “\u003ca href=\"http://www.asia.si.edu/exhibitions/current/art-of-the-quran/default.php\" target=\"_blank\" rel=\"noopener\">Art of the Qur’an\u003c/a>” exhibition, you’re met with a book that weighs 150 pounds. The tome, which dates back to the late-1500s, has giant pages that are covered in gold and black Arabic script.\u003c/p>\n\u003cp>“Somebody spent a lot of time, probably years, to complete this manuscript,” says curator Massumeh Farhad. “… The size tells you a great deal about it. I mean, clearly this was not a manuscript that could have been taken out every day for private reading. This was a manuscript that was intended for public display.”\u003c/p>\n\u003cp>That manuscript is among more than 50 centuries-old Qurans on display at the Arthur M. Sackler Gallery in Washington, D.C. The exhibition isn’t about the words of the Quran so much as the people who laboriously copied the book, letter by letter. Some of their names are listed (one manuscript was written by a vizier, or prime minister, of the Ottoman Empire), but most of the creators are unknown.\u003c/p>\n\u003cfigure id=\"attachment_12429393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-800x538.jpg\" alt=\"(Top row left) Artists used burnishers, gum arabic, lapis lazuli and gold leaf for calligraphy and designs. (Right) Artists also covered silk panels with religious invocations, names of God and testaments of faith. (Bottom row left) A 150-pound Quran from 16th century Iran is full of rich details. (Right) Gallery visitor Macks Stacie Corpuz Lazo looks through Quran pages with a magnifying glass.\" width=\"800\" height=\"538\" class=\"size-medium wp-image-12429393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-1920x1292.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-1180x794.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-960x646.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top row left) Artists used burnishers, gum arabic, lapis lazuli and gold leaf for calligraphy and designs. (Right) Artists also covered silk panels with religious invocations, names of God and testaments of faith. (Bottom row left) A 150-pound Quran from 16th century Iran is full of rich details. (Right) Gallery visitor Macks Stacie Corpuz Lazo looks through Quran pages with a magnifying glass. \u003ccite>(Photo: Raquel Zaldivar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Either way, each of the pages is one of a kind, and Farhad has flipped through all of them. She says it was a meditative experience: “You notice things that, you know, nobody else had noticed. For instance, human fallibility — because God is infallible but humans aren’t. So there are instances where the calligrapher omitted a verse, but then they always found a way around it. … They put a little asterisk where the verse actually fits in.”\u003c/p>\n\u003cp>In one Quran, that asterisk looks like an eyelash; it directs the reader to look for the missing verse on the edge of the page. In another, the writer corrected a wrong word by covering it with gold. “It’s the gold white out,” Farhad says.\u003c/p>\n\u003cfigure id=\"attachment_12429384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-800x541.jpg\" alt='she flipped through all of the books on display. \"Every page is absolutely breathtaking,\" she says.' width=\"800\" height=\"541\" class=\"size-medium wp-image-12429384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-1920x1299.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-960x649.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-520x352.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">she flipped through all of the books on display. “Every page is absolutely breathtaking,” she says. \u003ccite>(Photo: Raquel Zaldivar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Quran copies are like little peepholes, allowing us to peer back into the lives of people we never knew. When Farhad flips through the books, she says she’s really flipping through the past. “And every page is absolutely breathtaking.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Quran+Exhibition+Shines+A+Light+On+The+Holy+Books%27+Dedicated+Artists&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The 10 Shocking Toilets That Helped Put UC Davis on the Art World Map",
"headTitle": "The 10 Shocking Toilets That Helped Put UC Davis on the Art World Map | KQED",
"content": "\u003cp>Eleven year-old Monica Vernon of Vacaville is not amused. Her face screws into a serious frown as she stares at a collection of different takes on the throne, the pisser, the john. You get the idea.\u003c/p>\n\u003cp>“I don’t think that’s what art is supposed to be for,” Vernon says, surveying 10 ceramic toilet sculptures (and a sketch of the destroyed 11th) created by the late sculptor Robert Arneson. The works are part of the inaugural exhibition at the University of California at Davis’ new art museum, the \u003ca href=\"http://Jan%20Shrem%20and%20Maria%20Manetti%20Shrem%20Museum%20of%20Art.\">Jan Shrem and Maria Manetti Shrem Museum of Art\u003c/a>.\u003c/p>\n\u003cp>“I wouldn’t call that beautiful,” she says.