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"content": "\u003cp>A Manhattan street corner will be temporarily named for longtime fashion photographer Bill Cunningham, who died last month.\u003c/p>\n\u003cp>Cunningham, who took pictures of everyday people on the streets of New York for the \u003cem>New York Times\u003c/em>, died June 25 at age 87.\u003c/p>\n\u003cp>City officials on Wednesday are renaming the northeast corner of 57th Street and Fifth Avenue “Bill Cunningham Corner.”\u003c/p>\n\u003cp>The renaming will last through next Wednesday. Mayor Bill de Blasio has the power to rename a street for a few days but permanent renaming must go through a legislative process. The city hopes to find a more lasting way to honor Cunningham.\u003c/p>\n\u003cp>The mayor says Cunningham’s photos captured the “city’s diversity in every sense of the word, and helped define New York as the fashion capital of the world.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cp>Her name is Riri Williams. She reverse-engineered her own version of the Iron Man battlesuit in her MIT dorm room, got kicked out, and struck out on her own to do the superhero thing. Clumsily at first, but she’s learning fast. So fast she’s impressing Tony Stark, who’s questioning his status as the Marvel Universe’s go-to, super-powered Campbell’s soup can. Readers first met her in the March issue of \u003cem>Invincible Iron Man\u003c/em>.\u003c/p>\n\u003cp>And \u003ca href=\"http://time.com/4394478/iron-man-riri-williams-tony-stark/?xid=homepage\" target=\"_blank\" rel=\"noopener\">according to an interview in \u003cem>TIME\u003c/em> with Brian Michael Bendis\u003c/a>, who’s writing both that \u003cem>Iron Man\u003c/em> title and this summer’s comics crossover event, \u003cem>Civil War II\u003c/em>, she’s about to take over for Tony Stark when \u003cem>Invincible Iron Man\u003c/em> relaunches in the fall.\u003c/p>\n\u003cp>It’s the latest in a series of moves that’s slowly but steadily transforming the Avengers’ roster from a team with more white dudes than a Harold Bloom syllabus into a super-group that more accurately reflects the world off of the comics page.\u003c/p>\n\u003cp>First came Miles Morales, a black Latino kid who stepped into the role of Spider-Man. Next came Kamala Khan, a teenage Muslim from New Jersey who assumed the title of Ms. Marvel, and America Chavez, a Latina lesbian who adopted the name of Golden Age hero Miss America. Recently Sam Wilson, the former Marvel hero The Falcon, took over as Captain America (not for the first time). Two years ago, Jane Foster, the girlfriend of Marvel’s resident God of Thunder, replaced him, becoming the female Thor.\u003c/p>\n\u003cfigure id=\"attachment_11781600\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg\" alt=\"The cover of 'Invincible Iron Man,' with art by Jeff Dekal\" width=\"640\" height=\"973\" class=\"size-large wp-image-11781600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-400x608.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-960x1459.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2.jpg 987w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Invincible Iron Man,’ with art by Jeff Dekal \u003ccite>(Courtesy: Marvel Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s worth noting that in every one of these cases, the new character has simply assumed an existing hero’s shtick. That’s because it takes years for brand-new characters to establish themselves, if they ever do; there’s certainly no guarantee readers will accept an original hero in a genre as steeped (read: wallowing) in history as mainstream superhero comics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Having a new character take on the name and powers of a long-established hero offers an effective shortcut, and one that assures three different but coequal outcomes:\u003c/p>\n\u003cp>1. The sheer name-recognition of the superhero in question will generate coverage, like this blog post;\u003c/p>\n\u003cp>2. A subset of hardcore fans who believe superhero comics should be fixed in a permanent, “iconic” stasis (read: should always remain exactly the way they were when these fans were thirteen years old) will rise up in protest; and\u003c/p>\n\u003cp>3. 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Now, when you have a young woman come up to you at a signing and say how happy she is to be represented in his universe, you know you’re moving in the right direction.\u003c/p>\n\u003c/blockquote>\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=A+Starkly+Different+Iron+Man%3A+Black%2C+Female%2C+And+15+Years+Old&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Her name is Riri Williams. She reverse-engineered her own version of the Iron Man battlesuit in her MIT dorm room, got kicked out, and struck out on her own to do the superhero thing. Clumsily at first, but she’s learning fast. So fast she’s impressing Tony Stark, who’s questioning his status as the Marvel Universe’s go-to, super-powered Campbell’s soup can. Readers first met her in the March issue of \u003cem>Invincible Iron Man\u003c/em>.