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"content": "\u003cp>When Croatian artists Olinka Vištica and Dražen Grubišić ended their romance in 2003, they were left with ordinary, seemingly insignificant items they’d shared that had meaning only to them. So they did what artists do: They turned them into art.\u003c/p>\n\u003cp>Along with pieces donated from friends’ failed love affairs, they toured their art show in 25 cities, and in 2010 the pair opened the Museum of Broken Relationships in Zagreb. Last month, in the building that once housed the lingerie shop Frederick’s of Hollywood, a permanent American branch of the museum opened, offering 105 souvenirs of heartbreak.\u003c/p>\n\u003cp>“It’s almost like we don’t choose these things, they kind of choose us,” says museum director Alexis Hyde, “these totems that get organically created in these relationships.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/273894455″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Though the museum sits on the same block as less-than-elegant boutiques like Souvenir Land and Chateau Denim, it has all the understated trappings of a classic gallery. Stark white walls, polished concrete floors, recessed lighting. The air is cool and people whisper. It’s a far cry from the old Frederick’s days when lace-clad mannequins lined the floor, though it’s somehow appropriate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s fitting, you know?” says Hyde. “I mean, that had to have been a place where relationships started and ended all the time, and this becomes kind of a repository of other people’s stories that include some lingerie.”\u003c/p>\n\u003caside class=\"pullquote alignright\">It’s a museum devoted to broken relationships, but it’s also a tribute to the bond of heartbreak that links almost everyone.\u003c/aside>\n\u003cp>But Hyde stresses that the museum’s dedication to relationships gone south is not confined to romance.\u003c/p>\n\u003cp>“It’s not just exclusively romantic love. It can be anything. It can be family, it can be friends, it can be businesses, it can be geography. Broken relationships mean a lot of different things to different people.”\u003c/p>\n\u003cp>The multitude of “profoundly ordinary” objects on display were all donated anonymously and are accompanied by captions written by the brokenhearted donors, stories that bring these mundane things to life.\u003c/p>\n\u003cp>There’s a coffeemaker from a woman whose ex-boyfriend’s only redeeming quality was cleaning it every day. And a Peter Pan plush toy a man bought at 25 to remind him to “keep the little boy inside awake.” Nearing 50, he writes, “The boy is lost to me.” There are half-used cologne bottles from a widow whose husband died of cancer. And a pair of fake breasts. Whoever molded them apparently had a very crude sense of anatomy. A husband asked his wife to wear them during sex. She left him.\u003c/p>\n\u003cp>[gallery type=\"rectangular\" link=\"file\" ids=\"11021333,11021334\"]\u003c/p>\n\u003cp>Though the place is founded on breakups, it’s ironically become a dating hot spot.\u003c/p>\n\u003cp>“I think people come in sometimes as a joke on a first date,” Hyde says. “They kind of come in as like, ‘Oh, this is going to be ironic,’ and then they leave feeling very endeared to each other.”\u003c/p>\n\u003cp>According to Hyde, the museum has the same effect on long-term couples.\u003c/p>\n\u003cp>“Established relationships come in, a lot of married couples and people who’ve been dating for a long time and it’s just a regular day. ‘Let’s go to a museum and get cultured,’ and then about a quarter of the way through it’s hand-holding. And then a little bit further in it’s locked arms, and then about three-quarters of the way through is when I’ve got pretzels and/or makeout spots going on. They leave and they’re just all over each other physically.”\u003c/p>\n\u003cp>In March, the museum held a preview show at the Ace Hotel in downtown L.A. The place was packed, mainly, it seemed, with couples. Trevor Donn and Jose Cera were among them.\u003c/p>\n\u003cp>“I thought it was like a really cute fourth-date idea,” says Donn. “This is our fourth date, so time to bring him to the Museum of Broken Relationships. I got a lot of morbid satisfaction out of it, just watching them all crumble. This could be us!”\u003c/p>\n\u003cp>[gallery type=\"rectangular\" ids=\"11021481,11021479,11021480,11021478\"]\u003c/p>\n\u003cp>But for friends Mike Burns and Katie Chaffey, the exhibit wasn’t all fun.\u003c/p>\n\u003cp>“Her first reaction was, ‘That sounds depressing,’ ” says Burns.\u003c/p>\n\u003cp>And was it?\u003c/p>\n\u003cp>“Yeah,” agrees Chaffey. “We only made it through one exhibit because I think it’s the combination of having the object and the story behind it that made it a little bit too emotionally intense for me, and I was like, ‘OK, let’s get a drink.’ ”\u003c/p>\n\u003cp>Since donations are anonymous, you don’t know who submitted what. You also don’t know when a donor might be standing next to you.\u003c/p>\n\u003cp>“I submitted a tie from a seven-year relationship that I used to sleep with,” says a young woman who has just toured the exhibit (and wants to remain anonymous). “I painted this tie, it was very symbolic and I felt like it was a noose, so then I had to let it go. Now it’s going to live in the Museum of Broken Relationships. No longer tied to the tie.”\u003c/p>\n\u003cp>Though it’s a museum devoted to broken relationships, it’s also a tribute to the bond of heartbreak that links almost everyone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You go through these experiences and you feel so profoundly alone,” says Hyde, “and no one wants to talk to you about it anymore, no one’s ever hurt this bad before in their life and you’ll never get back on the horse. Then you walk through here and you’re like, ‘Oh no, I have so many friends.’ And they’re all over the world. And they’re all different ages and races and creeds and sexualities, and this is incredible, and we’re all in this together. It’s just so profoundly human.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s fitting, you know?” says Hyde. “I mean, that had to have been a place where relationships started and ended all the time, and this becomes kind of a repository of other people’s stories that include some lingerie.”\u003c/p>\n\u003caside class=\"pullquote alignright\">It’s a museum devoted to broken relationships, but it’s also a tribute to the bond of heartbreak that links almost everyone.\u003c/aside>\n\u003cp>But Hyde stresses that the museum’s dedication to relationships gone south is not confined to romance.\u003c/p>\n\u003cp>“It’s not just exclusively romantic love. It can be anything. It can be family, it can be friends, it can be businesses, it can be geography. Broken relationships mean a lot of different things to different people.”\u003c/p>\n\u003cp>The multitude of “profoundly ordinary” objects on display were all donated anonymously and are accompanied by captions written by the brokenhearted donors, stories that bring these mundane things to life.\u003c/p>\n\u003cp>There’s a coffeemaker from a woman whose ex-boyfriend’s only redeeming quality was cleaning it every day. And a Peter Pan plush toy a man bought at 25 to remind him to “keep the little boy inside awake.” Nearing 50, he writes, “The boy is lost to me.” There are half-used cologne bottles from a widow whose husband died of cancer. And a pair of fake breasts. Whoever molded them apparently had a very crude sense of anatomy. A husband asked his wife to wear them during sex. She left him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though the place is founded on breakups, it’s ironically become a dating hot spot.\u003c/p>\n\u003cp>“I think people come in sometimes as a joke on a first date,” Hyde says. “They kind of come in as like, ‘Oh, this is going to be ironic,’ and then they leave feeling very endeared to each other.”\u003c/p>\n\u003cp>According to Hyde, the museum has the same effect on long-term couples.\u003c/p>\n\u003cp>“Established relationships come in, a lot of married couples and people who’ve been dating for a long time and it’s just a regular day. ‘Let’s go to a museum and get cultured,’ and then about a quarter of the way through it’s hand-holding. And then a little bit further in it’s locked arms, and then about three-quarters of the way through is when I’ve got pretzels and/or makeout spots going on. They leave and they’re just all over each other physically.”\u003c/p>\n\u003cp>In March, the museum held a preview show at the Ace Hotel in downtown L.A. The place was packed, mainly, it seemed, with couples. Trevor Donn and Jose Cera were among them.\u003c/p>\n\u003cp>“I thought it was like a really cute fourth-date idea,” says Donn. “This is our fourth date, so time to bring him to the Museum of Broken Relationships. I got a lot of morbid satisfaction out of it, just watching them all crumble. This could be us!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for friends Mike Burns and Katie Chaffey, the exhibit wasn’t all fun.\u003c/p>\n\u003cp>“Her first reaction was, ‘That sounds depressing,’ ” says Burns.\u003c/p>\n\u003cp>And was it?\u003c/p>\n\u003cp>“Yeah,” agrees Chaffey. “We only made it through one exhibit because I think it’s the combination of having the object and the story behind it that made it a little bit too emotionally intense for me, and I was like, ‘OK, let’s get a drink.’ ”\u003c/p>\n\u003cp>Since donations are anonymous, you don’t know who submitted what. You also don’t know when a donor might be standing next to you.\u003c/p>\n\u003cp>“I submitted a tie from a seven-year relationship that I used to sleep with,” says a young woman who has just toured the exhibit (and wants to remain anonymous). “I painted this tie, it was very symbolic and I felt like it was a noose, so then I had to let it go. Now it’s going to live in the Museum of Broken Relationships. No longer tied to the tie.”\u003c/p>\n\u003cp>Though it’s a museum devoted to broken relationships, it’s also a tribute to the bond of heartbreak that links almost everyone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You go through these experiences and you feel so profoundly alone,” says Hyde, “and no one wants to talk to you about it anymore, no one’s ever hurt this bad before in their life and you’ll never get back on the horse. Then you walk through here and you’re like, ‘Oh no, I have so many friends.’ And they’re all over the world. And they’re all different ages and races and creeds and sexualities, and this is incredible, and we’re all in this together. It’s just so profoundly human.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Think of it as art to go — and on the go.\u003c/p>\n\u003cp>That’s the theme for the exhibition “\u003ca href=\"https://artbma.org/exhibitions/2016-design-for-mobile-living\" target=\"_blank\" rel=\"noopener\">Designs for Mobile Living: Art from Eastern Africa\u003c/a>” at the Baltimore Museum of Art. There are a mere 28 objects, ranging from brightly decorated shields and glass-beaded belts for carrying spears to finely crafted necklaces and painstakingly carved drinking vessels. But individually and together the objects demonstrate how nomadic cultures in the region of the Great Rift Valley, where Kenya borders Tanzania, imbue even the most functional objects with artistic style and cultural identity.\u003c/p>\n\u003cp>In cultures that tend to livestock, like the Maasai, Samburu, Somali and Turkana groups represented here, “everyone is in motion,” says exhibition organizer Kevin Tervala. And every possession must be carried along as they go with their animals from place to place.\u003c/p>\n\u003cp>Heavy or unwieldy art objects — like an enormous brass abstract sculpture he points to in a neighboring gallery — would be impractical in their culture, Tervala says. Instead, he says, “creative drives translate into what people wear, what they use.”\u003c/p>\n\u003cp>“Even the most humble object,” he says, like a cradle-shaped, curved bowl, has been carefully carved and is attached to a leather strap to carry easily over the shoulder. A shield fashioned out of the wrinkled, rippled hide of a rhinoceros shows an appreciation of texture — and also proclaims the warrior status of the man who wielded it: Although the hides of camel, goat and cow could also be used, hippos and rhinos are harder to kill. In the example in the exhibit, you can also see the tiny holes where spears hit and pricked the surface.\u003c/p>\n\u003cfigure id=\"attachment_11819299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-800x456.jpg\" alt=\"A man's belt, known as "Enkeene Pus," from the Maasai region of Tanzania and dating to the mid-20th century.\" width=\"800\" height=\"456\" class=\"size-medium wp-image-11819299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-400x228.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-1180x673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d.jpg 1258w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man’s belt, known as “Enkeene Pus,” from the Maasai region of Tanzania and dating to the mid-20th century. \u003ccite>(Photo: Courtesy of Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The names of the artists are not known, nor for the most part are the exact years from which each work dates. But the materials, colors and patterns suggest a general timeline approximating when they were made, in what geographical area and by what group.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For instance, before Europeans arrived to colonize and proselytize in the 19th century, most objects were monochromatic or used muted colors from vegetable dyes. That changed when the Europeans came, bringing glass beads in many colors. “That helped artistic possibilities to take off,” says Tervala.\u003c/p>\n\u003cp>Belts, jewelry, clothing and other items began to burst with colorful beaded patterns. By the 20th century, each group favored its own color combinations and shapes and developed its own “look” to stand out, says Tervala.\u003c/p>\n\u003cp>Turkana jewelry, for example, is decorated with solid blocks of red, white and blue beads. By contrast, Maasai objects use red, white, blue, orange and green glass beads arranged in triangles, rectangles and pie-chart shapes. There’s no missing the Western influence in a Maasai bracelet designed in the shape of a wristwatch.\u003c/p>\n\u003cp>Know the clues to look for, and you could even decipher a woman’s marital status. Samburu wives wear necklaces featuring a vertical row of red glass beads strung with a giraffe’s tail. A necklace worn by a Turkana married woman is altogether different, featuring three dangling bull’s-eye-shaped pendants in alternating color patterns. The absence of extensive beadwork suggests the object has come from a more northern area, where there was less exposure to European trade, and more traditional decorative methods remained dominant.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nineteen of the 28 items on display come from the museum, the others from a private collector. Most are being shown in public for the first time, says Tervala, who is pursuing a Ph.D. in African studies and art history at Harvard. Focusing on the art and design, not just the purpose, of the objects highlights the diversity of African art, he says. It helps you see “there is art in everything.” \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=When+You%27re+A+Nomad%2C+You+Need+Portable+Art&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Think of it as art to go — and on the go.\u003c/p>\n\u003cp>That’s the theme for the exhibition “\u003ca href=\"https://artbma.org/exhibitions/2016-design-for-mobile-living\" target=\"_blank\" rel=\"noopener\">Designs for Mobile Living: Art from Eastern Africa\u003c/a>” at the Baltimore Museum of Art. There are a mere 28 objects, ranging from brightly decorated shields and glass-beaded belts for carrying spears to finely crafted necklaces and painstakingly carved drinking vessels. But individually and together the objects demonstrate how nomadic cultures in the region of the Great Rift Valley, where Kenya borders Tanzania, imbue even the most functional objects with artistic style and cultural identity.\u003c/p>\n\u003cp>In cultures that tend to livestock, like the Maasai, Samburu, Somali and Turkana groups represented here, “everyone is in motion,” says exhibition organizer Kevin Tervala. And every possession must be carried along as they go with their animals from place to place.\u003c/p>\n\u003cp>Heavy or unwieldy art objects — like an enormous brass abstract sculpture he points to in a neighboring gallery — would be impractical in their culture, Tervala says. Instead, he says, “creative drives translate into what people wear, what they use.”\u003c/p>\n\u003cp>“Even the most humble object,” he says, like a cradle-shaped, curved bowl, has been carefully carved and is attached to a leather strap to carry easily over the shoulder. A shield fashioned out of the wrinkled, rippled hide of a rhinoceros shows an appreciation of texture — and also proclaims the warrior status of the man who wielded it: Although the hides of camel, goat and cow could also be used, hippos and rhinos are harder to kill. In the example in the exhibit, you can also see the tiny holes where spears hit and pricked the surface.\u003c/p>\n\u003cfigure id=\"attachment_11819299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-800x456.jpg\" alt=\"A man's belt, known as "Enkeene Pus," from the Maasai region of Tanzania and dating to the mid-20th century.\" width=\"800\" height=\"456\" class=\"size-medium wp-image-11819299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-400x228.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-1180x673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d.jpg 1258w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man’s belt, known as “Enkeene Pus,” from the Maasai region of Tanzania and dating to the mid-20th century. \u003ccite>(Photo: Courtesy of Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The names of the artists are not known, nor for the most part are the exact years from which each work dates. But the materials, colors and patterns suggest a general timeline approximating when they were made, in what geographical area and by what group.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For instance, before Europeans arrived to colonize and proselytize in the 19th century, most objects were monochromatic or used muted colors from vegetable dyes. That changed when the Europeans came, bringing glass beads in many colors. “That helped artistic possibilities to take off,” says Tervala.\u003c/p>\n\u003cp>Belts, jewelry, clothing and other items began to burst with colorful beaded patterns. By the 20th century, each group favored its own color combinations and shapes and developed its own “look” to stand out, says Tervala.\u003c/p>\n\u003cp>Turkana jewelry, for example, is decorated with solid blocks of red, white and blue beads. By contrast, Maasai objects use red, white, blue, orange and green glass beads arranged in triangles, rectangles and pie-chart shapes. There’s no missing the Western influence in a Maasai bracelet designed in the shape of a wristwatch.\u003c/p>\n\u003cp>Know the clues to look for, and you could even decipher a woman’s marital status. Samburu wives wear necklaces featuring a vertical row of red glass beads strung with a giraffe’s tail. A necklace worn by a Turkana married woman is altogether different, featuring three dangling bull’s-eye-shaped pendants in alternating color patterns. The absence of extensive beadwork suggests the object has come from a more northern area, where there was less exposure to European trade, and more traditional decorative methods remained dominant.