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/295721861″ 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>But Arneson, who died in 1992 and taught at UC Davis for close to three decades, wasn’t going for “beautiful” with these sculptures, which are brought together for the first time from museums, galleries and private collections around the globe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Most of the lenders know what they have when it comes to Arneson’s work,” says exhibition curator Arielle Hardy. “They recognize the importance of the toilets. But people were surprised that this was our first gesture as a museum, that we were going to show 10 ceramic toilets with very graphic imagery, in some cases.”\u003c/p>\n\u003cp>Some owners are so uncomfortable with the toilets they’ve never shown them. That isn’t the case for contributors like Stanford’s \u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center\u003c/a>, owner of one of the most graphic sculptures, \u003cem>His and Hers\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12414604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12414604\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-800x1085.jpg\" alt=\"Robert Arneson, 'His and Hers,' 1964.\" width=\"800\" height=\"1085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-800x1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-768x1042.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-1020x1384.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-1180x1601.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-960x1303.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-240x326.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-375x509.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-520x706.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Arneson, ‘His and Hers,’ 1964. \u003ccite>(Photo: Courtesy of Iris & B. Gerald Cantor Center for Visual Arts at Stanford University.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One toilet is obviously male, sporting a bright red penis as a flush handle, and a seat that looks like poop. The female sports a pair of humongous breasts with erect nipples in lieu of a water tank. Her seat is a pair of red, labial lips.\u003c/p>\n\u003cp>“Typically, university art museums are a little more subtle when they debut,” Hardy says. “We didn’t want to be subtle. We wanted to be Davis.”\u003c/p>\n\u003ch3>Defining UC Davis through art\u003c/h3>\n\u003cp>Arneson epitomized Hardy’s definition of “Davis.” The Benicia-born artist was a little wild and inclined to poke a thumb in the eye of the establishment, even though his work is now shown in major art institutions like the \u003ca href=\"http://www.metmuseum.org/art/collection/search/482249\" target=\"_blank\" rel=\"noopener\">Metropolitan Museum of Art\u003c/a> in New York and San Francisco’s \u003ca href=\"https://www.sfmoma.org/artist/Robert_Arneson\" target=\"_blank\" rel=\"noopener\">Museum of Modern Art\u003c/a>.\u003c/p>\n\u003cp>The toilets also one-up the original infamous art toilet, \u003cem>\u003ca href=\"https://www.sfmoma.org/artwork/98.291\" target=\"_blank\" rel=\"noopener\">Fountain\u003c/a>\u003c/em>, a standard-issue urinal presented as art by Marcel Duchamp in 1917. “This is Bob Arneson going \u003cem>mano a mano\u003c/em> with Marcel Duchamp,” says Rachel Teagle, director of the Manetti Shrem Museum. “All of these toilets, at the same time that they’re crude and lewd, they’re wrestling with the biggies of art history.”\u003c/p>\n\u003cp>The museum’s inaugural show, \u003cem>Out Our Way\u003c/em>, features more than 200 works collected from the first 12 artists hired to teach at the university’s arts department when it was founded in 1958. Other “biggies” include Wayne Thiebaud, Roy DeForest, and Manuel Neri. It’s fair to say they were also wrestling with art history, but with less of the “crude and lewd” approach Arneson employed.\u003c/p>\n\u003ch3>A flash of insight\u003c/h3>\n\u003cp>In 1962, Arneson was under pressure to come up with something for an upcoming show in Oakland when he had an epiphany in a bathroom at UC Davis.\u003c/p>\n\u003cp>“What am I going to make?” recalls Arneson’s widow, Sandra Shannonhouse, of the incident. “Oh, well, I’m sitting on it!”\u003c/p>\n\u003cfigure id=\"attachment_12414610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12414610\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-800x1067.jpg\" alt=\"Robert Arneson, Untitled (Urinal), is on loan from the San Jose Museum of Art. In some ways, it's the most demure, understated of Arneson's toilets.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Arneson’s ‘Untitled (Urinal)’ is on loan from the San Jose Museum of Art. In some ways, it’s the most demure and understated of Arneson’s toilets. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thus, Arneson began a series that would cement his reputation as a potty-minded provocateur while laying the foundation for what later became the movement known as “Funk Art” — a reaction to abstract expressionism and its lack of human figures doing human things. “It was just kind of counter to the cool, impersonal pop art of the East Coast,” Shannonhouse says.