\u003c/p>\n\u003cp>And \u003ca href=\"http://time.com/4394478/iron-man-riri-williams-tony-stark/?xid=homepage\" target=\"_blank\" rel=\"noopener\">according to an interview in \u003cem>TIME\u003c/em> with Brian Michael Bendis\u003c/a>, who’s writing both that \u003cem>Iron Man\u003c/em> title and this summer’s comics crossover event, \u003cem>Civil War II\u003c/em>, she’s about to take over for Tony Stark when \u003cem>Invincible Iron Man\u003c/em> relaunches in the fall.\u003c/p>\n\u003cp>It’s the latest in a series of moves that’s slowly but steadily transforming the Avengers’ roster from a team with more white dudes than a Harold Bloom syllabus into a super-group that more accurately reflects the world off of the comics page.\u003c/p>\n\u003cp>First came Miles Morales, a black Latino kid who stepped into the role of Spider-Man. Next came Kamala Khan, a teenage Muslim from New Jersey who assumed the title of Ms. Marvel, and America Chavez, a Latina lesbian who adopted the name of Golden Age hero Miss America. Recently Sam Wilson, the former Marvel hero The Falcon, took over as Captain America (not for the first time). Two years ago, Jane Foster, the girlfriend of Marvel’s resident God of Thunder, replaced him, becoming the female Thor.\u003c/p>\n\u003cfigure id=\"attachment_11781600\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg\" alt=\"The cover of 'Invincible Iron Man,' with art by Jeff Dekal\" width=\"640\" height=\"973\" class=\"size-large wp-image-11781600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-400x608.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-960x1459.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2.jpg 987w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Invincible Iron Man,’ with art by Jeff Dekal \u003ccite>(Courtesy: Marvel Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s worth noting that in every one of these cases, the new character has simply assumed an existing hero’s shtick. That’s because it takes years for brand-new characters to establish themselves, if they ever do; there’s certainly no guarantee readers will accept an original hero in a genre as steeped (read: wallowing) in history as mainstream superhero comics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Having a new character take on the name and powers of a long-established hero offers an effective shortcut, and one that assures three different but coequal outcomes:\u003c/p>\n\u003cp>1. The sheer name-recognition of the superhero in question will generate coverage, like this blog post;\u003c/p>\n\u003cp>2. A subset of hardcore fans who believe superhero comics should be fixed in a permanent, “iconic” stasis (read: should always remain exactly the way they were when these fans were thirteen years old) will rise up in protest; and\u003c/p>\n\u003cp>3. Readers who have rarely seen themselves represented in superhero comics in such a high-profile way — people of color, LGBT people, people of different faiths — will at least investigate a new take on a character. Whether or not they stick with it depends, of course, entirely on the execution; representation does not guarantee readership, nor should it. But comics, like any medium, grow more interesting, more relevant, and more revelatory as they grow less monolithic. And that’s what moves like this set out to do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In that interview in TIME, Bendis was asked why it’s taken so long for changes like this to occur in comics. He said:\u003c/p>\n\u003cblockquote>\n\u003cp>Talking to \u003cem>any\u003c/em> of the older creators, it’s the thing they said they wish they’d done more of — reflecting the world around them. It just wasn’t where the world was at at that time. Now, when you have a young woman come up to you at a signing and say how happy she is to be represented in his universe, you know you’re moving in the right direction.\u003c/p>\n\u003c/blockquote>\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=A+Starkly+Different+Iron+Man%3A+Black%2C+Female%2C+And+15+Years+Old&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\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>As the co-founder of San Jose’s \u003ca href=\"http://www.schoolofvisualphilosophy.com/\" target=\"_blank\" rel=\"noopener\">School of Visual Philosophy\u003c/a>, fine artist Dana Harris Seeger seeks to bring together arts education, culture and technology in Silicon Valley. Like other arts institutions in the Bay Area, the school is currently under threat of being sold, but Harris Seeger pushes on, driven by the community that she serves and her own deep love for the craft.