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nineteen of the 28 items on display come from the museum, the others from a private collector. Most are being shown in public for the first time, says Tervala, who is pursuing a Ph.D. in African studies and art history at Harvard. Focusing on the art and design, not just the purpose, of the objects highlights the diversity of African art, he says. It helps you see “there is art in everything.” \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=When+You%27re+A+Nomad%2C+You+Need+Portable+Art&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"line-height: 1.5\">\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">Brittani Sensabaugh, best known by her moniker Brittsense, is an Oakland-based photographer documenting the vibrant lives in forgotten “melanated” neighborhoods. Her series \u003c/span>\u003ca href=\"http://brittsense.com/\">\u003cem style=\"line-height: 1.5\">222 Forgotten Cities\u003c/em>\u003c/a>\u003cspan style=\"line-height: 1.5\"> give voice to communities without a voice, and give love to communities who need unconditional love.\u003c/span>\u003c/p>\n\u003cp>[contextly_sidebar id=”eaZ1wbVQ21wIHwhVg5U656EaLJFAAurf”]\u003c/p>\n\u003cp>\u003cb>Where do you live?\u003c/b>\u003c/p>\n\u003cp>East Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Describe yourself in one word?\u003c/b>\u003c/p>\n\u003cp>I can’t describe myself in one word — I’m inspired by everything but I’m defined by nothing.\u003c/p>\n\u003cp>\u003cb>What did you do last night?\u003c/b>\u003c/p>\n\u003cp>Last night I documented the beauty of my people in Kingston, Jamaica.\u003c/p>\n\u003cp>\u003cb>What can’t you live without?\u003c/b>\u003c/p>\n\u003cp>Nature. It balances me out and keeps me sane. The smell of greenery and being by the water puts things into perspective for me. I’m a cancer, so I’m full of water.\u003c/p>\n\u003cfigure id=\"attachment_11806548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11806548 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-britt-800x450.jpg\" alt=\"Brittsense\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittsense \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>If you could travel any where in the world, where would it be?\u003c/b>\u003c/p>\n\u003cp>It differs depending on the different chapters in my life, but it’s a toss up between Africa, Cuba, Jamaica, and India.\u003c/p>\n\u003cp>\u003cb>Who is your personal hero? Why?\u003c/b>\u003c/p>\n\u003cp>I think I’m inspired by my people. I’m very inspired by Tupac Shakur, Assata Shakur. My mother inspires me to love unconditionally and teaches me to be strong. Sherrie Glassman is an uplifting force who reminds me to stay positive.\u003c/p>\n\u003cp>\u003cb>How did you find your creative voice?\u003c/b>\u003cbr>\nI think I’m still finding my creative voice. I don’t allow myself to get stuck in one chapter and one phase; I allow myself to evolve. But being from East Oakland and traveling to other cities and being able to experience different cultures and communities has added to my creative voice.\u003c/p>\n\u003cp>\u003cb>What is something most people don’t know about you?\u003c/b>\u003cbr>\nI’m reclusive. People might think I look like I want to stand out with my head wraps, but I don’t like a lot of attention.\u003c/p>\n\u003cp>\u003cb>What do you do when you feel uninspired?\u003c/b>\u003cbr>\nI watch Tupac interviews, I listen to J. Dilla, Anita Baker. I love music. I also like to speak about life and hear people’s stories.\u003c/p>\n\u003cfigure id=\"attachment_11806549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11806549 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-800x450.jpg\" alt=\"Brittsense\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittsense \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s been your biggest ‘learning moment,’ and what did you you take from the experience?\u003c/b>\u003cbr>\nWorking on \u003cem>222 Forgotten Cities\u003c/em> took me out of my comfort zone. I realized that I always want to be a healer and it’s about planting the seeds so that we all can grow. I’ve learned that everything’s a process and nothing instantly happens, and that happiness is a journey.\u003c/p>\n\u003cp>\u003cb>What’s your greatest achievement, and how has it shaped you?\u003c/b>\u003cbr>\nI think a great achievement is waking up and getting to spread the love that I have. No matter what I’ve been through, I just want to love unconditionally. But as far as societal achievements go, I shot my first book cover — \u003cem>Pushout\u003c/em> by Monique Morris, about the criminalization of black girls in schools.\u003c/p>\n\u003cp>\u003cb>Coffee or tea? What kind?\u003c/b>\u003cbr>\nChamomile tea, with a pour of honey. It’s smooth and it relaxes me.\u003c/p>\n\u003cfigure id=\"attachment_11806552\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11806552\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/222Brooklyn-800x533.jpg\" alt=\"'222 Brooklyn,' part of Brittsense's '222 Forgotten Cities: The Power Of Melanin' series.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘222 Brooklyn,’ part of Brittsense’s ‘222 Forgotten Cities: The Power Of Melanin’ series. \u003ccite>(Courtesy of Brittsense)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What does a perfect day look like for you?\u003c/b>\u003cbr>\nI wake up, I meditate, I give thanks to the universe and Ma’at. It depends on what I’m feeling when I wake up — some days I’d want to stay in and listen to music and read, or I can sit at Indian Rock and see the whole Bay Area and just embrace, not think. I don’t really think out my day much — however it flows, I’ll flow with that.\u003c/p>\n\u003cp>\u003cb>Who are your local inspirations?\u003c/b>\u003cbr>\nIt differs because I’m inspired by each moment and I don’t really have one person that I’m inspired by. I think people from East Oakland really inspire me — I love the OGs and the big mamas who look after the neighborhood, I’m inspired by the youth and their innocence and curiosity.\u003c/p>\n\u003cp>\u003cb>Favorite meal?\u003c/b>\u003cbr>\nI don’t eat cheese anymore, but nachos or french fries. On the healthier side, I love spinach, I love kale, salmon — I love coconut oil, because I can also use it on my hair.\u003c/p>\n\u003cfigure id=\"attachment_11806553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11806553\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/222Atlanta-800x533.jpg\" alt=\"'222Atlanta,' part of Brittsense's '222forgottencities: The Power Of Melanin' series.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘222 Atlanta,’ part of Brittsense’s ‘222 Forgotten Cities: The Power Of Melanin’ series. \u003ccite>(Courtesy of Brittsense)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What upcoming show are you excited about?\u003c/b>\u003cbr>\nI’m actually working on putting on an exhibit called \u003ci>The Town\u003c/i> — it’s me and a couple of my homies taking photos of East Oakland on disposable cameras to see everyone’s different perspective of the city. I’m also part of the \u003ca href=\"http://oaklandfenceproject.org/\">Oakland Fence Project \u003c/a>with NAMAC, which is a collaboration with three other youths from East Oakland.\u003c/p>\n\u003cp>\u003cb>Where do you see yourself in five years?\u003c/b>\u003cbr>\nIn five years, I want to have a lot of children, I want to have a lot of land — I don’t want to be in America, for sure. I want to be traveling still. I want to own all of my stuff.\u003c/p>\n\u003cp>\u003cb>If you could live in a book, TV show, movie, play or painting, what would it be?\u003c/b>\u003cbr>\nIf I could live in a music video, I would live either in Janet Jackson’s “Pleasure Principle” or “Drop” by Pharcyde.\u003c/p>\n\u003cp>\u003cb>Where and when can people see you or your art in action?\u003c/b>\u003cbr>\nI’ll be traveling to different places the next few months, but you’ll probably find me shooting in East Oakland.\u003c/p>\n\u003cp>\u003cstrong>Check out Brittsense in action below: \u003c/strong>\u003c/p>\n\u003cp>https://youtu.be/Zk5P1BhFeRc\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We\u003c/a> want to hear from you! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"line-height: 1.5\">\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">Brittani Sensabaugh, best known by her moniker Brittsense, is an Oakland-based photographer documenting the vibrant lives in forgotten “melanated” neighborhoods. Her series \u003c/span>\u003ca href=\"http://brittsense.com/\">\u003cem style=\"line-height: 1.5\">222 Forgotten Cities\u003c/em>\u003c/a>\u003cspan style=\"line-height: 1.5\"> give voice to communities without a voice, and give love to communities who need unconditional love.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>Where do you live?\u003c/b>\u003c/p>\n\u003cp>East Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Describe yourself in one word?\u003c/b>\u003c/p>\n\u003cp>I can’t describe myself in one word — I’m inspired by everything but I’m defined by nothing.\u003c/p>\n\u003cp>\u003cb>What did you do last night?\u003c/b>\u003c/p>\n\u003cp>Last night I documented the beauty of my people in Kingston, Jamaica.\u003c/p>\n\u003cp>\u003cb>What can’t you live without?\u003c/b>\u003c/p>\n\u003cp>Nature. It balances me out and keeps me sane. The smell of greenery and being by the water puts things into perspective for me. I’m a cancer, so I’m full of water.\u003c/p>\n\u003cfigure id=\"attachment_11806548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11806548 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-britt-800x450.jpg\" alt=\"Brittsense\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittsense \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>If you could travel any where in the world, where would it be?\u003c/b>\u003c/p>\n\u003cp>It differs depending on the different chapters in my life, but it’s a toss up between Africa, Cuba, Jamaica, and India.\u003c/p>\n\u003cp>\u003cb>Who is your personal hero? Why?\u003c/b>\u003c/p>\n\u003cp>I think I’m inspired by my people. I’m very inspired by Tupac Shakur, Assata Shakur. My mother inspires me to love unconditionally and teaches me to be strong. Sherrie Glassman is an uplifting force who reminds me to stay positive.\u003c/p>\n\u003cp>\u003cb>How did you find your creative voice?\u003c/b>\u003cbr>\nI think I’m still finding my creative voice. I don’t allow myself to get stuck in one chapter and one phase; I allow myself to evolve. But being from East Oakland and traveling to other cities and being able to experience different cultures and communities has added to my creative voice.\u003c/p>\n\u003cp>\u003cb>What is something most people don’t know about you?\u003c/b>\u003cbr>\nI’m reclusive. People might think I look like I want to stand out with my head wraps, but I don’t like a lot of attention.\u003c/p>\n\u003cp>\u003cb>What do you do when you feel uninspired?\u003c/b>\u003cbr>\nI watch Tupac interviews, I listen to J. Dilla, Anita Baker. I love music. I also like to speak about life and hear people’s stories.\u003c/p>\n\u003cfigure id=\"attachment_11806549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11806549 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-800x450.jpg\" alt=\"Brittsense\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittsense \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s been your biggest ‘learning moment,’ and what did you you take from the experience?\u003c/b>\u003cbr>\nWorking on \u003cem>222 Forgotten Cities\u003c/em> took me out of my comfort zone. I realized that I always want to be a healer and it’s about planting the seeds so that we all can grow. I’ve learned that everything’s a process and nothing instantly happens, and that happiness is a journey.\u003c/p>\n\u003cp>\u003cb>What’s your greatest achievement, and how has it shaped you?\u003c/b>\u003cbr>\nI think a great achievement is waking up and getting to spread the love that I have. No matter what I’ve been through, I just want to love unconditionally. But as far as societal achievements go, I shot my first book cover — \u003cem>Pushout\u003c/em> by Monique Morris, about the criminalization of black girls in schools.\u003c/p>\n\u003cp>\u003cb>Coffee or tea? What kind?\u003c/b>\u003cbr>\nChamomile tea, with a pour of honey. It’s smooth and it relaxes me.\u003c/p>\n\u003cfigure id=\"attachment_11806552\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11806552\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/222Brooklyn-800x533.jpg\" alt=\"'222 Brooklyn,' part of Brittsense's '222 Forgotten Cities: The Power Of Melanin' series.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘222 Brooklyn,’ part of Brittsense’s ‘222 Forgotten Cities: The Power Of Melanin’ series. \u003ccite>(Courtesy of Brittsense)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What does a perfect day look like for you?\u003c/b>\u003cbr>\nI wake up, I meditate, I give thanks to the universe and Ma’at. It depends on what I’m feeling when I wake up — some days I’d want to stay in and listen to music and read, or I can sit at Indian Rock and see the whole Bay Area and just embrace, not think. I don’t really think out my day much — however it flows, I’ll flow with that.\u003c/p>\n\u003cp>\u003cb>Who are your local inspirations?\u003c/b>\u003cbr>\nIt differs because I’m inspired by each moment and I don’t really have one person that I’m inspired by. I think people from East Oakland really inspire me — I love the OGs and the big mamas who look after the neighborhood, I’m inspired by the youth and their innocence and curiosity.\u003c/p>\n\u003cp>\u003cb>Favorite meal?\u003c/b>\u003cbr>\nI don’t eat cheese anymore, but nachos or french fries. On the healthier side, I love spinach, I love kale, salmon — I love coconut oil, because I can also use it on my hair.\u003c/p>\n\u003cfigure id=\"attachment_11806553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11806553\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/222Atlanta-800x533.jpg\" alt=\"'222Atlanta,' part of Brittsense's '222forgottencities: The Power Of Melanin' series.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘222 Atlanta,’ part of Brittsense’s ‘222 Forgotten Cities: The Power Of Melanin’ series. \u003ccite>(Courtesy of Brittsense)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What upcoming show are you excited about?\u003c/b>\u003cbr>\nI’m actually working on putting on an exhibit called \u003ci>The Town\u003c/i> — it’s me and a couple of my homies taking photos of East Oakland on disposable cameras to see everyone’s different perspective of the city. I’m also part of the \u003ca href=\"http://oaklandfenceproject.org/\">Oakland Fence Project \u003c/a>with NAMAC, which is a collaboration with three other youths from East Oakland.\u003c/p>\n\u003cp>\u003cb>Where do you see yourself in five years?\u003c/b>\u003cbr>\nIn five years, I want to have a lot of children, I want to have a lot of land — I don’t want to be in America, for sure. I want to be traveling still. I want to own all of my stuff.\u003c/p>\n\u003cp>\u003cb>If you could live in a book, TV show, movie, play or painting, what would it be?\u003c/b>\u003cbr>\nIf I could live in a music video, I would live either in Janet Jackson’s “Pleasure Principle” or “Drop” by Pharcyde.\u003c/p>\n\u003cp>\u003cb>Where and when can people see you or your art in action?\u003c/b>\u003cbr>\nI’ll be traveling to different places the next few months, but you’ll probably find me shooting in East Oakland.\u003c/p>\n\u003cp>\u003cstrong>Check out Brittsense in action below: \u003c/strong>\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/Zk5P1BhFeRc'\n title='//www.youtube.com/embed/Zk5P1BhFeRc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We\u003c/a> want to hear from you! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-an-artist-of-the-west-a-song-from-hades-and-a-play-about-the-confederate-flag",
"title": "Cy and David's Picks: An Artist of the West, A Song from Hades, and a Play about the Confederate Flag",
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"headTitle": "Cy and David’s Picks: An Artist of the West, A Song from Hades, and a Play about the Confederate Flag | KQED",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/273728708″ params=”color=ff5500&inverse=false&auto_play=false&show_user=true” width=”100%” height=”20″ iframe=”true” /]\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=-ruktixvAUw\u003c/p>\n\u003cp>\u003cstrong>July 16\u003c/strong>: \u003ca href=\"http://www.parkermillsap.com/\" target=\"_blank\" rel=\"noopener\">Parker Milsap\u003c/a> sings about Hades’s (Greek god of the underworld) love for Persephone in the song “Hades Pleads” on his new album (and above). “I’m gonna take you to my house on the Styx, On a long black train going clackety-click.” Great lyrics from a guy who definitely knows his ancient texts. Milsap was a choir boy growing up in his parent’s Pentacostal church. You can hear the influence of Elvis and rockabilly (acoustic bass and fiddle) on his sound, but at just 23, you have to figure Milsap will just get better and better. Details for his show at Slim’s in SF are \u003ca href=\"http://www.slimspresents.com/event/parker-millsap-slims-w-travis-linville/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11815207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815207\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-800x313.jpg\" alt=\"Hollywood by LA Artist Ed Ruscha\" width=\"800\" height=\"313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-800x313.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-400x157.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-768x301.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-1180x462.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-960x376.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hollywood by LA Artist Ed Ruscha \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 16 – Oct. 9\u003c/strong>: So many Californians, my in-laws included, heard California calling and discovered those wide open spaces along Route 66 in the mid-20th Century. Artist Ed Ruscha (roo-SHAY) was one of them, and his paintings, prints, and photos of auto repair shops, billboards, sunsets and roadways have plumbed the myths and realities of Los Angeles and the West ever since. \u003cem>Ed Ruscha and the Great American West\u003c/em> is one of the shows featuring Ruscha, 78, at the de Young Museum. Details \u003ca href=\"https://deyoung.famsf.org/exhibitions/ed-ruscha-and-great-american-west\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815508\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815508\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-698x600.jpg\" alt='\"Geary, Wilshire\" by Ed Ruscha at Crown Point Press' width=\"698\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-698x600.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-400x344.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press.jpg 700w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">“Geary, Wilshire” by Ed Ruscha at Crown Point Press \u003ccite>(Photo: Courtesy of the artist and Crown Point Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sept. 3:\u003c/strong> There’s another Ed Ruscha show, this one of prints he made in San Francisco at Crown Point Press. That’s a CHEAP THRILL! Admission is always free, even if the prints aren’t. Details \u003ca href=\"http://www.crownpoint.com/front-page\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11815361\" class=\"wp-caption aligncenter\" style=\"max-width: 626px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11815361 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940.jpg\" alt='\"85 Feet in Circumference. Mariposa Grove of Mammoth Trees, No. 51\" by Eadweard Muybridge, Wm. H Seward' width=\"626\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940.jpg 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940-400x230.jpg 400w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003cfigcaption class=\"wp-caption-text\">“85 Feet in Circumference. Mariposa Grove of Mammoth Trees, No. 51” by Eadweard Muybridge, Wm. H Seward \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sept. 11\u003c/strong>: And Ruscha is in very good company with Western artists like Chiura Obata, Albert Bierstadt, Maynard Dixon, Ester Hernández, and more in \u003cem>Wild West: Plains to the Pacific\u003c/em> at the Palace of Fine Arts in San Francisco. Details on that show are \u003ca href=\"https://legionofhonor.famsf.