\u003c/p>\n\u003cp>Today, Arneson is probably best known on the UC Davis campus for \u003ca href=\"https://www.ucdavis.edu/campus-life/arts-culture/eggheads/\" target=\"_blank\" rel=\"noopener\">\u003cem>Eggheads\u003c/em>\u003c/a>, a series of five giant bald male heads made of bronze that dot the campus.\u003c/p>\n\u003cfigure id=\"attachment_12414809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12414809\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-800x450.jpg\" alt=\"Robert Arneson, 'See No Evil/Hear No Evil.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Arneson, ‘See No Evil/Hear No Evil.’ \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The studio where Arneson and his colleagues produced the bulk of their work, called “Temporary Building 9,” is ironically now \u003ca href=\"https://www.ucdavis.edu/news/famous-temporary-building-uc-davis-placed-national-register-historic-places/\" target=\"_blank\" rel=\"noopener\">listed on the National Register of Historic Places\u003c/a>. You can imagine Robert Arneson laughing at that turn of events.\u003c/p>\n\u003cp>“All my art has a sense of humor about it,” Arneson said in a 1984 documentary called \u003ca href=\"https://www.youtube.com/watch?v=Fw7W76CnOBw\" target=\"_blank\" rel=\"noopener\">A Good Time To Be West\u003c/a>. “I think the humor is a witty response, but a serious response, to the absurdities of life in general and the notion of being a creative artist.”\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>\u003cem>‘Out Our Way’ runs through March 26, 2017 at the Jan Shrem and Maria Manetti Shrem Museum at UC Davis. More info \u003ca href=\"http://manettishremmuseum.ucdavis.edu/visit/oow.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "For its inaugural exhibition, the new Jan Shrem and Maria Manetti Shrem Museum of Art gathers together Robert Arneson's infamous ceramic toilet sculptures.",
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"description": "For its inaugural exhibition, the new Jan Shrem and Maria Manetti Shrem Museum of Art gathers together Robert Arneson's infamous ceramic toilet sculptures.",
"title": "The 10 Shocking Toilets That Helped Put UC Davis on the Art World Map | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eleven year-old Monica Vernon of Vacaville is not amused. Her face screws into a serious frown as she stares at a collection of different takes on the throne, the pisser, the john. You get the idea.\u003c/p>\n\u003cp>“I don’t think that’s what art is supposed to be for,” Vernon says, surveying 10 ceramic toilet sculptures (and a sketch of the destroyed 11th) created by the late sculptor Robert Arneson. The works are part of the inaugural exhibition at the University of California at Davis’ new art museum, the \u003ca href=\"http://Jan%20Shrem%20and%20Maria%20Manetti%20Shrem%20Museum%20of%20Art.\">Jan Shrem and Maria Manetti Shrem Museum of Art\u003c/a>.\u003c/p>\n\u003cp>“I wouldn’t call that beautiful,” she says.\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/295721861″&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/295721861″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But Arneson, who died in 1992 and taught at UC Davis for close to three decades, wasn’t going for “beautiful” with these sculptures, which are brought together for the first time from museums, galleries and private collections around the globe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Most of the lenders know what they have when it comes to Arneson’s work,” says exhibition curator Arielle Hardy. “They recognize the importance of the toilets. But people were surprised that this was our first gesture as a museum, that we were going to show 10 ceramic toilets with very graphic imagery, in some cases.”\u003c/p>\n\u003cp>Some owners are so uncomfortable with the toilets they’ve never shown them. That isn’t the case for contributors like Stanford’s \u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center\u003c/a>, owner of one of the most graphic sculptures, \u003cem>His and Hers\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12414604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12414604\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-800x1085.jpg\" alt=\"Robert Arneson, 'His and Hers,' 1964.\" width=\"800\" height=\"1085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-800x1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-768x1042.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-1020x1384.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-1180x1601.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-960x1303.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-240x326.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-375x509.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22914_2007.35.A-D_CDP-3-pub-qut-520x706.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Arneson, ‘His and Hers,’ 1964. \u003ccite>(Photo: Courtesy of Iris & B. Gerald Cantor Center for Visual Arts at Stanford University.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One toilet is obviously male, sporting a bright red penis as a flush handle, and a seat that looks like poop. The female sports a pair of humongous breasts with erect nipples in lieu of a water tank. Her seat is a pair of red, labial lips.