\u003c/p>\n\u003cp>\u003cb>Where do you live?\u003c/b>\u003cbr>\nSan Jose, in the Delmas Park Neighborhood[contextly_sidebar id=”c313tb164w2kSskLtSuZl2zH4tDLhZSi”]\u003c/p>\n\u003cp>\u003cb>Describe yourself in one word.\u003c/b>\u003cbr>\nDedicated.\u003c/p>\n\u003cp>\u003cb>What did you do last night?\u003c/b>\u003cbr>\nMade dinner for my family, knitted a little bit, read a story to my daughter, gave her a bath and put her to bed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>What can’t you live without?\u003c/b>\u003cbr>\nKnitting. It’s my release.\u003c/p>\n\u003cp>\u003cb>If you could travel any where in the world, where would it be?\u003c/b>\u003cbr>\nThe Baltic countries — Estonia and Latvia (my ethnic place of origin) and Norway.\u003c/p>\n\u003cfigure id=\"attachment_11666710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666710 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25-800x450.png\" alt=\"Dana Harris\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dana Harris.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Who is your personal hero? Why?\u003c/b>\u003cbr>\nMy personal hero is my grandpa. He fought in WWII for a country that wasn’t his own. He was forced to leave his home, start a new family and build a home in a foreign country where he didn’t know the language, and managed to start several businesses. He was also really creative and funny.\u003c/p>\n\u003cp>\u003cb>How did you find your creative voice?\u003c/b>\u003cbr>\nMy parents gave me my creative voice when I was little. They made it super cool to make art, and encouraged me to pursue art as a career. When I was in grad school I had a great teacher (\u003ca href=\"http://www.galeantokal.com/\" target=\"_blank\" rel=\"noopener\">Gale Antokal\u003c/a>) who helped me find my voice and a way of working that made my world make sense.\u003c/p>\n\u003cp>\u003cb>What is something most people don’t know about you?\u003c/b>\u003cbr>\nI am an identical twin.\u003c/p>\n\u003cp>\u003cb>What do you do when you feel uninspired?\u003c/b>\u003cbr>\nI love going to local art museums and galleries when I need inspiration. It gets my creative juices flowing to find things unexpectedly inspiring.\u003c/p>\n\u003cfigure id=\"attachment_11666711\" class=\"wp-caption aligncenter\" style=\"max-width: 531px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666711 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-41-531x600.png\" alt=\"Dana Harris\" width=\"531\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-41-531x600.png 531w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-41-400x452.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-41-768x868.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-41.png 885w\" sizes=\"(max-width: 531px) 100vw, 531px\">\u003cfigcaption class=\"wp-caption-text\">Dana Harris.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your biggest ‘learning moment,’ and what did you you take from that experience?\u003c/b>\u003cbr>\nMy biggest learning moment has been opening up a business. I never thought of myself as a “boss” or business person \u003cem>per se\u003c/em>, and I have learned how to manage people who look to me for inspiration and direction — as well as how to get things done when dealing with city politics!\u003c/p>\n\u003cp>\u003cb>What’s your greatest achievement and how has it shaped you?\u003c/b>\u003cbr>\nOther than opening up an art business in a struggling economy, my greatest achievement has been becoming a parent. My daughter is awesome, and has taught me so much about what to prioritize and what to let go of. Becoming responsible for the life of a magical little creature has shaped me into a more patient and appreciative human.\u003c/p>\n\u003cfigure id=\"attachment_11758491\" class=\"wp-caption aligncenter\" style=\"max-width: 465px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758491\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/DanaHarris_6-465x600.jpg\" alt=\"Lithograph with Screen Print and mixed media on paper and Plexiglas\" width=\"465\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-465x600.jpg 465w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-400x516.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-768x990.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-915x1180.jpg 915w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-1180x1522.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-960x1238.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6.jpg 1489w\" sizes=\"(max-width: 465px) 100vw, 465px\">\u003cfigcaption class=\"wp-caption-text\">Lithograph with screen print and mixed media on paper and Plexiglas. \u003ccite>(Courtesy of Dana Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Coffee or tea? What kind?