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0Zqp0OpzMAI\u003c/p>\n\u003cp>\u003cstrong>July 16 – 30\u003c/strong>: The Carmel Bach Festival combines a beautiful setting with gorgeous music and fresh approaches to the repertory from Artistic Director and Conductor Paul Goodwin. The festival’s mission is to study the deep influence of Bach on music of the past 300 or so years. For Goodwin, that means a production of Mozart’s \u003cem>Idemeneo\u003c/em>, \u003cem>Cloudburst,\u003c/em> Eric Whitacre’s 1992 composition for chorus, and so much more. Details \u003ca href=\"http://www.bachfestival.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11815205 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-800x470.jpg\" alt=\"Maddie (Jessica Lynn Carroll), a presidential candidate's daughter, reveals a secret to journalist Will (Richard Prioleau) in TheatreWorks' production of Confederates\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-1180x693.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-1920x1128.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-960x564.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maddie (Jessica Lynn Carroll), a presidential candidate’s daughter, reveals a secret to journalist Will (Richard Prioleau) in TheatreWorks’ production of Confederates \u003ccite>(Photo: Kevin Berne/Theatreworks Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Aug. 7\u003c/strong>: Theatreworks Silicon Valley in Palo Alto is opening a brand new play called \u003cem>Confederates\u003c/em>. A presidential candidate’s daughter shows a photo of herself wearing her father’s Confederate flag, and nothing else, to an African American reporter and things get very, very complicated. Playwright Suzanne Bradbeer and director Lisa Rothe (ROW-th-ee) developed this play through Theatreworks New Works Festival and in readings in New York. “I don’t think we’re trying to solve any problems,” director Rothe said, “but maybe make people think in a different way. And hopefully theater does that. Especially this year, when politics is looking like theater or reality television.” You can’t vote in November without seeing it. Details \u003ca href=\"http://www.theatreworks.org/shows/1617-season/confederates2016\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=akuzUWiYTdk\u003c/p>\n\u003cp>\u003cstrong>July 20:\u003c/strong> \u003ca href=\"http://hollymiranda.com/\" target=\"_blank\" rel=\"noopener\">Holly Miranda \u003c/a>has a reputation for making any song sound sad, or more accurately, I think, sound soulful. Her new EP is a set of covers including songs by Drake, Morphine, Sparklehorse and others. She’s toured with Tegan and Sara, and was part of the band Jealous Girlfriends. I’d call her a musical explorer and I love following her. Details for her (CHEAP THRILL!) show at The Chapel are \u003ca href=\"http://www.thechapelsf.com/event/1216871-holly-miranda-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-800x590.jpg\" alt=\"Welcome to Night Vale is recording a live podcast at The Fox in Oakland\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-400x295.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Welcome to Night Vale is recording a live podcast at The Fox in Oakland \u003ccite>(Photo: Courtesy of 'Welcome to Night Vale')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 16\u003c/strong>: And we have a shout out for a performance of ghost stories from the spooky podcasters at \u003cem>Welcome to Night Vale\u003c/em>. Details for their show at the Fox in Oakland are \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5232&KeepThis=true&TB_iframe=true&height=600&width=475\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "KQED's Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
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"title": "Cy and David's Picks: An Artist of the West, A Song from Hades, and a Play about the Confederate Flag | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”20″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/273728708″&visual=true&”color=ff5500&inverse=false&auto_play=false&show_user=true”'\n title='”https://api.soundcloud.com/tracks/273728708″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003cbr>\n\u003c/p>\u003c/aside>\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/-ruktixvAUw'\n title='//www.youtube.com/embed/-ruktixvAUw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 16\u003c/strong>: \u003ca href=\"http://www.parkermillsap.com/\" target=\"_blank\" rel=\"noopener\">Parker Milsap\u003c/a> sings about Hades’s (Greek god of the underworld) love for Persephone in the song “Hades Pleads” on his new album (and above). “I’m gonna take you to my house on the Styx, On a long black train going clackety-click.” Great lyrics from a guy who definitely knows his ancient texts. Milsap was a choir boy growing up in his parent’s Pentacostal church. You can hear the influence of Elvis and rockabilly (acoustic bass and fiddle) on his sound, but at just 23, you have to figure Milsap will just get better and better. Details for his show at Slim’s in SF are \u003ca href=\"http://www.slimspresents.com/event/parker-millsap-slims-w-travis-linville/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11815207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815207\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-800x313.jpg\" alt=\"Hollywood by LA Artist Ed Ruscha\" width=\"800\" height=\"313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-800x313.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-400x157.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-768x301.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-1180x462.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-960x376.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hollywood by LA Artist Ed Ruscha \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 16 – Oct. 9\u003c/strong>: So many Californians, my in-laws included, heard California calling and discovered those wide open spaces along Route 66 in the mid-20th Century. Artist Ed Ruscha (roo-SHAY) was one of them, and his paintings, prints, and photos of auto repair shops, billboards, sunsets and roadways have plumbed the myths and realities of Los Angeles and the West ever since. \u003cem>Ed Ruscha and the Great American West\u003c/em> is one of the shows featuring Ruscha, 78, at the de Young Museum. Details \u003ca href=\"https://deyoung.famsf.org/exhibitions/ed-ruscha-and-great-american-west\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815508\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815508\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-698x600.jpg\" alt='\"Geary, Wilshire\" by Ed Ruscha at Crown Point Press' width=\"698\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-698x600.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-400x344.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press.jpg 700w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">“Geary, Wilshire” by Ed Ruscha at Crown Point Press \u003ccite>(Photo: Courtesy of the artist and Crown Point Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sept. 3:\u003c/strong> There’s another Ed Ruscha show, this one of prints he made in San Francisco at Crown Point Press. That’s a CHEAP THRILL! Admission is always free, even if the prints aren’t. Details \u003ca href=\"http://www.crownpoint.com/front-page\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11815361\" class=\"wp-caption aligncenter\" style=\"max-width: 626px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11815361 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940.jpg\" alt='\"85 Feet in Circumference. Mariposa Grove of Mammoth Trees, No. 51\" by Eadweard Muybridge, Wm. H Seward' width=\"626\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940.jpg 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940-400x230.jpg 400w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003cfigcaption class=\"wp-caption-text\">“85 Feet in Circumference. Mariposa Grove of Mammoth Trees, No. 51” by Eadweard Muybridge, Wm. H Seward \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sept. 11\u003c/strong>: And Ruscha is in very good company with Western artists like Chiura Obata, Albert Bierstadt, Maynard Dixon, Ester Hernández, and more in \u003cem>Wild West: Plains to the Pacific\u003c/em> at the Palace of Fine Arts in San Francisco. Details on that show are \u003ca href=\"https://legionofhonor.famsf.org/\" 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/0Zqp0OpzMAI'\n title='//www.youtube.com/embed/0Zqp0OpzMAI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 16 – 30\u003c/strong>: The Carmel Bach Festival combines a beautiful setting with gorgeous music and fresh approaches to the repertory from Artistic Director and Conductor Paul Goodwin. The festival’s mission is to study the deep influence of Bach on music of the past 300 or so years. For Goodwin, that means a production of Mozart’s \u003cem>Idemeneo\u003c/em>, \u003cem>Cloudburst,\u003c/em> Eric Whitacre’s 1992 composition for chorus, and so much more. Details \u003ca href=\"http://www.bachfestival.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11815205 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-800x470.jpg\" alt=\"Maddie (Jessica Lynn Carroll), a presidential candidate's daughter, reveals a secret to journalist Will (Richard Prioleau) in TheatreWorks' production of Confederates\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-1180x693.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-1920x1128.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-960x564.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maddie (Jessica Lynn Carroll), a presidential candidate’s daughter, reveals a secret to journalist Will (Richard Prioleau) in TheatreWorks’ production of Confederates \u003ccite>(Photo: Kevin Berne/Theatreworks Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Aug. 7\u003c/strong>: Theatreworks Silicon Valley in Palo Alto is opening a brand new play called \u003cem>Confederates\u003c/em>. A presidential candidate’s daughter shows a photo of herself wearing her father’s Confederate flag, and nothing else, to an African American reporter and things get very, very complicated. Playwright Suzanne Bradbeer and director Lisa Rothe (ROW-th-ee) developed this play through Theatreworks New Works Festival and in readings in New York. “I don’t think we’re trying to solve any problems,” director Rothe said, “but maybe make people think in a different way. And hopefully theater does that. Especially this year, when politics is looking like theater or reality television.” You can’t vote in November without seeing it. Details \u003ca href=\"http://www.theatreworks.org/shows/1617-season/confederates2016\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/akuzUWiYTdk'\n title='//www.youtube.com/embed/akuzUWiYTdk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 20:\u003c/strong> \u003ca href=\"http://hollymiranda.com/\" target=\"_blank\" rel=\"noopener\">Holly Miranda \u003c/a>has a reputation for making any song sound sad, or more accurately, I think, sound soulful. Her new EP is a set of covers including songs by Drake, Morphine, Sparklehorse and others. She’s toured with Tegan and Sara, and was part of the band Jealous Girlfriends. I’d call her a musical explorer and I love following her. Details for her (CHEAP THRILL!) show at The Chapel are \u003ca href=\"http://www.thechapelsf.com/event/1216871-holly-miranda-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-800x590.jpg\" alt=\"Welcome to Night Vale is recording a live podcast at The Fox in Oakland\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-400x295.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Welcome to Night Vale is recording a live podcast at The Fox in Oakland \u003ccite>(Photo: Courtesy of 'Welcome to Night Vale')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 16\u003c/strong>: And we have a shout out for a performance of ghost stories from the spooky podcasters at \u003cem>Welcome to Night Vale\u003c/em>. Details for their show at the Fox in Oakland are \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5232&KeepThis=true&TB_iframe=true&height=600&width=475\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "burning-man-disputes-2-8m-bill-for-federal-land-use-permit",
"title": "Burning Man Disputes $2.8M Bill for Federal Land Use Permit",
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"headTitle": "Burning Man Disputes $2.8M Bill for Federal Land Use Permit | KQED",
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"content": "\u003cp>Burning Man organizers are disputing their $2.8 million bill from the federal government — the cost last year of hosting its popular outdoor festival in the Black Rock Desert, a national conservation area in Nevada.\u003c/p>\n\u003cp>The festival takes issue with the Bureau of Land Management’s discretion over the weeklong counterculture celebration, claiming that the authority has been overstaffing and overcharging without fully explaining the tab, as first reported by the Reno Gazette-Journal.\u003c/p>\n\u003cp>“If they can’t explain all of it, than we’re asking for all of it back,” said Ray Allen, the San Francisco-based Burning Man organization’s lawyer.\u003c/p>\n\u003cp>But the case also pulls back the curtain on the logistical hurdles and an evolving backstage power struggle behind an event once considered an extreme camping experience that has now achieved widespread popularity with millions in revenue.\u003c/p>\n\u003cp>Held in Nevada since 1990 and known for art displays, dust storms and communal living, this year’s sold-out, 9-day festival in August and September is expected to draw tens of thousands of people to the scorching hot dry lake bed about 100 miles north of Reno. Burning Man — named for the large effigy burned during the festival — estimates more than $30 million in revenues from the 2015 event.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The festival’s special recreation permit from BLM is the largest of its kind in the country. Burning Man agrees to and pays for a cost estimate before the event and the final accounting is provided months after, following a post-event inspection of the site.\u003c/p>\n\u003cp>A BLM spokesman declined to comment on the 2015 cost appeal, but its formal response submitted noted that Burning Man officials were provided with a detailed summary of costs with receipts and that “(f)ederal government agencies are obligated to recover the full cost of providing a special benefit…”\u003c/p>\n\u003cp>The festival is taking the issue to the Interior Department’s internal appeals court, where an administrative law judge will decide on the case. This arbitration process, which could last more than a year, is commonly used for challenges related to grazing or mining uses and fees.\u003c/p>\n\u003cp>BLM contends that Burning Man demands year-round planning and an unparalleled response to protect the public lands given its scope and nature. The 2015 event required 84 law enforcement officers, as decided by the BLM.\u003c/p>\n\u003cp>The festival argues that that many officers aren’t necessary given that more than a thousand Burning Man volunteers also patrol the event and that it has a clean record of taking care of the land. Burning Man said in its appeal that more than half the BLM bill was to pay for labor costs, but that the paperwork lacked specific information about the duties they actually performed.\u003c/p>\n\u003cp>In recent years, a more openly adversarial partnership has surfaced between the festival and the increasing number of local authorities assigned to oversee it. Allen said Burning Man has been stomaching dramatically increasing costs since 2011, when its permit was $730,000.\u003c/p>\n\u003cp>Meanwhile, there’s been a noted crackdown on crime, which in the past has largely been drug-related. A tipping point also came last year when the BLM was forced to publicly rescinded its request for upgraded accommodations for its workers, from flushing toilets to Choco Tacos ice cream, that were derided as lavish and outlandish.\u003c/p>\n\u003cp>But there’s also been recent BLM leadership changes in Nevada. Both the federal authority and Burning Man organizers said planning for the 2016 festival has been going smoothly. The new state director John Rush said BLM staffing numbers are expected to go down this year because communication between both sides are now much improved.\u003c/p>\n\u003cp>“We want to work collaboratively with the system,” Allen said. “New BLM leadership will help us long term. We just need to get over this speed bump. We want the policies clarified moving forward.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"headline": "Burning Man Disputes $2.8M Bill for Federal Land Use Permit",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Burning Man organizers are disputing their $2.8 million bill from the federal government — the cost last year of hosting its popular outdoor festival in the Black Rock Desert, a national conservation area in Nevada.\u003c/p>\n\u003cp>The festival takes issue with the Bureau of Land Management’s discretion over the weeklong counterculture celebration, claiming that the authority has been overstaffing and overcharging without fully explaining the tab, as first reported by the Reno Gazette-Journal.\u003c/p>\n\u003cp>“If they can’t explain all of it, than we’re asking for all of it back,” said Ray Allen, the San Francisco-based Burning Man organization’s lawyer.\u003c/p>\n\u003cp>But the case also pulls back the curtain on the logistical hurdles and an evolving backstage power struggle behind an event once considered an extreme camping experience that has now achieved widespread popularity with millions in revenue.\u003c/p>\n\u003cp>Held in Nevada since 1990 and known for art displays, dust storms and communal living, this year’s sold-out, 9-day festival in August and September is expected to draw tens of thousands of people to the scorching hot dry lake bed about 100 miles north of Reno. Burning Man — named for the large effigy burned during the festival — estimates more than $30 million in revenues from the 2015 event.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival’s special recreation permit from BLM is the largest of its kind in the country. Burning Man agrees to and pays for a cost estimate before the event and the final accounting is provided months after, following a post-event inspection of the site.\u003c/p>\n\u003cp>A BLM spokesman declined to comment on the 2015 cost appeal, but its formal response submitted noted that Burning Man officials were provided with a detailed summary of costs with receipts and that “(f)ederal government agencies are obligated to recover the full cost of providing a special benefit…”\u003c/p>\n\u003cp>The festival is taking the issue to the Interior Department’s internal appeals court, where an administrative law judge will decide on the case. This arbitration process, which could last more than a year, is commonly used for challenges related to grazing or mining uses and fees.