\u003c/p>\n\u003cp>“Typically, university art museums are a little more subtle when they debut,” Hardy says. “We didn’t want to be subtle. We wanted to be Davis.”\u003c/p>\n\u003ch3>Defining UC Davis through art\u003c/h3>\n\u003cp>Arneson epitomized Hardy’s definition of “Davis.” The Benicia-born artist was a little wild and inclined to poke a thumb in the eye of the establishment, even though his work is now shown in major art institutions like the \u003ca href=\"http://www.metmuseum.org/art/collection/search/482249\" target=\"_blank\" rel=\"noopener\">Metropolitan Museum of Art\u003c/a> in New York and San Francisco’s \u003ca href=\"https://www.sfmoma.org/artist/Robert_Arneson\" target=\"_blank\" rel=\"noopener\">Museum of Modern Art\u003c/a>.\u003c/p>\n\u003cp>The toilets also one-up the original infamous art toilet, \u003cem>\u003ca href=\"https://www.sfmoma.org/artwork/98.291\" target=\"_blank\" rel=\"noopener\">Fountain\u003c/a>\u003c/em>, a standard-issue urinal presented as art by Marcel Duchamp in 1917. “This is Bob Arneson going \u003cem>mano a mano\u003c/em> with Marcel Duchamp,” says Rachel Teagle, director of the Manetti Shrem Museum. “All of these toilets, at the same time that they’re crude and lewd, they’re wrestling with the biggies of art history.”\u003c/p>\n\u003cp>The museum’s inaugural show, \u003cem>Out Our Way\u003c/em>, features more than 200 works collected from the first 12 artists hired to teach at the university’s arts department when it was founded in 1958. Other “biggies” include Wayne Thiebaud, Roy DeForest, and Manuel Neri. It’s fair to say they were also wrestling with art history, but with less of the “crude and lewd” approach Arneson employed.\u003c/p>\n\u003ch3>A flash of insight\u003c/h3>\n\u003cp>In 1962, Arneson was under pressure to come up with something for an upcoming show in Oakland when he had an epiphany in a bathroom at UC Davis.\u003c/p>\n\u003cp>“What am I going to make?” recalls Arneson’s widow, Sandra Shannonhouse, of the incident. “Oh, well, I’m sitting on it!”\u003c/p>\n\u003cfigure id=\"attachment_12414610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12414610\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-800x1067.jpg\" alt=\"Robert Arneson, Untitled (Urinal), is on loan from the San Jose Museum of Art. In some ways, it's the most demure, understated of Arneson's toilets.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22915_Photo-Nov-13-1-38-08-PM-001-qut-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Arneson’s ‘Untitled (Urinal)’ is on loan from the San Jose Museum of Art. In some ways, it’s the most demure and understated of Arneson’s toilets. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thus, Arneson began a series that would cement his reputation as a potty-minded provocateur while laying the foundation for what later became the movement known as “Funk Art” — a reaction to abstract expressionism and its lack of human figures doing human things. “It was just kind of counter to the cool, impersonal pop art of the East Coast,” Shannonhouse says.\u003c/p>\n\u003cp>Today, Arneson is probably best known on the UC Davis campus for \u003ca href=\"https://www.ucdavis.edu/campus-life/arts-culture/eggheads/\" target=\"_blank\" rel=\"noopener\">\u003cem>Eggheads\u003c/em>\u003c/a>, a series of five giant bald male heads made of bronze that dot the campus.\u003c/p>\n\u003cfigure id=\"attachment_12414809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12414809\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-800x450.jpg\" alt=\"Robert Arneson, 'See No Evil/Hear No Evil.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RS22918_Photo-Nov-13-2-47-15-PM-1-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Arneson, ‘See No Evil/Hear No Evil.’ \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The studio where Arneson and his colleagues produced the bulk of their work, called “Temporary Building 9,” is ironically now \u003ca href=\"https://www.ucdavis.edu/news/famous-temporary-building-uc-davis-placed-national-register-historic-places/\" target=\"_blank\" rel=\"noopener\">listed on the National Register of Historic Places\u003c/a>. You can imagine Robert Arneson laughing at that turn of events.\u003c/p>\n\u003cp>“All my art has a sense of humor about it,” Arneson said in a 1984 documentary called \u003ca href=\"https://www.youtube.com/watch?v=Fw7W76CnOBw\" target=\"_blank\" rel=\"noopener\">A Good Time To Be West\u003c/a>. “I think the humor is a witty response, but a serious response, to the absurdities of life in general and the notion of being a creative artist.”\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>\u003cem>‘Out Our Way’ runs through March 26, 2017 at the Jan Shrem and Maria Manetti Shrem Museum at UC Davis. More info \u003ca href=\"http://manettishremmuseum.ucdavis.edu/visit/oow.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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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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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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