\u003c/b>\u003cbr>\nI love both, but have been preferring coffee lately, mostly because I got a Keurig and it’s so damn easy to make. Peet’s medium roast.\u003c/p>\n\u003cp>\u003cb>What does a perfect day look like for you?\u003c/b>\u003cbr>\nI wake up with my family, lounge in bed for an hour, my husband makes breakfast, we all go to the studio for a few hours and I make art (instead of doing business stuff), then we go home and hang out in the garden and chill with my sister and her family on the patio by the fire.\u003c/p>\n\u003cp>\u003cb>Who are your local inspirations?\u003c/b>\u003cbr>\nI love \u003ca href=\"http://michaelcutlip.com/\" target=\"_blank\" rel=\"noopener\">Michael Cutlip’s\u003c/a> paintings and prints, \u003ca href=\"http://www.squeakcarnwath.com/\" target=\"_blank\" rel=\"noopener\">Squeak Carnwath’s\u003c/a> huge paintings, and \u003ca href=\"http://www.stephaniemetz.com/\" target=\"_blank\" rel=\"noopener\">Stephanie Metz\u003c/a> (one of our studio artists), who makes needle-felted wool sculptures.\u003c/p>\n\u003cp>\u003cb>Favorite meal?\u003c/b>\u003cbr>\nFresh bread, avocado, brie and a bottle of red wine (preferably eaten on the beach).\u003c/p>\n\u003cfigure id=\"attachment_11758492\" class=\"wp-caption aligncenter\" style=\"max-width: 765px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758492\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/DanaHarris_9-765x600.jpg\" alt=\"'Encaustic', collage, drawing materials, chalk paint and chalk on panel\" width=\"765\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9-765x600.jpg 765w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9-400x314.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9-1180x926.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9-960x753.jpg 960w\" sizes=\"(max-width: 765px) 100vw, 765px\">\u003cfigcaption class=\"wp-caption-text\">‘Encaustic’, collage, drawing materials, chalk paint and chalk on panel. \u003ccite>(Courtesy of Dana Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cbr>\nWhat upcoming show are you excited about?\u003c/b>\u003cbr>\nI am excited about the \u003ca href=\"http://ww2.kqed.org/arts/2016/03/30/sfmoma-giving-away-free-tickets-for-opening-day/\" target=\"_blank\" rel=\"noopener\">re-opening of the SFMOMA\u003c/a> and Claudy Jongstra’s piece using \u003ca href=\"http://www.claudyjongstra.com/process\" target=\"_blank\" rel=\"noopener\">sheep’s wool\u003c/a> — obviously, I am obsessed with yarn, knitting, fiber and art.\u003c/p>\n\u003cp>\u003cb>Where do you see yourself in five years?\u003c/b>\u003cbr>\nI see myself working here at Visual Philosophy, making art and exhibiting, raising my daughter (maybe another sibling as well), and growing my business into a full-fledged art school that will become an accredited MFA or PhD program.\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>\nI would live in Matisse’s painting \u003ca href=\"http://www.henri-matisse.net/paintings/bga.html\" target=\"_blank\" rel=\"noopener\">\u003ci>The Goldfish\u003c/i>\u003c/a>. I \u003cem>love\u003c/em> the colors, patterns and happiness that painting evokes.\u003c/p>\n\u003cp>\u003cb>Where and when can people see you or your art in action?\u003c/b>\u003cbr>\nPeople are always invited to come by the \u003ca href=\"http://www.schoolofvisualphilosophy.com/\">School of Visual Philosophy\u003c/a> to see my work up there and in my studio!\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>\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>\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>As the co-founder of San Jose’s \u003ca href=\"http://www.schoolofvisualphilosophy.com/\" target=\"_blank\" rel=\"noopener\">School of Visual Philosophy\u003c/a>, fine artist Dana Harris Seeger seeks to bring together arts education, culture and technology in Silicon Valley. Like other arts institutions in the Bay Area, the school is currently under threat of being sold, but Harris Seeger pushes on, driven by the community that she serves and her own deep love for the craft.\u003c/p>\n\u003cp>\u003cb>Where do you live?\u003c/b>\u003cbr>\nSan Jose, in the Delmas Park Neighborhood\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>Describe yourself in one word.\u003c/b>\u003cbr>\nDedicated.\u003c/p>\n\u003cp>\u003cb>What did you do last night?\u003c/b>\u003cbr>\nMade dinner for my family, knitted a little bit, read a story to my daughter, gave her a bath and put her to bed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>What can’t you live without?\u003c/b>\u003cbr>\nKnitting. It’s my release.\u003c/p>\n\u003cp>\u003cb>If you could travel any where in the world, where would it be?\u003c/b>\u003cbr>\nThe Baltic countries — Estonia and Latvia (my ethnic place of origin) and Norway.