\u003c/p>\n\u003cp>BLM contends that Burning Man demands year-round planning and an unparalleled response to protect the public lands given its scope and nature. The 2015 event required 84 law enforcement officers, as decided by the BLM.\u003c/p>\n\u003cp>The festival argues that that many officers aren’t necessary given that more than a thousand Burning Man volunteers also patrol the event and that it has a clean record of taking care of the land. Burning Man said in its appeal that more than half the BLM bill was to pay for labor costs, but that the paperwork lacked specific information about the duties they actually performed.\u003c/p>\n\u003cp>In recent years, a more openly adversarial partnership has surfaced between the festival and the increasing number of local authorities assigned to oversee it. Allen said Burning Man has been stomaching dramatically increasing costs since 2011, when its permit was $730,000.\u003c/p>\n\u003cp>Meanwhile, there’s been a noted crackdown on crime, which in the past has largely been drug-related. A tipping point also came last year when the BLM was forced to publicly rescinded its request for upgraded accommodations for its workers, from flushing toilets to Choco Tacos ice cream, that were derided as lavish and outlandish.\u003c/p>\n\u003cp>But there’s also been recent BLM leadership changes in Nevada. Both the federal authority and Burning Man organizers said planning for the 2016 festival has been going smoothly. The new state director John Rush said BLM staffing numbers are expected to go down this year because communication between both sides are now much improved.\u003c/p>\n\u003cp>“We want to work collaboratively with the system,” Allen said. “New BLM leadership will help us long term. We just need to get over this speed bump. We want the policies clarified moving forward.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>(Editor’s Note: We are deeply saddened by the passing of Amanda Arkansassy Harris. Amanda was a talented artist, a beacon for the queer femme community and an absolute joy to work with. Our hearts go out to everyone in mourning.)\u003c/b>\u003c/p>\n\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Curator and photographer Amanda Arkansassy Harris, a self-proclaimed “queer high femme charmer from the South,” aims to foster safe and creative spaces for marginalized communities through her strikingly intimate photographs. Her most recent portrait series, \u003cem>\u003ca href=\"http://www.femmespace.net/\" target=\"_blank\" rel=\"noopener\">Femme Space\u003c/a>\u003c/em>, is a collaborative project that explores the reclamation of spaces by the queer femme community.\u003c/p>\n\u003cp>\u003cb>Where do you live?\u003c/b>\u003cbr>\nCole Valley, San Francisco — originally from a one-stoplight town in Arkansas.\u003c/p>\n\u003cp>\u003cb>Describe yourself in one word?\u003c/b>\u003cbr>\nGlitterdone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>What did you do last night?\u003c/b>\u003cbr>\nI went to one of my favorite monthly queer bar nights, Uptown Homo at the Uptown in the Mission. With the closing of the Lexington, women and queers have found ways to keep community alive in events like these. It’s a fun, friendly crowd where you can find yourself in conversations about anything from gentrification to kink to a killer BBQ ribs recipe.\u003c/p>\n\u003cfigure id=\"attachment_11666707\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666707 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/amandafb2-800x450.png\" alt=\"Amanda Harris\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/amandafb2.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/amandafb2-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/amandafb2-768x432.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Harris\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What can’t you live without?\u003c/b>\u003cbr>\nArkansas flatland, femme community and solidarity, big gender outfits.\u003c/p>\n\u003cp>\u003cb>If you could travel any where in the world, where would it be?\u003c/b>\u003cbr>\nI have always wanted to visit Dollywood in Tennessee. New Zealand is also at the top of the list for its breathtaking landscapes.\u003c/p>\n\u003cp>\u003cb>Who is your personal hero? Why?\u003c/b>\u003cbr>\nMy sheroes are all feminist country divas like Dolly Parton and Wanda Jackson and femme writers like Dorothy Allison and Amber Hollibaugh. I love each of them for very specific reasons, but what they all have in common is bold strength, individuality, and different ways of thinking and shaping the world — all while still holding onto their roots.\u003c/p>\n\u003cfigure id=\"attachment_11666706\" class=\"wp-caption aligncenter\" style=\"max-width: 718px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666706 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169-718x600.png\" alt=\"Amanda Harris\" width=\"718\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169-718x600.png 718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169-400x334.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169-768x642.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169-960x803.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169.png 1000w\" sizes=\"(max-width: 718px) 100vw, 718px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Harris\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you find your creative voice?\u003c/b>\u003cbr>\nI was really lucky to be raised by an artistic grandmother, my Meme. She would probably never call herself an artist, as a working class rural woman from the South, but I have always viewed her as a huge artistic influence. After I came out at 19, I got involved with an arts-activist organization in Arkansas called Center for Artistic Revolution that used arts for social justice, which really helped hone some of my creative drive for social change movements. At 26 I bought my first SLR camera at B&H in New York and fell in love. I realized just this year at 31 that the things I love photographing the most are queer community and my homeland, which is really just an artistic evolution of the things that matter the most to me and my drive to explore identity, place and belonging.\u003c/p>\n\u003cp>\u003cb>What is something most people don’t know about you?\u003c/b>\u003cbr>\nI am a former pageant queen.\u003c/p>\n\u003cp>\u003cb>[contextly_sidebar id=”rDILQdfK72VZp4UPaJC47ofBOQWYzoOx”]What do you do when you feel uninspired?\u003c/b>\u003cbr>\nI get in my car and drive a couple hours outside of the city — I find some remote and quirky place to visit, usually with a rural vibe. I take my camera and I try to let my surroundings revive a sense of discovery and curiosity inside of me.\u003c/p>\n\u003cp>\u003cb>What’s your biggest ‘learning moment,’ and what did you take from the experience?\u003c/b>\u003cbr>\nMoving to New York from Arkansas when I was 23 was a big “a-ha” for me, but not in the ways that most would expect. I learned a lot about myself, including coming to terms with some of my identities and passions. But I also learned that the South will really always be my home. Around this time I also came out as femme, and I became much more aware of how both straight and queer communities view queer feminine people — often as not “authentic” or “queer enough,” because masculinity is the most valued in our culture.\u003c/p>\n\u003cfigure id=\"attachment_11800759\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11800759\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/8D5A5056-2-400x600.jpg\" alt=\"'Kimmie', 2015\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-960x1440.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Kimmie’, 2015 \u003ccite>(Courtesy of Amanda Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your greatest achievement and how has it shaped you?\u003c/b>\u003cbr>\nMy greatest achievement was coming out as queer and femme — it has shaped so much about my decisions, including where I live, what kind of causes I care about, what kind of friends I have, and generally my lens on the world. Queerness literally saved me.\u003c/p>\n\u003cp>\u003cb>Coffee or tea? What kind? \u003c/b>\u003cbr>\nSoy latte, please.\u003c/p>\n\u003cp>\u003cb>What does a perfect day look like for you?\u003c/b>\u003cbr>\nThere are so many kinds of perfect days in my world. Whether it’s discovering a new place to adventure, going thrifting with femmes, or simply taking my eight-pound Chihuahua-Shiba Inu pup to the dog park, I love little moments of simple joy in a society that consistently tells us we do not have enough to be happy.\u003c/p>\n\u003cp>\u003cb>Who are your local inspirations?\u003c/b>\u003cbr>\nI love so many local artists and activists! \u003ca href=\"http://www.virgietovar.com/\" target=\"_blank\" rel=\"noopener\">Virgie Tovar\u003c/a> for her on-point self-love, pro-fat revolutionary teachings; \u003ca href=\"https://www.instagram.com/lexnonscripta/\" target=\"_blank\" rel=\"noopener\">Lex Non Scripta\u003c/a> for their beautiful art about queerness and resistance; femme photographers and mentors \u003ca href=\"http://www.sarahderagonphotography.com/\" target=\"_blank\" rel=\"noopener\">Sarah Deragon\u003c/a> and \u003ca href=\"http://www.sophiespinelle.com/\" target=\"_blank\" rel=\"noopener\">Sophie Spinelle\u003c/a> who have both taught me a lot about a femme-inist lens in photography. I also have to plug my partner’s swoon-worthy electro band, \u003ca href=\"https://gaymous.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">GAYmous\u003c/a>, which shares clever tunes on queer topics like polyamorous dating, femme-on-femme love, and the art of queer sex.\u003c/p>\n\u003cfigure id=\"attachment_11800773\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11800773 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/8D5A1257-400x600.jpg\" alt=\"'The Lady Ms. Vagina Jenkins', 2015\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-960x1440.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘The Lady Ms. Vagina Jenkins’, 2015 \u003ccite>(Courtesy of Amanda Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Favorite meal?\u003c/b>\u003cbr>\nMy Meme’s biscuits and gravy.\u003c/p>\n\u003cp>\u003cb>Where do you see yourself in 5 years?\u003c/b>\u003cbr>\nAs a better version of myself with more life lessons under my garter belt.\u003c/p>\n\u003cp>\u003cb>If you could live in a book, TV show, movie, play or painting, what would it be?\u003c/b>\u003cbr>\nIt hasn’t been written yet (to my knowledge), but I’m looking forward to media exploring a futuristic femme oligarchy. Until then, \u003cem>Steel Magnolias\u003c/em> will do.\u003c/p>\n\u003cp>\u003cb>Where and when can people see you or your art in action?\u003c/b>\u003cbr>\n\u003ca href=\"https://www.facebook.com/FemmeSpacePhoto/\" target=\"_blank\" rel=\"noopener\">https://www.facebook.com/FemmeSpacePhoto/\u003c/a>\u003cbr>\n\u003ca href=\"http://www.femmespace.net\" target=\"_blank\" rel=\"noopener\">http://www.femmespace.net\u003c/a>\u003cbr>\n\u003ca href=\"http://www.arkansassy.com\" target=\"_blank\" rel=\"noopener\">http://www.arkansassy.com\u003c/a>\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We\u003c/a> want to hear from you! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>(Editor’s Note: We are deeply saddened by the passing of Amanda Arkansassy Harris. Amanda was a talented artist, a beacon for the queer femme community and an absolute joy to work with. Our hearts go out to everyone in mourning.)\u003c/b>\u003c/p>\n\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Curator and photographer Amanda Arkansassy Harris, a self-proclaimed “queer high femme charmer from the South,” aims to foster safe and creative spaces for marginalized communities through her strikingly intimate photographs. Her most recent portrait series, \u003cem>\u003ca href=\"http://www.femmespace.net/\" target=\"_blank\" rel=\"noopener\">Femme Space\u003c/a>\u003c/em>, is a collaborative project that explores the reclamation of spaces by the queer femme community.\u003c/p>\n\u003cp>\u003cb>Where do you live?\u003c/b>\u003cbr>\nCole Valley, San Francisco — originally from a one-stoplight town in Arkansas.\u003c/p>\n\u003cp>\u003cb>Describe yourself in one word?\u003c/b>\u003cbr>\nGlitterdone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>What did you do last night?\u003c/b>\u003cbr>\nI went to one of my favorite monthly queer bar nights, Uptown Homo at the Uptown in the Mission. With the closing of the Lexington, women and queers have found ways to keep community alive in events like these. It’s a fun, friendly crowd where you can find yourself in conversations about anything from gentrification to kink to a killer BBQ ribs recipe.\u003c/p>\n\u003cfigure id=\"attachment_11666707\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666707 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/amandafb2-800x450.png\" alt=\"Amanda Harris\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/amandafb2.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/amandafb2-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/amandafb2-768x432.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Harris\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What can’t you live without?\u003c/b>\u003cbr>\nArkansas flatland, femme community and solidarity, big gender outfits.\u003c/p>\n\u003cp>\u003cb>If you could travel any where in the world, where would it be?\u003c/b>\u003cbr>\nI have always wanted to visit Dollywood in Tennessee. New Zealand is also at the top of the list for its breathtaking landscapes.\u003c/p>\n\u003cp>\u003cb>Who is your personal hero? Why?\u003c/b>\u003cbr>\nMy sheroes are all feminist country divas like Dolly Parton and Wanda Jackson and femme writers like Dorothy Allison and Amber Hollibaugh. I love each of them for very specific reasons, but what they all have in common is bold strength, individuality, and different ways of thinking and shaping the world — all while still holding onto their roots.\u003c/p>\n\u003cfigure id=\"attachment_11666706\" class=\"wp-caption aligncenter\" style=\"max-width: 718px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666706 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169-718x600.png\" alt=\"Amanda Harris\" width=\"718\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169-718x600.png 718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169-400x334.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169-768x642.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169-960x803.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169.png 1000w\" sizes=\"(max-width: 718px) 100vw, 718px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Harris\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you find your creative voice?\u003c/b>\u003cbr>\nI was really lucky to be raised by an artistic grandmother, my Meme. She would probably never call herself an artist, as a working class rural woman from the South, but I have always viewed her as a huge artistic influence. After I came out at 19, I got involved with an arts-activist organization in Arkansas called Center for Artistic Revolution that used arts for social justice, which really helped hone some of my creative drive for social change movements. At 26 I bought my first SLR camera at B&H in New York and fell in love. I realized just this year at 31 that the things I love photographing the most are queer community and my homeland, which is really just an artistic evolution of the things that matter the most to me and my drive to explore identity, place and belonging.\u003c/p>\n\u003cp>\u003cb>What is something most people don’t know about you?\u003c/b>\u003cbr>\nI am a former pageant queen.\u003c/p>\n\u003cp>\u003cb>\u003c/p>\u003cp>\u003c/p>\u003cp>What do you do when you feel uninspired?\u003c/b>\u003cbr>\nI get in my car and drive a couple hours outside of the city — I find some remote and quirky place to visit, usually with a rural vibe. I take my camera and I try to let my surroundings revive a sense of discovery and curiosity inside of me.\u003c/p>\n\u003cp>\u003cb>What’s your biggest ‘learning moment,’ and what did you take from the experience?\u003c/b>\u003cbr>\nMoving to New York from Arkansas when I was 23 was a big “a-ha” for me, but not in the ways that most would expect. I learned a lot about myself, including coming to terms with some of my identities and passions. But I also learned that the South will really always be my home. Around this time I also came out as femme, and I became much more aware of how both straight and queer communities view queer feminine people — often as not “authentic” or “queer enough,” because masculinity is the most valued in our culture.\u003c/p>\n\u003cfigure id=\"attachment_11800759\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11800759\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/8D5A5056-2-400x600.jpg\" alt=\"'Kimmie', 2015\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-960x1440.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Kimmie’, 2015 \u003ccite>(Courtesy of Amanda Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your greatest achievement and how has it shaped you?\u003c/b>\u003cbr>\nMy greatest achievement was coming out as queer and femme — it has shaped so much about my decisions, including where I live, what kind of causes I care about, what kind of friends I have, and generally my lens on the world. Queerness literally saved me.\u003c/p>\n\u003cp>\u003cb>Coffee or tea? What kind? \u003c/b>\u003cbr>\nSoy latte, please.\u003c/p>\n\u003cp>\u003cb>What does a perfect day look like for you?\u003c/b>\u003cbr>\nThere are so many kinds of perfect days in my world. Whether it’s discovering a new place to adventure, going thrifting with femmes, or simply taking my eight-pound Chihuahua-Shiba Inu pup to the dog park, I love little moments of simple joy in a society that consistently tells us we do not have enough to be happy.\u003c/p>\n\u003cp>\u003cb>Who are your local inspirations?\u003c/b>\u003cbr>\nI love so many local artists and activists! \u003ca href=\"http://www.virgietovar.com/\" target=\"_blank\" rel=\"noopener\">Virgie Tovar\u003c/a> for her on-point self-love, pro-fat revolutionary teachings; \u003ca href=\"https://www.instagram.com/lexnonscripta/\" target=\"_blank\" rel=\"noopener\">Lex Non Scripta\u003c/a> for their beautiful art about queerness and resistance; femme photographers and mentors \u003ca href=\"http://www.sarahderagonphotography.com/\" target=\"_blank\" rel=\"noopener\">Sarah Deragon\u003c/a> and \u003ca href=\"http://www.sophiespinelle.com/\" target=\"_blank\" rel=\"noopener\">Sophie Spinelle\u003c/a> who have both taught me a lot about a femme-inist lens in photography. I also have to plug my partner’s swoon-worthy electro band, \u003ca href=\"https://gaymous.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">GAYmous\u003c/a>, which shares clever tunes on queer topics like polyamorous dating, femme-on-femme love, and the art of queer sex.\u003c/p>\n\u003cfigure id=\"attachment_11800773\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11800773 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/8D5A1257-400x600.jpg\" alt=\"'The Lady Ms. Vagina Jenkins', 2015\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-960x1440.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘The Lady Ms. Vagina Jenkins’, 2015 \u003ccite>(Courtesy of Amanda Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Favorite meal?\u003c/b>\u003cbr>\nMy Meme’s biscuits and gravy.\u003c/p>\n\u003cp>\u003cb>Where do you see yourself in 5 years?\u003c/b>\u003cbr>\nAs a better version of myself with more life lessons under my garter belt.\u003c/p>\n\u003cp>\u003cb>If you could live in a book, TV show, movie, play or painting, what would it be?\u003c/b>\u003cbr>\nIt hasn’t been written yet (to my knowledge), but I’m looking forward to media exploring a futuristic femme oligarchy. Until then, \u003cem>Steel Magnolias\u003c/em> will do.\u003c/p>\n\u003cp>\u003cb>Where and when can people see you or your art in action?\u003c/b>\u003cbr>\n\u003ca href=\"https://www.facebook.com/FemmeSpacePhoto/\" target=\"_blank\" rel=\"noopener\">https://www.facebook.com/FemmeSpacePhoto/\u003c/a>\u003cbr>\n\u003ca href=\"http://www.femmespace.net\" target=\"_blank\" rel=\"noopener\">http://www.femmespace.net\u003c/a>\u003cbr>\n\u003ca href=\"http://www.arkansassy.com\" target=\"_blank\" rel=\"noopener\">http://www.arkansassy.com\u003c/a>\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We\u003c/a> want to hear from you! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At LA's MOCA, a Celebrated Chef Serves Up Dinner as Art Installation",