\u003c/p>\n\u003cfigure id=\"attachment_11666710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666710 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25-800x450.png\" alt=\"Dana Harris\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dana Harris.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Who is your personal hero? Why?\u003c/b>\u003cbr>\nMy personal hero is my grandpa. He fought in WWII for a country that wasn’t his own. He was forced to leave his home, start a new family and build a home in a foreign country where he didn’t know the language, and managed to start several businesses. He was also really creative and funny.\u003c/p>\n\u003cp>\u003cb>How did you find your creative voice?\u003c/b>\u003cbr>\nMy parents gave me my creative voice when I was little. They made it super cool to make art, and encouraged me to pursue art as a career. When I was in grad school I had a great teacher (\u003ca href=\"http://www.galeantokal.com/\" target=\"_blank\" rel=\"noopener\">Gale Antokal\u003c/a>) who helped me find my voice and a way of working that made my world make sense.\u003c/p>\n\u003cp>\u003cb>What is something most people don’t know about you?\u003c/b>\u003cbr>\nI am an identical twin.\u003c/p>\n\u003cp>\u003cb>What do you do when you feel uninspired?\u003c/b>\u003cbr>\nI love going to local art museums and galleries when I need inspiration. It gets my creative juices flowing to find things unexpectedly inspiring.\u003c/p>\n\u003cfigure id=\"attachment_11666711\" class=\"wp-caption aligncenter\" style=\"max-width: 531px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666711 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-41-531x600.png\" alt=\"Dana Harris\" width=\"531\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-41-531x600.png 531w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-41-400x452.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-41-768x868.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-41.png 885w\" sizes=\"(max-width: 531px) 100vw, 531px\">\u003cfigcaption class=\"wp-caption-text\">Dana Harris.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your biggest ‘learning moment,’ and what did you you take from that experience?\u003c/b>\u003cbr>\nMy biggest learning moment has been opening up a business. I never thought of myself as a “boss” or business person \u003cem>per se\u003c/em>, and I have learned how to manage people who look to me for inspiration and direction — as well as how to get things done when dealing with city politics!\u003c/p>\n\u003cp>\u003cb>What’s your greatest achievement and how has it shaped you?\u003c/b>\u003cbr>\nOther than opening up an art business in a struggling economy, my greatest achievement has been becoming a parent. My daughter is awesome, and has taught me so much about what to prioritize and what to let go of. Becoming responsible for the life of a magical little creature has shaped me into a more patient and appreciative human.\u003c/p>\n\u003cfigure id=\"attachment_11758491\" class=\"wp-caption aligncenter\" style=\"max-width: 465px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758491\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/DanaHarris_6-465x600.jpg\" alt=\"Lithograph with Screen Print and mixed media on paper and Plexiglas\" width=\"465\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-465x600.jpg 465w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-400x516.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-768x990.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-915x1180.jpg 915w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-1180x1522.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-960x1238.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6.jpg 1489w\" sizes=\"(max-width: 465px) 100vw, 465px\">\u003cfigcaption class=\"wp-caption-text\">Lithograph with screen print and mixed media on paper and Plexiglas. \u003ccite>(Courtesy of Dana Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Coffee or tea? What kind?\u003c/b>\u003cbr>\nI love both, but have been preferring coffee lately, mostly because I got a Keurig and it’s so damn easy to make. Peet’s medium roast.\u003c/p>\n\u003cp>\u003cb>What does a perfect day look like for you?\u003c/b>\u003cbr>\nI wake up with my family, lounge in bed for an hour, my husband makes breakfast, we all go to the studio for a few hours and I make art (instead of doing business stuff), then we go home and hang out in the garden and chill with my sister and her family on the patio by the fire.\u003c/p>\n\u003cp>\u003cb>Who are your local inspirations?\u003c/b>\u003cbr>\nI love \u003ca href=\"http://michaelcutlip.com/\" target=\"_blank\" rel=\"noopener\">Michael Cutlip’s\u003c/a> paintings and prints, \u003ca href=\"http://www.squeakcarnwath.com/\" target=\"_blank\" rel=\"noopener\">Squeak Carnwath’s\u003c/a> huge paintings, and \u003ca href=\"http://www.stephaniemetz.com/\" target=\"_blank\" rel=\"noopener\">Stephanie Metz\u003c/a> (one of our studio artists), who makes needle-felted wool sculptures.\u003c/p>\n\u003cp>\u003cb>Favorite meal?\u003c/b>\u003cbr>\nFresh bread, avocado, brie and a bottle of red wine (preferably eaten on the beach).\u003c/p>\n\u003cfigure id=\"attachment_11758492\" class=\"wp-caption aligncenter\" style=\"max-width: 765px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758492\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/DanaHarris_9-765x600.jpg\" alt=\"'Encaustic', collage, drawing materials, chalk paint and chalk on panel\" width=\"765\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9-765x600.jpg 765w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9-400x314.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9-1180x926.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9-960x753.jpg 960w\" sizes=\"(max-width: 765px) 100vw, 765px\">\u003cfigcaption class=\"wp-caption-text\">‘Encaustic’, collage, drawing materials, chalk paint and chalk on panel. \u003ccite>(Courtesy of Dana Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cbr>\nWhat upcoming show are you excited about?\u003c/b>\u003cbr>\nI am excited about the \u003ca href=\"http://ww2.kqed.org/arts/2016/03/30/sfmoma-giving-away-free-tickets-for-opening-day/\" target=\"_blank\" rel=\"noopener\">re-opening of the SFMOMA\u003c/a> and Claudy Jongstra’s piece using \u003ca href=\"http://www.claudyjongstra.com/process\" target=\"_blank\" rel=\"noopener\">sheep’s wool\u003c/a> — obviously, I am obsessed with yarn, knitting, fiber and art.\u003c/p>\n\u003cp>\u003cb>Where do you see yourself in five years?\u003c/b>\u003cbr>\nI see myself working here at Visual Philosophy, making art and exhibiting, raising my daughter (maybe another sibling as well), and growing my business into a full-fledged art school that will become an accredited MFA or PhD program.\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>\nI would live in Matisse’s painting \u003ca href=\"http://www.henri-matisse.net/paintings/bga.html\" target=\"_blank\" rel=\"noopener\">\u003ci>The Goldfish\u003c/i>\u003c/a>. I \u003cem>love\u003c/em> the colors, patterns and happiness that painting evokes.\u003c/p>\n\u003cp>\u003cb>Where and when can people see you or your art in action?\u003c/b>\u003cbr>\nPeople are always invited to come by the \u003ca href=\"http://www.schoolofvisualphilosophy.com/\">School of Visual Philosophy\u003c/a> to see my work up there and in my studio!\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>\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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"headTitle": "Find Beauty in the Streets of San Jose this Summer | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/hot-summer-days-and-nights-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11638282\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg\" alt=\"SummerArtsGuide-2016-300x300\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>In August 2000, the renowned street artist \u003ca href=\"https://obeygiant.com/\" target=\"_blank\" rel=\"noopener\">Shepard Fairey\u003c/a> was in town for his solo exhibition at Anno Domini. He spent the afternoon leading up to his opening reception wheat pasting his art on numerous walls and utility boxes surrounding the hotel in which he was staying — not that many of us in downtown San Jose ever saw it. Our city had a “zero tolerance” graffiti policy and a well-funded anti-graffiti team to back it up. By the next morning, they had completely and effectively eradicated Fairey’s art.\u003c/p>\n\u003cfigure id=\"attachment_11741849\" class=\"wp-caption aligncenter\" style=\"max-width: 1069px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741849\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini.jpg\" alt=\"Shepard Fairey in San Jose 2000.\" width=\"1069\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini.jpg 1069w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini-960x647.jpg 960w\" sizes=\"(max-width: 1069px) 100vw, 1069px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shepard Fairey in San Jose 2000. \u003ccite>(Photo courtesy of Anno Domini)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Street art and graffiti have often been seen as two sides of the same coin when it comes to legal interpretation and ramifications, but the simple step of an artist asking and being granted permission has resulted in an explosion of murals on privately-owned buildings all over the world. San Jose has slowly but surely begun to acknowledge the contributions artists make towards a vibrant city that attracts and retains the creative class with much of the work being accomplished by a mix of inspired individuals, artists, grass roots collectives and civic-minded nonprofits.