"headTitle": "At LA’s MOCA, a Celebrated Chef Serves Up Dinner as Art Installation | KQED",
"content": "\u003cp>Many chefs think of themselves as artists in the kitchen. Craig Thornton has taken it to another level: For the past five months, he’s been serving up multi-course meals as part of a room-size installation at the prestigious Museum of Contemporary Art in Los Angeles.\u003c/p>\n\u003cp>Thornton, 34, is a cult figure in LA’s booming food scene. And for this pop-up dining experiment, he whipped up a rococo menu. A typical dish — if typical is a word that even applies — might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin.\u003c/p>\n\u003cfigure id=\"attachment_11803314\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1180x944.jpg\" alt=\"Chef Craig Thornton, 34, is something of a cult figure in LA's food scene.\" width=\"640\" height=\"512\" class=\"size-large wp-image-11803314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1920x1536.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chef Craig Thornton, 34, is something of a cult figure in LA’s food scene. \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was just one of nine elaborate dishes served within MOCA’s Geffen Contemporary location, in what looked like the set of a dystopian Disney film — a space replete with taxidermied deer, wolves and peacocks arranged in a forest of cherry trees, some of them burnt. \u003cem>Wolvesmouth: Taxa\u003c/em>, as this unorthodox eating experience was called, just closed after a five-month residency. It was the most recent iteration of a roving restaurant that Thornton has run for years — sometimes in warehouses, sometimes in apartments and usually with more amenities.\u003c/p>\n\u003cp>“We’re cooking in the middle of a museum with no running water,” Thornton said ruefully during a recent dinner. “I mean, we have to know how much water we’re using.” (The answer: 75 to 85 gallons per night.)\u003c/p>\n\u003cfigure id=\"attachment_11803315\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1180x663.jpg\" alt=\"Thornton's menu for 'Wolvesmouth: Taxa' featured nine elaborate dishes. A typical dish might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin\" width=\"640\" height=\"360\" class=\"size-large wp-image-11803315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Thornton’s menu for ‘Wolvesmouth: Taxa’ featured nine elaborate dishes. A typical dish might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s funny to think that for the past several months, Thornton — a chef behind some of the most coveted reservations in Los Angeles — has had to finish each night lugging and emptying gallons of water into a tiny painters’ sink in the back of the museum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ordinarily, dining on Thornton’s carefully curated meals means months of languishing on waitlists. But at MOCA — two seatings a night, three days a week — Angeleno foodies could pay $225 for a multisensory experience in which art and food were intended to be one seamless experience. For example, one massive sculpture, a 2,000-pound iceberg sculpted from Styrofoam, was planned to complement a dish of chili-seasoned shrimp — “the spice being this kind of metaphor for heat melting glaciers,” Thornton explained.\u003c/p>\n\u003cp>Along with silverware and napkins, diners were furnished with a manifesto of sorts that laid out the chef’s thoughts about greed, nature and decay. They were urged to contemplate what it means to consume, and to discuss those thoughts with each other and with the staff busily plating their dinners. Nearby, a sculpture depicts an oil spill and the taxidermied animals are depicted struggling in the muck.\u003c/p>\n\u003cfigure id=\"attachment_11803316\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1180x786.jpg\" alt=\"Diners were urged to contemplate about what it means to consume. Near their dinner table, a sculpture depicts an oil spill — the taxidermied animals are depicted struggling in the muck.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11803316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Diners were urged to contemplate about what it means to consume. Near their dinner table, a sculpture depicts an oil spill — the taxidermied animals are depicted struggling in the muck. \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a lot to take in as a viewer and as an eater,” says Carolina Miranda, an art critic for the \u003cem>Los Angeles Times\u003c/em>. “I think if you could think of a crazy action movie on the palate, I think that’s almost what he’s going for.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a city known for both cutting-edge food and contemporary art, Miranda says it’s smart for MOCA to lure patrons with an over-the top immersive experience. \u003cem>Wolvesmouth:Taxa\u003c/em> was Part 3 of a planned series of nine culinary installations taking place over the next few years. Thornton says the 10th will combine elements of all of the dinners that preceded it. \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=At+LA%27s+MOCA%2C+A+Celebrated+Chef+Serves+Up+Dinner+As+Art+Installation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many chefs think of themselves as artists in the kitchen. Craig Thornton has taken it to another level: For the past five months, he’s been serving up multi-course meals as part of a room-size installation at the prestigious Museum of Contemporary Art in Los Angeles.\u003c/p>\n\u003cp>Thornton, 34, is a cult figure in LA’s booming food scene. And for this pop-up dining experiment, he whipped up a rococo menu. A typical dish — if typical is a word that even applies — might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin.\u003c/p>\n\u003cfigure id=\"attachment_11803314\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1180x944.jpg\" alt=\"Chef Craig Thornton, 34, is something of a cult figure in LA's food scene.\" width=\"640\" height=\"512\" class=\"size-large wp-image-11803314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1920x1536.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chef Craig Thornton, 34, is something of a cult figure in LA’s food scene. \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was just one of nine elaborate dishes served within MOCA’s Geffen Contemporary location, in what looked like the set of a dystopian Disney film — a space replete with taxidermied deer, wolves and peacocks arranged in a forest of cherry trees, some of them burnt. \u003cem>Wolvesmouth: Taxa\u003c/em>, as this unorthodox eating experience was called, just closed after a five-month residency. It was the most recent iteration of a roving restaurant that Thornton has run for years — sometimes in warehouses, sometimes in apartments and usually with more amenities.\u003c/p>\n\u003cp>“We’re cooking in the middle of a museum with no running water,” Thornton said ruefully during a recent dinner. “I mean, we have to know how much water we’re using.” (The answer: 75 to 85 gallons per night.)\u003c/p>\n\u003cfigure id=\"attachment_11803315\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1180x663.jpg\" alt=\"Thornton's menu for 'Wolvesmouth: Taxa' featured nine elaborate dishes. A typical dish might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin\" width=\"640\" height=\"360\" class=\"size-large wp-image-11803315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Thornton’s menu for ‘Wolvesmouth: Taxa’ featured nine elaborate dishes. A typical dish might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s funny to think that for the past several months, Thornton — a chef behind some of the most coveted reservations in Los Angeles — has had to finish each night lugging and emptying gallons of water into a tiny painters’ sink in the back of the museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ordinarily, dining on Thornton’s carefully curated meals means months of languishing on waitlists. But at MOCA — two seatings a night, three days a week — Angeleno foodies could pay $225 for a multisensory experience in which art and food were intended to be one seamless experience. For example, one massive sculpture, a 2,000-pound iceberg sculpted from Styrofoam, was planned to complement a dish of chili-seasoned shrimp — “the spice being this kind of metaphor for heat melting glaciers,” Thornton explained.\u003c/p>\n\u003cp>Along with silverware and napkins, diners were furnished with a manifesto of sorts that laid out the chef’s thoughts about greed, nature and decay. They were urged to contemplate what it means to consume, and to discuss those thoughts with each other and with the staff busily plating their dinners. Nearby, a sculpture depicts an oil spill and the taxidermied animals are depicted struggling in the muck.\u003c/p>\n\u003cfigure id=\"attachment_11803316\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1180x786.jpg\" alt=\"Diners were urged to contemplate about what it means to consume. Near their dinner table, a sculpture depicts an oil spill — the taxidermied animals are depicted struggling in the muck.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11803316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Diners were urged to contemplate about what it means to consume. Near their dinner table, a sculpture depicts an oil spill — the taxidermied animals are depicted struggling in the muck. \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a lot to take in as a viewer and as an eater,” says Carolina Miranda, an art critic for the \u003cem>Los Angeles Times\u003c/em>. “I think if you could think of a crazy action movie on the palate, I think that’s almost what he’s going for.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a city known for both cutting-edge food and contemporary art, Miranda says it’s smart for MOCA to lure patrons with an over-the top immersive experience. \u003cem>Wolvesmouth:Taxa\u003c/em> was Part 3 of a planned series of nine culinary installations taking place over the next few years. Thornton says the 10th will combine elements of all of the dinners that preceded it. \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=At+LA%27s+MOCA%2C+A+Celebrated+Chef+Serves+Up+Dinner+As+Art+Installation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "women-to-watch-lily-chou",
"title": "Women to Watch: Lily Chou",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Lily Chou has braved mosh pits and thoughtless stage divers to take some of the best photos of the Bay Area’s underground music scene. A special events photographer who DJs at KALX, Chou has expanded her passion to making an online video series called \u003cem>JetLag RocknRoll.\u003c/em> A travel show, \u003cem>JetLag RocknRoll\u003c/em> takes viewers behind the scenes and around the world by joining forces with indie music makers, who share quintessential record stores, intimate venues where you can do the bop, the pop, or the cretin hop, tasty eateries that won’t bust your budget, and other rock ‘n’ roll travel essentials.[contextly_sidebar id=”DVL7Zrh626XkO7jfHHLzrr5vKbeYdgrb”]\u003c/p>\n\u003cp>\u003cstrong>Where do you live?\u003c/strong>\u003c/p>\n\u003cp>Southside Berkeley.\u003c/p>\n\u003cp>\u003cstrong>Describe yourself in one word?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Resourceful.\u003c/p>\n\u003cp>\u003cstrong>What did you do last night?\u003c/strong>\u003c/p>\n\u003cp>I spent last night cringing and laughing through Todd Solondz’s latest film \u003cem>Weiner-Dog\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>What can’t you live without?\u003c/strong>\u003c/p>\n\u003cp>You mean \u003cem>who\u003c/em>. My husband — my soulmate and partner in crime.\u003c/p>\n\u003cp>\u003cstrong>If you could travel anywhere in the world, where would it be?\u003c/strong>\u003c/p>\n\u003cp>There’s no “if” here — if I want to travel somewhere, I’ll find a way to do it!\u003c/p>\n\u003cp>\u003cstrong>Who is your personal hero? Why? \u003c/strong>\u003c/p>\n\u003cp>I admire the talents and achievements of a lot of people but I don’t have any specific heroes. There’s no one person I aspire to be.\u003c/p>\n\u003cfigure id=\"attachment_11641392\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11641392 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/lilyalt1-800x450.png\" alt=\"Lily Chou\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilyalt1.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilyalt1-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilyalt1-768x432.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lily Chou.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you find your creative voice?\u003c/strong>\u003c/p>\n\u003cp>First off, let me say that I don’t think I’m very creative. I don’t consider myself an artist or a “creative.” As far as photography and videography, I’m usually just capturing what I see to share with others, to document a moment in time. Writing is more of a creative outlet for me, and I’d say it found me. I was drawn to my mom’s manual Remington typewriter (the kind where you have to punch down on the keys really hard) when I was 10, and taught myself to type by coming up with ridiculous, elaborate stories about modern-day dogs having adventures in the world of \u003cem>Little House on the Prairie\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>What is something most people don’t know about you?\u003c/strong>\u003c/p>\n\u003cp>I grew up in a motel for half of my child- and teenhood.\u003c/p>\n\u003cfigure id=\"attachment_11758801\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758801\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-800x533.jpg\" alt=\"Photo of Nobunny at Thee Parkside \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3.jpg 1296w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nobunny at Thee Parkside. \u003ccite>(Lily Chou)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you do when you feel uninspired?\u003c/strong>\u003c/p>\n\u003cp>I watch a film like \u003cem>Chungking Express\u003c/em>. I find the colors, mood, music, and details in them so compelling.\u003c/p>\n\u003cp>\u003cstrong>What’s your biggest ‘learning moment,’ and what did you you take from that experience?\u003c/strong>\u003c/p>\n\u003cp>When I was six years old, my parents started making me do things for myself. I’d wake myself up in the morning in time to get dressed, fix myself breakfast, and walk to school a few blocks away; after school, I could watch as much TV as I wanted as long as I bathed myself and put myself to bed so that I could readily repeat the sequence the next day. I taught myself to type, ride a bike, perform first aid, deal with bullies, pierce my own ears, ride public transit… Whether it was lazy parenting or a calculated move on their part, the self-reliance and independence I learned has stayed with me and I’m forever grateful.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1uPqlxfIHD0\u003c/p>\n\u003cp>\u003cstrong>What’s your greatest achievement and how has it shaped you?\u003c/strong>\u003c/p>\n\u003cp>Even though I have a fourth-degree black belt now, training for my second-degree black belt unleashed an unexpected maelstrom of self-doubt and fear of failure. Working through my agonizing feelings of inadequacy, completing the strenuous physical test, and earning that second stripe helped me realize that, as long as I work hard, acknowledge my weaknesses, and don’t stress out about perfection, there’s no reason to fear venturing into new territory.\u003c/p>\n\u003cp>\u003cstrong>Coffee or tea? What kind?\u003c/strong>\u003c/p>\n\u003cp>I don’t regularly drink either but I do love a smooth, dark roast that pairs well with a sweet, preferably chocolatey treat. And, while I appreciate subtle, high-end teas, I’m known to enjoy boba-fied brown rice, oolong, or jasmine green tea.\u003cbr>\n\u003cstrong>\u003cbr>\nWhat does a perfect day look like for you?\u003c/strong>\u003c/p>\n\u003cp>A perfect day means no computer and no looming deadlines, freeing me up to live life, be it taking a stroll, working out, catching up with friends, eating something delicious, or exploring a new-to-me part of the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_11758806\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758806\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/lily-body-wp-480x600.png\" alt=\"Lily Chou\" width=\"480\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp-480x600.png 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp-400x500.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp-768x960.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp-944x1180.png 944w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp-960x1200.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp.png 1125w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Lily Chou. \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Who are your local inspirations?\u003c/strong>\u003c/p>\n\u003cp>Marcy Gordon, my friend and wine/travel blogger, wows me with her wit and keen sense of observation. My martial arts instructor Norman Link never ceases to amaze me with his vast knowledge, abilities, and life experiences, as well as his compassion and sense of humor. His wife and fellow martial artist Susan Link beat breast cancer and continues to run 15 miles a day — for fun!\u003c/p>\n\u003cp>\u003cstrong>Favorite meal? \u003c/strong>\u003c/p>\n\u003cp>The omakase course meal of sushi and cooked seafood at Mashiko in West Seattle.\u003c/p>\n\u003cp>\u003cstrong>What upcoming show are you excited about?\u003c/strong>\u003c/p>\n\u003cp>I’m looking forward to the Mystery Lights show at the Rickshaw Stop on July 31.\u003c/p>\n\u003cp>\u003cstrong>Where do you see yourself in 5 years?\u003c/strong>\u003c/p>\n\u003cp>Ask me again in 4.5 years.\u003cbr>\n\u003cstrong>\u003cbr>\nIf you could live in a book, TV show, movie, play or painting what would it be?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Amelie.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Where and when can people see you or your art in action?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>JetLag RocknRoll\u003c/em> video series: \u003ca href=\"http://jetlagrnr.com/\" target=\"_blank\" rel=\"noopener\">jetlagrnr.com\u003c/a>.\u003c/p>\n\u003cp>Photography: \u003ca href=\"http://www.wildaboutyouphotography.com/\" target=\"_blank\" rel=\"noopener\">www.wildaboutyouphotography.com\u003c/a>.\u003c/p>\n\u003cp>Travel and band photography: \u003ca href=\"http://www.instagram.com/jetlagrnr/\" target=\"_blank\" rel=\"noopener\">www.instagram.com/jetlagrnr\u003c/a>.\u003c/p>\n\u003cp>I can also be heard on occasion at: \u003ca href=\"http://kalx.berkeley.edu\" target=\"_blank\" rel=\"noopener\">kalx.berkeley.edu\u003c/a>.\u003c/p>\n\u003cp>And you can read my writing at: \u003ca href=\"https://jetlagrnr.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Messin Around: Rambling Non Sequiturs of a Hyperactive Mind\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We\u003c/a> want to hear from you! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Lily Chou has braved mosh pits and stage divers to take some of the best photos of the Bay Area's underground music scene; she's also recently launched a travel series, 'JetLag RocknRoll.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Lily Chou has braved mosh pits and thoughtless stage divers to take some of the best photos of the Bay Area’s underground music scene. A special events photographer who DJs at KALX, Chou has expanded her passion to making an online video series called \u003cem>JetLag RocknRoll.\u003c/em> A travel show, \u003cem>JetLag RocknRoll\u003c/em> takes viewers behind the scenes and around the world by joining forces with indie music makers, who share quintessential record stores, intimate venues where you can do the bop, the pop, or the cretin hop, tasty eateries that won’t bust your budget, and other rock ‘n’ roll travel essentials.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Where do you live?\u003c/strong>\u003c/p>\n\u003cp>Southside Berkeley.\u003c/p>\n\u003cp>\u003cstrong>Describe yourself in one word?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Resourceful.\u003c/p>\n\u003cp>\u003cstrong>What did you do last night?\u003c/strong>\u003c/p>\n\u003cp>I spent last night cringing and laughing through Todd Solondz’s latest film \u003cem>Weiner-Dog\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>What can’t you live without?\u003c/strong>\u003c/p>\n\u003cp>You mean \u003cem>who\u003c/em>. My husband — my soulmate and partner in crime.\u003c/p>\n\u003cp>\u003cstrong>If you could travel anywhere in the world, where would it be?\u003c/strong>\u003c/p>\n\u003cp>There’s no “if” here — if I want to travel somewhere, I’ll find a way to do it!\u003c/p>\n\u003cp>\u003cstrong>Who is your personal hero? Why? \u003c/strong>\u003c/p>\n\u003cp>I admire the talents and achievements of a lot of people but I don’t have any specific heroes. There’s no one person I aspire to be.\u003c/p>\n\u003cfigure id=\"attachment_11641392\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11641392 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/lilyalt1-800x450.png\" alt=\"Lily Chou\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilyalt1.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilyalt1-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilyalt1-768x432.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lily Chou.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you find your creative voice?\u003c/strong>\u003c/p>\n\u003cp>First off, let me say that I don’t think I’m very creative. I don’t consider myself an artist or a “creative.” As far as photography and videography, I’m usually just capturing what I see to share with others, to document a moment in time. Writing is more of a creative outlet for me, and I’d say it found me. I was drawn to my mom’s manual Remington typewriter (the kind where you have to punch down on the keys really hard) when I was 10, and taught myself to type by coming up with ridiculous, elaborate stories about modern-day dogs having adventures in the world of \u003cem>Little House on the Prairie\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>What is something most people don’t know about you?\u003c/strong>\u003c/p>\n\u003cp>I grew up in a motel for half of my child- and teenhood.\u003c/p>\n\u003cfigure id=\"attachment_11758801\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758801\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-800x533.jpg\" alt=\"Photo of Nobunny at Thee Parkside \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3.jpg 1296w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nobunny at Thee Parkside. \u003ccite>(Lily Chou)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you do when you feel uninspired?\u003c/strong>\u003c/p>\n\u003cp>I watch a film like \u003cem>Chungking Express\u003c/em>. I find the colors, mood, music, and details in them so compelling.\u003c/p>\n\u003cp>\u003cstrong>What’s your biggest ‘learning moment,’ and what did you you take from that experience?\u003c/strong>\u003c/p>\n\u003cp>When I was six years old, my parents started making me do things for myself. I’d wake myself up in the morning in time to get dressed, fix myself breakfast, and walk to school a few blocks away; after school, I could watch as much TV as I wanted as long as I bathed myself and put myself to bed so that I could readily repeat the sequence the next day. I taught myself to type, ride a bike, perform first aid, deal with bullies, pierce my own ears, ride public transit… Whether it was lazy parenting or a calculated move on their part, the self-reliance and independence I learned has stayed with me and I’m forever grateful.\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/1uPqlxfIHD0'\n title='//www.youtube.com/embed/1uPqlxfIHD0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What’s your greatest achievement and how has it shaped you?\u003c/strong>\u003c/p>\n\u003cp>Even though I have a fourth-degree black belt now, training for my second-degree black belt unleashed an unexpected maelstrom of self-doubt and fear of failure. Working through my agonizing feelings of inadequacy, completing the strenuous physical test, and earning that second stripe helped me realize that, as long as I work hard, acknowledge my weaknesses, and don’t stress out about perfection, there’s no reason to fear venturing into new territory.\u003c/p>\n\u003cp>\u003cstrong>Coffee or tea? What kind?\u003c/strong>\u003c/p>\n\u003cp>I don’t regularly drink either but I do love a smooth, dark roast that pairs well with a sweet, preferably chocolatey treat. And, while I appreciate subtle, high-end teas, I’m known to enjoy boba-fied brown rice, oolong, or jasmine green tea.\u003cbr>\n\u003cstrong>\u003cbr>\nWhat does a perfect day look like for you?\u003c/strong>\u003c/p>\n\u003cp>A perfect day means no computer and no looming deadlines, freeing me up to live life, be it taking a stroll, working out, catching up with friends, eating something delicious, or exploring a new-to-me part of the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_11758806\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758806\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/lily-body-wp-480x600.png\" alt=\"Lily Chou\" width=\"480\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp-480x600.png 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp-400x500.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp-768x960.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp-944x1180.png 944w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp-960x1200.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp.png 1125w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Lily Chou. \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Who are your local inspirations?\u003c/strong>\u003c/p>\n\u003cp>Marcy Gordon, my friend and wine/travel blogger, wows me with her wit and keen sense of observation. My martial arts instructor Norman Link never ceases to amaze me with his vast knowledge, abilities, and life experiences, as well as his compassion and sense of humor. His wife and fellow martial artist Susan Link beat breast cancer and continues to run 15 miles a day — for fun!\u003c/p>\n\u003cp>\u003cstrong>Favorite meal? \u003c/strong>\u003c/p>\n\u003cp>The omakase course meal of sushi and cooked seafood at Mashiko in West Seattle.\u003c/p>\n\u003cp>\u003cstrong>What upcoming show are you excited about?\u003c/strong>\u003c/p>\n\u003cp>I’m looking forward to the Mystery Lights show at the Rickshaw Stop on July 31.\u003c/p>\n\u003cp>\u003cstrong>Where do you see yourself in 5 years?\u003c/strong>\u003c/p>\n\u003cp>Ask me again in 4.5 years.\u003cbr>\n\u003cstrong>\u003cbr>\nIf you could live in a book, TV show, movie, play or painting what would it be?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Amelie.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Where and when can people see you or your art in action?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>JetLag RocknRoll\u003c/em> video series: \u003ca href=\"http://jetlagrnr.com/\" target=\"_blank\" rel=\"noopener\">jetlagrnr.com\u003c/a>.\u003c/p>\n\u003cp>Photography: \u003ca href=\"http://www.wildaboutyouphotography.com/\" target=\"_blank\" rel=\"noopener\">www.wildaboutyouphotography.com\u003c/a>.\u003c/p>\n\u003cp>Travel and band photography: \u003ca href=\"http://www.instagram.com/jetlagrnr/\" target=\"_blank\" rel=\"noopener\">www.instagram.com/jetlagrnr\u003c/a>.\u003c/p>\n\u003cp>I can also be heard on occasion at: \u003ca href=\"http://kalx.berkeley.edu\" target=\"_blank\" rel=\"noopener\">kalx.berkeley.edu\u003c/a>.\u003c/p>\n\u003cp>And you can read my writing at: \u003ca href=\"https://jetlagrnr.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Messin Around: Rambling Non Sequiturs of a Hyperactive Mind\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Galería de la Raza Denied Long-Term Lease For San Francisco Space",
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"content": "\u003cp>San Francisco’s \u003ca href=\"http://www.galeriadelaraza.org/index.php\" target=\"_blank\" rel=\"noopener\">Galería de la Raza\u003c/a> has been told by its landlord that it will not be given a long-term lease for the space it’s occupied in the Mission District for over 43 years, gallery representatives announced Thursday.\u003c/p>\n\u003cp>Galería’s Executive Director Ani Rivera sent a mass email to its supporters Thursday stating that after more than a year of talks, the owners of the gallery space on 24th street and Bryant have refused to change their current month-to-month arrangement.\u003c/p>\n\u003cp>“Given the demographic and economic changes happening in the city and in the Mission District, we felt that it was appropriate and pressing for us to begin a ‘place keeping’ process. Above all, we aimed to secure a home for Galería, preferably in the space where we’ve called home for the last 4+ decades,” Rivera wrote. “However, we regret to inform you that our landlord has turned down our request to enter into conversation to negotiate a long-term lease. They resolutely stated that they have no interest in our offer and have no intention of revisiting the matter in the near future. For now, the rental agreement will continue on a month-to-month basis.” \u003c/p>\n\u003cp>Founded in 1970 by a group of Chicano artists and community activists, Galería has been a cultural focal point in the Mission District ever since it began. But now as the identity of the neighborhood changes due to the influx of new, wealthier residents, Rivera says she’s concerned that it will become more difficult to keep around. \u003c/p>\n\u003cp>“Galeria for many in the community is a safe space, and it’s also at the verge of going under,” Rivera said in an earlier interview with KQED Arts. “So I am in a constant mourning, I am in a constant action, trying to figure out how to protect, how to sustain, and this incidents of violence that get inflict upon us. We constantly walk with a warrior shields.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The gallery was in the news last year after its mural depicting three versions of LGBTQ “Cholo” culture was vandalized on \u003ca href=\"https://ww2.kqed.org/arts/2015/06/22/mission-district-gallerys-queer-cholo-mural-defaced-again/\" target=\"_blank\" rel=\"noopener\">multiple occasions\u003c/a>. The defacing of the mural led to an outcry from the local community, \u003ca href=\"http://ww2.kqed.org/arts/2015/07/02/mission-residents-unite-over-defaced-lgbtq-mural/\" target=\"_blank\" rel=\"noopener\">who rallied in support \u003c/a>of the gallery and its work. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read Riveras letter below:\u003c/em>\u003c/p>\n\u003cblockquote>\u003cp>\nDear Community Partners,\u003cbr>\nWe want to personally thank you for your continued support of Galería de la Raza (Galería) as we pursued a long-term lease with our current landlord. This undertaking was a culmination of over a year and a half of planning conducted through advocacy and planning with various groups on this issue, including the Office of Economic and Workforce Development (OEWD), the Northern California Community Loan Fund (NCCLF), and the Central Arts Stabilization Trust (CAST), among others. \u003c/p>\n\u003cp>As many of you know, Galería has been operating out of its current location for the last 43 years without a long-term lease in place. Given the demographic and economic changes happening in the city and in the Mission District, we felt that it was appropriate and pressing for us to begin a “place keeping” process. Above all, we aimed to secure a home for Galería, preferably in the space where we’ve called home for the last 4+ decades. \u003c/p>\n\u003cp>However, we regret to inform you that our landlord has turned down our request to enter into conversation to negotiate a long-term lease. They resolutely stated that they have no interest in our offer and have no intention of revisiting the matter in the near future. For now, the rental agreement will continue on a month-to-month basis.\u003cbr>\nWhile this decision is disappointing, it has made us realize we need to look at developing other long-term sustainable options. With the support of our board, we will begin looking at other locations within the Mission district that can offer a more secure future for the Galería to continue its legacy.\u003c/p>\n\u003cp>That being said, we want to reach out for your support and input on what could be next for Galería. In the coming weeks, we will be reaching out to you individually to set up meetings to discuss our next steps. We hope you are willing to join the conversation as we explore new opportunities and together find new ideas for the future! \u003c/p>\n\u003cp>Once again on behalf of Galería’s Board & Staff, I would like to sincerely thank you!\u003c/p>\n\u003cp>Best,\u003cbr>\nAni Rivera\n\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s \u003ca href=\"http://www.galeriadelaraza.org/index.php\" target=\"_blank\" rel=\"noopener\">Galería de la Raza\u003c/a> has been told by its landlord that it will not be given a long-term lease for the space it’s occupied in the Mission District for over 43 years, gallery representatives announced Thursday.\u003c/p>\n\u003cp>Galería’s Executive Director Ani Rivera sent a mass email to its supporters Thursday stating that after more than a year of talks, the owners of the gallery space on 24th street and Bryant have refused to change their current month-to-month arrangement.\u003c/p>\n\u003cp>“Given the demographic and economic changes happening in the city and in the Mission District, we felt that it was appropriate and pressing for us to begin a ‘place keeping’ process. Above all, we aimed to secure a home for Galería, preferably in the space where we’ve called home for the last 4+ decades,” Rivera wrote. “However, we regret to inform you that our landlord has turned down our request to enter into conversation to negotiate a long-term lease. They resolutely stated that they have no interest in our offer and have no intention of revisiting the matter in the near future. For now, the rental agreement will continue on a month-to-month basis.” \u003c/p>\n\u003cp>Founded in 1970 by a group of Chicano artists and community activists, Galería has been a cultural focal point in the Mission District ever since it began. But now as the identity of the neighborhood changes due to the influx of new, wealthier residents, Rivera says she’s concerned that it will become more difficult to keep around. \u003c/p>\n\u003cp>“Galeria for many in the community is a safe space, and it’s also at the verge of going under,” Rivera said in an earlier interview with KQED Arts. “So I am in a constant mourning, I am in a constant action, trying to figure out how to protect, how to sustain, and this incidents of violence that get inflict upon us. We constantly walk with a warrior shields.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The gallery was in the news last year after its mural depicting three versions of LGBTQ “Cholo” culture was vandalized on \u003ca href=\"https://ww2.kqed.org/arts/2015/06/22/mission-district-gallerys-queer-cholo-mural-defaced-again/\" target=\"_blank\" rel=\"noopener\">multiple occasions\u003c/a>. The defacing of the mural led to an outcry from the local community, \u003ca href=\"http://ww2.kqed.org/arts/2015/07/02/mission-residents-unite-over-defaced-lgbtq-mural/\" target=\"_blank\" rel=\"noopener\">who rallied in support \u003c/a>of the gallery and its work. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read Riveras letter below:\u003c/em>\u003c/p>\n\u003cblockquote>\u003cp>\nDear Community Partners,\u003cbr>\nWe want to personally thank you for your continued support of Galería de la Raza (Galería) as we pursued a long-term lease with our current landlord. This undertaking was a culmination of over a year and a half of planning conducted through advocacy and planning with various groups on this issue, including the Office of Economic and Workforce Development (OEWD), the Northern California Community Loan Fund (NCCLF), and the Central Arts Stabilization Trust (CAST), among others. \u003c/p>\n\u003cp>As many of you know, Galería has been operating out of its current location for the last 43 years without a long-term lease in place. Given the demographic and economic changes happening in the city and in the Mission District, we felt that it was appropriate and pressing for us to begin a “place keeping” process. Above all, we aimed to secure a home for Galería, preferably in the space where we’ve called home for the last 4+ decades. \u003c/p>\n\u003cp>However, we regret to inform you that our landlord has turned down our request to enter into conversation to negotiate a long-term lease. They resolutely stated that they have no interest in our offer and have no intention of revisiting the matter in the near future. For now, the rental agreement will continue on a month-to-month basis.\u003cbr>\nWhile this decision is disappointing, it has made us realize we need to look at developing other long-term sustainable options. With the support of our board, we will begin looking at other locations within the Mission district that can offer a more secure future for the Galería to continue its legacy.\u003c/p>\n\u003cp>That being said, we want to reach out for your support and input on what could be next for Galería. In the coming weeks, we will be reaching out to you individually to set up meetings to discuss our next steps. We hope you are willing to join the conversation as we explore new opportunities and together find new ideas for the future! \u003c/p>\n\u003cp>Once again on behalf of Galería’s Board & Staff, I would like to sincerely thank you!\u003c/p>\n\u003cp>Best,\u003cbr>\nAni Rivera\n\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"https://www.famsf.org/\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a> (FAMSF) announced Wednesday that Claudia Schmuckli will be become its Curator-in-Charge of Contemporary Art and Programming. \u003c/p>\n\u003cp>Schmuckli comes to this newly created position in San Francisco from her post as Director and Chief Curator at the\u003ca href=\"http://blafferartmuseum.org/\" target=\"_blank\" rel=\"noopener\"> Blaffer Art Museum at the University of Houston\u003c/a> in Texas.\u003c/p>\n\u003cp>\u003ca href=\"https://www.famsf.org/press-room/fine-arts-museums-san-francisco-announce-director\" target=\"_blank\" rel=\"noopener\">Max Hollein\u003c/a>, the recently appointed director of FAMSF, says while the two museums of FAMSF, the \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener\">de Young\u003c/a> and the \u003ca href=\"https://legionofhonor.famsf.org/\" target=\"_blank\" rel=\"noopener\">Legion of Honor\u003c/a>, are not modern art museums, he created the new post so someone would be creating “cutting edge programming in video and live performance.”