\u003c/p>\n\u003cp>The murals highlighted below are just a few of the many outdoor art works that can be found in San Jose if you have the presence of mind to explore the neighborhoods and look up once in a while. These particular murals were chosen for their originality and contribution to the actual space surrounding them as well as the wonderment they inspire when you view them. It’s easy to imagine these murals as portals into other worlds where you can linger a while and give your cerebral side a rest and let your intuitive imagination side have some fun and play.\u003c/p>\n\u003cp>One caveat of private/permissioned murals is that its longevity is uncertain. So consider a détournement next time you’re out walking, skating or biking this summer and see what beauty awaits you in the streets of San Jose.\u003c/p>\n\u003cfigure id=\"attachment_11741845\" class=\"wp-caption aligncenter\" style=\"max-width: 1127px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741845\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey.jpg\" alt=\"Mural by Ian S. Young\" width=\"1127\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey.jpg 1127w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey-960x613.jpg 960w\" sizes=\"(max-width: 1127px) 100vw, 1127px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Ian S. Young \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Interview with an Icon” by \u003ca href=\"http://quietgiantdesign.com/\" target=\"_blank\" rel=\"noopener\">Ian S. Young\u003c/a>\u003cbr>\nLocated at Barber’s Inc. 332 E. Santa Clara St. (downtown)\u003cbr>\nSupported by SJSU African American Task Force for Student Success and the San Jose Downtown Foundation\u003c/p>\n\u003cfigure id=\"attachment_11741846\" class=\"wp-caption aligncenter\" style=\"max-width: 1079px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741846\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder.jpg\" alt=\"Mural by Jeffrey Hemming\" width=\"1079\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder.jpg 1079w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder-960x641.jpg 960w\" sizes=\"(max-width: 1079px) 100vw, 1079px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Jeffrey Hemming \u003ccite>(Photo by Brian Eder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Phylum of the Free” by \u003ca href=\"http://www.andradehemming.com/\" target=\"_blank\" rel=\"noopener\">Jeffrey Hemming\u003c/a>\u003cbr>\nLocated at Lido Nightclub 30 S. 1st St. (Fountain Alley)\u003cbr>\nSupported by the San Jose Downtown Association, the Santa Clara County District Attorney’s office and Phantom Galleries\u003c/p>\n\u003cfigure id=\"attachment_11741842\" class=\"wp-caption aligncenter\" style=\"max-width: 1087px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741842\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey.jpg\" alt=\"Mural by Galen Oback\" width=\"1087\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey.jpg 1087w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey-960x636.jpg 960w\" sizes=\"(max-width: 1087px) 100vw, 1087px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Galen Oback \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Labor of Our Love” by \u003ca href=\"http://www.galenoback.com/\" target=\"_blank\" rel=\"noopener\">Galen Oback\u003c/a>\u003cbr>\nLocated at Workingman’s Emporium 260 N. 1st St. (downtown)\u003cbr>\nSupported by Exhibition District and the Knight Foundation\u003c/p>\n\u003cfigure id=\"attachment_11741853\" class=\"wp-caption aligncenter\" style=\"max-width: 1079px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/NotreDame_BEder.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741853\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/NotreDame_BEder.jpg\" alt=\"Mural by Jamie Friedman & Notre Dame H.S.\" width=\"1079\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/NotreDame_BEder.jpg 1079w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/NotreDame_BEder-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/NotreDame_BEder-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/NotreDame_BEder-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/NotreDame_BEder-960x641.jpg 960w\" sizes=\"(max-width: 1079px) 100vw, 1079px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Jamie Friedman & Notre Dame H.S. \u003ccite>(Photo by Brian Eder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11741847\" class=\"wp-caption aligncenter\" style=\"max-width: 1064px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11741847 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey.jpg\" alt=\"Mural by Marcos LaFarga\" width=\"1064\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey.jpg 