\u003c/p>\n\u003cp>“Claudia seemed the ideal candidate because of her vast experience in contemporary art,” Hollein said, “And someone with a good eye as a curator, but also a good administrator.”\u003c/p>\n\u003cp>Schmuckli will start her new job on Sept. 1, and Hollein says museum visitors “will see her impact fairly quickly, with new programming and site specific works.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schmuckli has been Director and Chief Curator at the Blaffer Art Museum since 2009, joining the staff there as director of public relations and membership in 2004.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.famsf.org/\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a> (FAMSF) announced Wednesday that Claudia Schmuckli will be become its Curator-in-Charge of Contemporary Art and Programming. \u003c/p>\n\u003cp>Schmuckli comes to this newly created position in San Francisco from her post as Director and Chief Curator at the\u003ca href=\"http://blafferartmuseum.org/\" target=\"_blank\" rel=\"noopener\"> Blaffer Art Museum at the University of Houston\u003c/a> in Texas.\u003c/p>\n\u003cp>\u003ca href=\"https://www.famsf.org/press-room/fine-arts-museums-san-francisco-announce-director\" target=\"_blank\" rel=\"noopener\">Max Hollein\u003c/a>, the recently appointed director of FAMSF, says while the two museums of FAMSF, the \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener\">de Young\u003c/a> and the \u003ca href=\"https://legionofhonor.famsf.org/\" target=\"_blank\" rel=\"noopener\">Legion of Honor\u003c/a>, are not modern art museums, he created the new post so someone would be creating “cutting edge programming in video and live performance.”\u003c/p>\n\u003cp>“Claudia seemed the ideal candidate because of her vast experience in contemporary art,” Hollein said, “And someone with a good eye as a curator, but also a good administrator.”\u003c/p>\n\u003cp>Schmuckli will start her new job on Sept. 1, and Hollein says museum visitors “will see her impact fairly quickly, with new programming and site specific works.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schmuckli has been Director and Chief Curator at the Blaffer Art Museum since 2009, joining the staff there as director of public relations and membership in 2004.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The largest collection of works by Salvador Dalí on the West Coast opened to the public on Thursday. More than 570 etchings, lithographs, sculptures and tapestries essentially took over the Museum of Monterey, and the building received a new name: \u003ca href=\"http://www.dali17.com\" target=\"_blank\" rel=\"noopener\">Dali17\u003c/a>, a reference to the original 17-mile drive that once began at Hotel Del Monte, where Dalí stayed for a time.\u003c/p>\n\u003cp>[contextly_sidebar id=”kwXXlW8EQarNymujeZVZy6OJBge9Rsq0″]\u003c/p>\n\u003cp>The Spanish Surrealist spent much of the 1940s avoiding World War II and its aftermath in Monterey and Pebble Beach, but until now, his Central Coast sojourn was an unheralded footnote in a region packed with other tourist draws.\u003c/p>\n\u003cp>Why is this happening? Ukranian-born real estate developer Dmitry Piterman fell in love with Dalí \u003ca href=\"http://ww2.kqed.org/arts/2016/03/11/dali-in-monterey-alchemy-of-a-museum-makeover/\" target=\"_blank\" rel=\"noopener\">as a college student\u003c/a>, and amassed a collection he wants to share with the rest of the world.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/272592000″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“He was a radical, in the sense that he always went against the norm, against the establishment, against thinking in the box,” says Piterman, who also admires the way Dalí continued to educate himself over the course of his lifetime about psychology.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Dreams played a big part in his life, and a huge part in his work. He believed that if you could tap in to your subconscious mind, the art you create is much more pure, much more vivid, much more uncensored.”\u003c/p>\n\u003cfigure id=\"attachment_11774479\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11774479\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451-800x451.jpg\" alt=\"Dmitry Piterman, a real estate investor from Pebble Beach, has amassed the West Coast's biggest collection of works by Salvador Dali.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451-768x433.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dmitry Piterman, a real estate investor from Pebble Beach, has amassed the West Coast’s biggest collection of works by Salvador Dali. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A Cal grad, Piterman talked with UC Berkeley officials about housing his collection there, but backed away when it became clear much of that collection would not be openly exhibited. “They can’t create one museum dedicated to one artist. They have different priorities,” Piterman says. “So there would have been some kind of rotation, and a lot of art in storage. They showed me the storage, and the storage was much larger than the museum.”\u003c/p>\n\u003cp>In contrast, his collection takes up the majority of the Museum of Monterey, aside from a token historical exhibit in the former museum store.\u003c/p>\n\u003cp>Surrealism may no longer be in vogue, but Dalí’s techni-color art work has more chance of a drawing a crowd than what used to fill the museum run by the \u003ca href=\"http://museumofmonterey.org/\" target=\"_blank\" rel=\"noopener\">Monterey History and Art Association\u003c/a> at the foot of Fisherman’s Wharf. President Larry Chavez says the museum operated at a loss in recent years, as public interest in its maritime collection faded. In an attempt to engage the local community, the Association put out a call for new ideas to attract visitors.\u003c/p>\n\u003cp>“We’ve been in existence since the 1930s,” Chavez says. “Our membership is getting a little older, and this is going to be a kick starter to get new people involved.” The Association, he adds, can devote more attention now to some of its other priorities, like raising money to restore and maintain the region’s famous adobes.\u003c/p>\n\u003cfigure id=\"attachment_11777006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11777006 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-800x600.jpg\" alt=\"Gorgeous, hand-carved ship models like this one reflect the region's maritime history, but they weren't driving much foot traffic into the Museum of Monterey.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gorgeous, hand-carved ship models like this one reflect the region’s maritime history, but they weren’t driving much foot traffic into the Museum of Monterey. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piterman is not a casual art investor. He lived in Spain for the better part of a decade where he exhibited his collection in Spain and Belgium.\u003c/p>\n\u003cp>He can speak with great detail about Dalí’s “paranoiac-critical method,” to use the artist’s own words. “Some of the brushes he used had only one hair,” Piterman says. “So imagine the meticulousness with which he painted and created his art. That’s when jokester Dalí kind of disappeared. But burning giraffes and elephants on their frail little legs, all that is part of his work and part of kind of the provoking Dalí.”\u003c/p>\n\u003cp>Dalí was a fixture on the local art scene in the 1940s, but here as elsewhere, his outrageous eccentricities made more of a splash than his art did. Nearly everyone remembers his curlicue mustache, as much as they do “The Persistence of Memory,” his painting with the melting clocks.\u003c/p>\n\u003cfigure id=\"attachment_11774472\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11774472\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Dali17_logo_final_300dpi-1.jpg\" alt=\"The Monterey History and Art Association still owns the building, but the museum is almost entirely taken up with Dali17,\" width=\"250\" height=\"169\">\u003cfigcaption class=\"wp-caption-text\">The Monterey History and Art Association still owns the building, but the museum is almost entirely taken up with Dali17, \u003ccite>(Photo: Courtesy of Dali17)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piterman has free reign to design the presentation along with curator Hillary Roberts. Her task is a formidable one: to provide context for a wide range of visitors who made not be that familiar with the huge range of work Dalí put out over the course of his lifetime. He wasn’t just obsessed with Sigmund Freud and dreams, but also Spanish history and Catholicism. “Ours is a very large collection,” she says “You could imagine wanting to spend days here.”\u003c/p>\n\u003cp>“Dalí was classically trained, and learned in the style of Rafael and Valasquez,” says Lila Staples Thorsen, an associate professor of art history at \u003ca href=\"https://csumb.edu/vpa\" target=\"_blank\" rel=\"noopener\">Cal State Monterey Bay\u003c/a>. What you see looking at his body of work is traditional training bent to the service of Dalí’s “crazy Freudian, 20th century sense of the ridiculous.”\u003c/p>\n\u003cp>Dalí17 doesn’t compete with the museum the artist founded in \u003ca href=\"http://www.salvador-dali.org/museus/teatre-museu-dali/en_index/\" target=\"_blank\" rel=\"noopener\">Figueres\u003c/a>, (in the artist’s hometown in Spain), but it stands with that one, and the \u003ca href=\"http://thedali.org/\" target=\"_blank\" rel=\"noopener\">Salvador Dalí Museum\u003c/a> in St. Petersburg, Florida, as a temple to the artist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dalí17 will stay at the Museum of Monterey permanently. Piterman says he hopes to add to the collection, and host visiting Dalí exhibitions, as well as historic photos of Dalí’s time on the Peninsula. Perhaps most provocatively, he promises to stage Surrealist dinners that shock and delight the way the artist himself did back in the day.\u003c/p>\n\u003cfigure id=\"attachment_11774473\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11774473 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-450x600.jpg\" alt='\"Lima de los Dientes,\" an etching from \"Les Caprices De Goya De Salvador Dalí.\" For many people, this is not what they imagine when they imagine Dalí.' width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-884x1180.jpg 884w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-960x1281.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut.jpg 1200w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">“Lima de los Dientes,” an etching from “Les Caprices De Goya De Salvador Dalí.” For many people, this is not what they imagine when they imagine Dalí. \u003ccite>(Photo: Courtesy of Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The largest collection of works by Salvador Dalí on the West Coast opened to the public on Thursday. More than 570 etchings, lithographs, sculptures and tapestries essentially took over the Museum of Monterey, and the building received a new name: \u003ca href=\"http://www.dali17.com\" target=\"_blank\" rel=\"noopener\">Dali17\u003c/a>, a reference to the original 17-mile drive that once began at Hotel Del Monte, where Dalí stayed for a time.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Spanish Surrealist spent much of the 1940s avoiding World War II and its aftermath in Monterey and Pebble Beach, but until now, his Central Coast sojourn was an unheralded footnote in a region packed with other tourist draws.\u003c/p>\n\u003cp>Why is this happening? Ukranian-born real estate developer Dmitry Piterman fell in love with Dalí \u003ca href=\"http://ww2.kqed.org/arts/2016/03/11/dali-in-monterey-alchemy-of-a-museum-makeover/\" target=\"_blank\" rel=\"noopener\">as a college student\u003c/a>, and amassed a collection he wants to share with the rest of the world.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/272592000″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/272592000″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“He was a radical, in the sense that he always went against the norm, against the establishment, against thinking in the box,” says Piterman, who also admires the way Dalí continued to educate himself over the course of his lifetime about psychology.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Dreams played a big part in his life, and a huge part in his work. He believed that if you could tap in to your subconscious mind, the art you create is much more pure, much more vivid, much more uncensored.”\u003c/p>\n\u003cfigure id=\"attachment_11774479\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11774479\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451-800x451.jpg\" alt=\"Dmitry Piterman, a real estate investor from Pebble Beach, has amassed the West Coast's biggest collection of works by Salvador Dali.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451-768x433.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dmitry Piterman, a real estate investor from Pebble Beach, has amassed the West Coast’s biggest collection of works by Salvador Dali. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A Cal grad, Piterman talked with UC Berkeley officials about housing his collection there, but backed away when it became clear much of that collection would not be openly exhibited. “They can’t create one museum dedicated to one artist. They have different priorities,” Piterman says. “So there would have been some kind of rotation, and a lot of art in storage. They showed me the storage, and the storage was much larger than the museum.”\u003c/p>\n\u003cp>In contrast, his collection takes up the majority of the Museum of Monterey, aside from a token historical exhibit in the former museum store.\u003c/p>\n\u003cp>Surrealism may no longer be in vogue, but Dalí’s techni-color art work has more chance of a drawing a crowd than what used to fill the museum run by the \u003ca href=\"http://museumofmonterey.org/\" target=\"_blank\" rel=\"noopener\">Monterey History and Art Association\u003c/a> at the foot of Fisherman’s Wharf. President Larry Chavez says the museum operated at a loss in recent years, as public interest in its maritime collection faded. In an attempt to engage the local community, the Association put out a call for new ideas to attract visitors.\u003c/p>\n\u003cp>“We’ve been in existence since the 1930s,” Chavez says. “Our membership is getting a little older, and this is going to be a kick starter to get new people involved.” The Association, he adds, can devote more attention now to some of its other priorities, like raising money to restore and maintain the region’s famous adobes.\u003c/p>\n\u003cfigure id=\"attachment_11777006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11777006 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-800x600.jpg\" alt=\"Gorgeous, hand-carved ship models like this one reflect the region's maritime history, but they weren't driving much foot traffic into the Museum of Monterey.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gorgeous, hand-carved ship models like this one reflect the region’s maritime history, but they weren’t driving much foot traffic into the Museum of Monterey. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piterman is not a casual art investor. He lived in Spain for the better part of a decade where he exhibited his collection in Spain and Belgium.\u003c/p>\n\u003cp>He can speak with great detail about Dalí’s “paranoiac-critical method,” to use the artist’s own words. “Some of the brushes he used had only one hair,” Piterman says. “So imagine the meticulousness with which he painted and created his art. That’s when jokester Dalí kind of disappeared. But burning giraffes and elephants on their frail little legs, all that is part of his work and part of kind of the provoking Dalí.”\u003c/p>\n\u003cp>Dalí was a fixture on the local art scene in the 1940s, but here as elsewhere, his outrageous eccentricities made more of a splash than his art did. Nearly everyone remembers his curlicue mustache, as much as they do “The Persistence of Memory,” his painting with the melting clocks.\u003c/p>\n\u003cfigure id=\"attachment_11774472\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11774472\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Dali17_logo_final_300dpi-1.jpg\" alt=\"The Monterey History and Art Association still owns the building, but the museum is almost entirely taken up with Dali17,\" width=\"250\" height=\"169\">\u003cfigcaption class=\"wp-caption-text\">The Monterey History and Art Association still owns the building, but the museum is almost entirely taken up with Dali17, \u003ccite>(Photo: Courtesy of Dali17)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piterman has free reign to design the presentation along with curator Hillary Roberts. Her task is a formidable one: to provide context for a wide range of visitors who made not be that familiar with the huge range of work Dalí put out over the course of his lifetime. He wasn’t just obsessed with Sigmund Freud and dreams, but also Spanish history and Catholicism. “Ours is a very large collection,” she says “You could imagine wanting to spend days here.”\u003c/p>\n\u003cp>“Dalí was classically trained, and learned in the style of Rafael and Valasquez,” says Lila Staples Thorsen, an associate professor of art history at \u003ca href=\"https://csumb.edu/vpa\" target=\"_blank\" rel=\"noopener\">Cal State Monterey Bay\u003c/a>. What you see looking at his body of work is traditional training bent to the service of Dalí’s “crazy Freudian, 20th century sense of the ridiculous.”\u003c/p>\n\u003cp>Dalí17 doesn’t compete with the museum the artist founded in \u003ca href=\"http://www.salvador-dali.org/museus/teatre-museu-dali/en_index/\" target=\"_blank\" rel=\"noopener\">Figueres\u003c/a>, (in the artist’s hometown in Spain), but it stands with that one, and the \u003ca href=\"http://thedali.org/\" target=\"_blank\" rel=\"noopener\">Salvador Dalí Museum\u003c/a> in St. Petersburg, Florida, as a temple to the artist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dalí17 will stay at the Museum of Monterey permanently. Piterman says he hopes to add to the collection, and host visiting Dalí exhibitions, as well as historic photos of Dalí’s time on the Peninsula. Perhaps most provocatively, he promises to stage Surrealist dinners that shock and delight the way the artist himself did back in the day.\u003c/p>\n\u003cfigure id=\"attachment_11774473\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11774473 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-450x600.jpg\" alt='\"Lima de los Dientes,\" an etching from \"Les Caprices De Goya De Salvador Dalí.\" For many people, this is not what they imagine when they imagine Dalí.' width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-884x1180.jpg 884w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-960x1281.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut.jpg 1200w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">“Lima de los Dientes,” an etching from “Les Caprices De Goya De Salvador Dalí.” For many people, this is not what they imagine when they imagine Dalí. \u003ccite>(Photo: Courtesy of Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Ranu Mukherjee coined the term “hybrid film” to describe her dynamic, animated artworks created with hundreds of layers of photography, paintings and digital imagery. Some of her work examines cultural hybridity, the aftermath of colonialism, and questions of gender equality and feminism. Mukherjee combines influences from her personal visual culture and remixes them to create something new, with a narrative pointed towards social change. She is the mother of triplets and is currently exhibiting a new animation trilogy at the Asian Art Museum.\u003c/p>\n\u003cp>[contextly_sidebar id=”OCoPQd04mevFEximgAdCaRn0x0WgHUIL”]\u003c/p>\n\u003cp>\u003cb>Where do you live?\u003c/b>\u003c/p>\n\u003cp>I live in the Mission. My studio is in Dogpatch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Describe yourself in one word.\u003c/b>\u003c/p>\n\u003cp>Artist.\u003c/p>\n\u003cp>\u003cb>What did you do last night?\u003c/b>\u003c/p>\n\u003cp>Worked on \u003ci>Oracle Bones\u003c/i>, the last animation for my trilogy, \u003ci>\u003ca href=\"http://www.asianart.org/exhibitions/extracted\" target=\"_blank\" rel=\"noopener\">Extracted\u003c/a>\u003c/i>, and helped my kids with writing reports for school.\u003c/p>\n\u003cp>\u003cb>What can’t you live without?\u003c/b>\u003c/p>\n\u003cp>Love and hot showers.\u003c/p>\n\u003cp>\u003cb>If you could travel anywhere in the world, where would it be?\u003c/b>\u003c/p>\n\u003cp>I would do an extensive tour of Asian cities, with mountain villages in between. Some I have been to, and some not: Shanghai, Guangzhou, Kyoto, Tokyo, Hong Kong, Mumbai, Calcutta, Kochi, Varanasi, Saigon, Kathmandu, Xigazê, Manila, Lahore, Penang, Chiang Mai and Busan.\u003c/p>\n\u003cp>\u003cb>Who is your personal hero? \u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://theherbanalchemist.com/\" target=\"_blank\" rel=\"noopener\">Dr. Gabrielle Francis\u003c/a>. Gabrielle is a visionary holistic doctor that I have been working with for 11 years. She is so far ahead of the game in her ways of combining a variety of traditions tailored to the individual and teaching in the ways of being a body now. She has helped me be in the place I need to be to do what I do, in so many ways. When I see her, I always think about how different things would be if everyone were exposed to the understanding she has to offer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11641384 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-800x451.png\" alt=\"ranualt1-01\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-800x451.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-768x433.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-1180x665.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-960x541.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1.png 1493w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cb>How did you find your creative voice?\u003c/b>\u003c/p>\n\u003cp>I think it found me. Art takes up time and space differently than most things and I find that really compelling. I caught a glimpse of it once while making a painting in my first year of undergrad and I was hooked.\u003c/p>\n\u003cp>\u003cb>What is something most people don’t know about you?\u003c/b>\u003c/p>\n\u003cp>When I was a child I had tons of recurring nightmares that I named and wrote down. I always knew one was coming because I would be falling through a cavernous space full of screaming cartoon mouths. And while awake, I often saw cats out of the corner of my eye. (I have never posted this on Facebook, Twitter or Instagram, and I guess that’s the best measure of what most people know about you.)\u003c/p>\n\u003cp>\u003cb>What do you do when you feel uninspired?\u003c/b>\u003c/p>\n\u003cp>Write, procrastinate, dance, wander, worry.\u003c/p>\n\u003cp>\u003cb>What’s been your biggest learning moment in your art practice or otherwise, and what did you take from that experience?\u003c/b>\u003c/p>\n\u003cp>I think I learned most when I let go of ambivalence around being an artist and stopped trying to do anything else. Once I fully committed like that, I was able to start making a visual language that could reach people and do things I needed it to do, and as soon as that happened, opportunities started to come. It helped me to understand that despite all the different elements that are at play, it is the work that speaks.\u003c/p>\n\u003cfigure id=\"attachment_11757852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757852\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Breach-Install-800x534.jpg\" alt=\"An installation of Ranu Mukherjee's animation 'Breach.' (2015)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Breach-Install-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Breach-Install-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Breach-Install-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Breach-Install.jpg 920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An installation of Ranu Mukherjee’s animation ‘Breach’ (2015) \u003ccite>(Courtesy of the artist and Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your greatest achievement and how has it shaped you?\u003c/b>\u003c/p>\n\u003cp>Carrying and delivering healthy triplets. That taught me how incredible and strange bodies really are. Now that I live with them, they open up all kinds of dimensions I might never have access to otherwise.\u003c/p>\n\u003cp>\u003cb>Coffee or tea? What kind?\u003c/b>\u003c/p>\n\u003cp>Tea. Spicy Chai. Though I had to stop having caffeine, so for now it has to be spicy herbal chai.\u003c/p>\n\u003cp>\u003cb>What does a perfect day look like for you?\u003c/b>\u003c/p>\n\u003cp>Perfect day number one: A long studio day (mid-process after having collected or made all the source material I need in order to dig into the making of the work), followed by a dance class, dinner with my family, a bit of reading and a good sleep.\u003c/p>\n\u003cp>Perfect day number two: Art viewing and dialogue in the city during the day, beach on the island with family and friends in the evening sunset. I would add ending the day in a hot tub if that were an option. (This is modeled on a summer day in New York but could be adapted to anywhere.)\u003c/p>\n\u003cp>\u003cb>[contextly_sidebar id=”2KB2DFvVdfoefJwzzpekVzCm6jkVBe5Y”]Who are your local inspirations?\u003c/b>\u003c/p>\n\u003cp>So many. I’m surrounded by inspiring people. I’m most inspired by people I have been lucky enough to work with in one way or another. Among them Wendi Norris, Marc Mayer, Desirée Holman and Amy Balkin.\u003c/p>\n\u003cfigure id=\"attachment_11757854\" class=\"wp-caption aligncenter\" style=\"max-width: 512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757854\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Jade2-512x600.jpg\" alt=\"'Jade 2', ink and pigment on paper (2016)\" width=\"512\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jade2-512x600.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jade2-400x469.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jade2-768x901.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jade2.jpg 960w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003cfigcaption class=\"wp-caption-text\">Ranu Mukherjee’s ‘Jade 2’, ink and pigment on paper (2016). \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Favorite meal?\u003c/b>\u003c/p>\n\u003cp>I love Indian food of all regions.\u003c/p>\n\u003cp>\u003cb>What upcoming show are you excited about?\u003c/b>\u003c/p>\n\u003cp>\u003ci>Hito Steyerl: Factory of the Sun\u003c/i> at the Museum of Contemporary Art in Los Angeles. It’s been up since February but I haven’t been to see it yet. It runs until Sept. 12. Locally, Otobong Nkanga’s \u003ci>MATRIX 260\u003c/i> at the Berkeley Art Museum and Pacific Film Archive.\u003c/p>\n\u003cp>\u003cb>Where do you see yourself in five years?\u003c/b>\u003c/p>\n\u003cp>Making large bodies of work — pushing multiple-channel video, collaged textiles and painting, making national and international exhibitions, and doing large-scale public commissions.\u003c/p>\n\u003cp>\u003cb>If you could live in a book, TV show, movie, play or painting, what would it be?\u003c/b>\u003c/p>\n\u003cp>Wangechi Mutu’s \u003ci>A Shady Promise\u003c/i>.\u003c/p>\n\u003cp>\u003cb>Where and when can people see you and your art in action?\u003c/b>\u003c/p>\n\u003cp>My exhibition \u003cem>Extracted\u003c/em> is on view at the Asian Art Museum in San Francisco until Aug. 14, 2016. I also have a three-channel video at the Los Angeles County Museum of Art until Aug. 3rd. In December I’ll be doing a residency at the de Young Museum, and my third solo show at Gallery Wendi Norris opens in May 2017. \u003cem>Orphan Drift\u003c/em>, a collaborative project with Maggie Roberts, is showing with our work from the ’90s in \u003ci>Matter Fiction\u003c/i>, which is running in Museu Berardo in Lisbon until the end of August; and \u003ci>Unruly City\u003c/i>, an exhibition of new work, will be at Dold Projects in Germany in October of this year.\u003c/p>\n\u003cp>\u003cstrong>Experience Ranu Mukherjee’s artwork in her film ‘Home and The World’:\u003c/strong>\u003c/p>\n\u003cp>https://youtu.be/1mmGIGRfXjI\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, videos and information about our upcoming Women to Watch event at the \u003ca href=\"https://ww2.kqed.org/arts/2016/07/13/kqed-arts-women-to-watch-event/\" target=\"_blank\" rel=\"noopener\">SFJAZZ Center\u003c/a> featuring artists from the series.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We\u003c/a> want to hear from you! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"headline": "Women to Watch: Ranu Mukherjee",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Ranu Mukherjee coined the term “hybrid film” to describe her dynamic, animated artworks created with hundreds of layers of photography, paintings and digital imagery. Some of her work examines cultural hybridity, the aftermath of colonialism, and questions of gender equality and feminism. Mukherjee combines influences from her personal visual culture and remixes them to create something new, with a narrative pointed towards social change. She is the mother of triplets and is currently exhibiting a new animation trilogy at the Asian Art Museum.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>Where do you live?\u003c/b>\u003c/p>\n\u003cp>I live in the Mission. My studio is in Dogpatch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Describe yourself in one word.\u003c/b>\u003c/p>\n\u003cp>Artist.\u003c/p>\n\u003cp>\u003cb>What did you do last night?\u003c/b>\u003c/p>\n\u003cp>Worked on \u003ci>Oracle Bones\u003c/i>, the last animation for my trilogy, \u003ci>\u003ca href=\"http://www.asianart.org/exhibitions/extracted\" target=\"_blank\" rel=\"noopener\">Extracted\u003c/a>\u003c/i>, and helped my kids with writing reports for school.\u003c/p>\n\u003cp>\u003cb>What can’t you live without?\u003c/b>\u003c/p>\n\u003cp>Love and hot showers.\u003c/p>\n\u003cp>\u003cb>If you could travel anywhere in the world, where would it be?\u003c/b>\u003c/p>\n\u003cp>I would do an extensive tour of Asian cities, with mountain villages in between. Some I have been to, and some not: Shanghai, Guangzhou, Kyoto, Tokyo, Hong Kong, Mumbai, Calcutta, Kochi, Varanasi, Saigon, Kathmandu, Xigazê, Manila, Lahore, Penang, Chiang Mai and Busan.\u003c/p>\n\u003cp>\u003cb>Who is your personal hero? \u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://theherbanalchemist.com/\" target=\"_blank\" rel=\"noopener\">Dr. Gabrielle Francis\u003c/a>. Gabrielle is a visionary holistic doctor that I have been working with for 11 years. She is so far ahead of the game in her ways of combining a variety of traditions tailored to the individual and teaching in the ways of being a body now. She has helped me be in the place I need to be to do what I do, in so many ways. When I see her, I always think about how different things would be if everyone were exposed to the understanding she has to offer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11641384 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-800x451.png\" alt=\"ranualt1-01\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-800x451.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-768x433.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-1180x665.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-960x541.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1.png 1493w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cb>How did you find your creative voice?\u003c/b>\u003c/p>\n\u003cp>I think it found me. Art takes up time and space differently than most things and I find that really compelling. I caught a glimpse of it once while making a painting in my first year of undergrad and I was hooked.\u003c/p>\n\u003cp>\u003cb>What is something most people don’t know about you?\u003c/b>\u003c/p>\n\u003cp>When I was a child I had tons of recurring nightmares that I named and wrote down. I always knew one was coming because I would be falling through a cavernous space full of screaming cartoon mouths. And while awake, I often saw cats out of the corner of my eye. (I have never posted this on Facebook, Twitter or Instagram, and I guess that’s the best measure of what most people know about you.)\u003c/p>\n\u003cp>\u003cb>What do you do when you feel uninspired?\u003c/b>\u003c/p>\n\u003cp>Write, procrastinate, dance, wander, worry.\u003c/p>\n\u003cp>\u003cb>What’s been your biggest learning moment in your art practice or otherwise, and what did you take from that experience?\u003c/b>\u003c/p>\n\u003cp>I think I learned most when I let go of ambivalence around being an artist and stopped trying to do anything else. Once I fully committed like that, I was able to start making a visual language that could reach people and do things I needed it to do, and as soon as that happened, opportunities started to come. It helped me to understand that despite all the different elements that are at play, it is the work that speaks.\u003c/p>\n\u003cfigure id=\"attachment_11757852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757852\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Breach-Install-800x534.jpg\" alt=\"An installation of Ranu Mukherjee's animation 'Breach.' (2015)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Breach-Install-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Breach-Install-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Breach-Install-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Breach-Install.jpg 920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An installation of Ranu Mukherjee’s animation ‘Breach’ (2015) \u003ccite>(Courtesy of the artist and Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your greatest achievement and how has it shaped you?\u003c/b>\u003c/p>\n\u003cp>Carrying and delivering healthy triplets. That taught me how incredible and strange bodies really are. Now that I live with them, they open up all kinds of dimensions I might never have access to otherwise.\u003c/p>\n\u003cp>\u003cb>Coffee or tea? What kind?\u003c/b>\u003c/p>\n\u003cp>Tea. Spicy Chai. Though I had to stop having caffeine, so for now it has to be spicy herbal chai.\u003c/p>\n\u003cp>\u003cb>What does a perfect day look like for you?\u003c/b>\u003c/p>\n\u003cp>Perfect day number one: A long studio day (mid-process after having collected or made all the source material I need in order to dig into the making of the work), followed by a dance class, dinner with my family, a bit of reading and a good sleep.\u003c/p>\n\u003cp>Perfect day number two: Art viewing and dialogue in the city during the day, beach on the island with family and friends in the evening sunset. I would add ending the day in a hot tub if that were an option. (This is modeled on a summer day in New York but could be adapted to anywhere.)\u003c/p>\n\u003cp>\u003cb>\u003c/p>\u003cp>\u003c/p>\u003cp>Who are your local inspirations?\u003c/b>\u003c/p>\n\u003cp>So many. I’m surrounded by inspiring people. I’m most inspired by people I have been lucky enough to work with in one way or another. Among them Wendi Norris, Marc Mayer, Desirée Holman and Amy Balkin.\u003c/p>\n\u003cfigure id=\"attachment_11757854\" class=\"wp-caption aligncenter\" style=\"max-width: 512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757854\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Jade2-512x600.jpg\" alt=\"'Jade 2', ink and pigment on paper (2016)\" width=\"512\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jade2-512x600.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jade2-400x469.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jade2-768x901.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jade2.jpg 960w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003cfigcaption class=\"wp-caption-text\">Ranu Mukherjee’s ‘Jade 2’, ink and pigment on paper (2016). \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Favorite meal?\u003c/b>\u003c/p>\n\u003cp>I love Indian food of all regions.\u003c/p>\n\u003cp>\u003cb>What upcoming show are you excited about?\u003c/b>\u003c/p>\n\u003cp>\u003ci>Hito Steyerl: Factory of the Sun\u003c/i> at the Museum of Contemporary Art in Los Angeles. It’s been up since February but I haven’t been to see it yet. It runs until Sept. 12. Locally, Otobong Nkanga’s \u003ci>MATRIX 260\u003c/i> at the Berkeley Art Museum and Pacific Film Archive.\u003c/p>\n\u003cp>\u003cb>Where do you see yourself in five years?\u003c/b>\u003c/p>\n\u003cp>Making large bodies of work — pushing multiple-channel video, collaged textiles and painting, making national and international exhibitions, and doing large-scale public commissions.\u003c/p>\n\u003cp>\u003cb>If you could live in a book, TV show, movie, play or painting, what would it be?\u003c/b>\u003c/p>\n\u003cp>Wangechi Mutu’s \u003ci>A Shady Promise\u003c/i>.\u003c/p>\n\u003cp>\u003cb>Where and when can people see you and your art in action?\u003c/b>\u003c/p>\n\u003cp>My exhibition \u003cem>Extracted\u003c/em> is on view at the Asian Art Museum in San Francisco until Aug. 14, 2016. I also have a three-channel video at the Los Angeles County Museum of Art until Aug. 3rd. In December I’ll be doing a residency at the de Young Museum, and my third solo show at Gallery Wendi Norris opens in May 2017. \u003cem>Orphan Drift\u003c/em>, a collaborative project with Maggie Roberts, is showing with our work from the ’90s in \u003ci>Matter Fiction\u003c/i>, which is running in Museu Berardo in Lisbon until the end of August; and \u003ci>Unruly City\u003c/i>, an exhibition of new work, will be at Dold Projects in Germany in October of this year.\u003c/p>\n\u003cp>\u003cstrong>Experience Ranu Mukherjee’s artwork in her film ‘Home and The World’:\u003c/strong>\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/1mmGIGRfXjI'\n title='//www.youtube.com/embed/1mmGIGRfXjI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, videos and information about our upcoming Women to Watch event at the \u003ca href=\"https://ww2.kqed.org/arts/2016/07/13/kqed-arts-women-to-watch-event/\" target=\"_blank\" rel=\"noopener\">SFJAZZ Center\u003c/a> featuring artists from the series.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "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.",
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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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"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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"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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},
"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.",
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"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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"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
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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/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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