1064w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey-960x650.jpg 960w\" sizes=\"(max-width: 1064px) 100vw, 1064px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Marcos LaFarga \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Front:\u003c/em> ”Looking Back” by \u003ca href=\"http://www.ndsj.org/s/970/RtCol.aspx?sid=970&gid=1&calcid=1017&calpgid=371&pgid=2477&crid=0&cid=1017\" target=\"_blank\" rel=\"noopener\">Jamie Friedman & Notre Dame High School students\u003c/a>\u003cbr>\n\u003cem>Reverse:\u003c/em> “The Future” by \u003ca href=\"http://marcoslafarga.com/\" target=\"_blank\" rel=\"noopener\">Marcos LaFarga\u003c/a>\u003cbr>\nLocated at the corner of E. San Carlos & S. 2nd streets (SoFA District)\u003cbr>\nSupported by San Jose Downtown Association and the Property-Based Improvement District funds\u003c/p>\n\u003cfigure id=\"attachment_11741852\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741852\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey.jpg\" alt=\"Mural by LAuruS Myth\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey-768x576.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by LAuruS Myth \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Expanding Circuits – Stairs to the Moon – Rising Naturally” by \u003ca href=\"http://www.artbylaurus.com/\" target=\"_blank\" rel=\"noopener\">LAuruS Myth\u003c/a>\u003cbr>\nLocated at TechShopSJ 300 S. 2nd St. (SoFA District)\u003cbr>\nSupported by Phantom Galleries and SubZERO Festival\u003c/p>\n\u003cfigure id=\"attachment_11741848\" class=\"wp-caption aligncenter\" style=\"max-width: 1416px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741848\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey.jpg\" alt=\"Murals by Poesia, Michael Borja, and Denis Korkh\" width=\"1416\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey.jpg 1416w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey-400x203.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey-800x407.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey-768x391.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey-1180x600.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey-960x488.jpg 960w\" sizes=\"(max-width: 1416px) 100vw, 1416px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Murals by Poesia, Michael Borja, and Denis Korkh \u003ccite>(Photos by Brian Eder & Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Left to right\u003c/em>: murals by \u003ca href=\"http://poesiatranscend.com/\" target=\"_blank\" rel=\"noopener\">Poesia,\u003c/a> \u003ca href=\"http://michaelborja.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Michael Borja\u003c/a>, and \u003ca href=\"http://deniskorkh.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Denis Korkh\u003c/a>\u003cbr>\nLocated at The Studio Climbing Gym 396 S. 1st St. (SoFA District)\u003cbr>\nSupported by Phantom Galleries and SubZERO Festival\u003c/p>\n\u003cfigure id=\"attachment_11741850\" class=\"wp-caption aligncenter\" style=\"max-width: 920px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741850\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey.jpg\" alt=\"Street print design by Scape Martinez\" width=\"920\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey.jpg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey-800x478.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey-768x459.jpg 768w\" sizes=\"(max-width: 920px) 100vw, 920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Street print design by Scape Martinez \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Symphony of Style; Color, Light, and Sound”. by \u003ca href=\"http://www.scapemartinez.com/\" target=\"_blank\" rel=\"noopener\">Scape Martinez\u003c/a>\u003cbr>\nLocated at the intersection of S. 1st & San Salvador streets (SoFA District)\u003cbr>\nSupported by San Jose Downtown Association & SoFA District\u003c/p>\n\u003cfigure id=\"attachment_11741841\" class=\"wp-caption aligncenter\" style=\"max-width: 932px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Force129_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741841\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Force129_CLakey.jpg\" alt=\"Mural by Force 129\" width=\"932\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Force129_CLakey.jpg 932w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Force129_CLakey-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Force129_CLakey-777x600.jpg 777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Force129_CLakey-768x593.jpg 768w\" sizes=\"(max-width: 932px) 100vw, 932px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Force 129 \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Peeps and Pups” by \u003ca href=\"http://www.force129.com\" target=\"_blank\" rel=\"noopener\">Force 129\u003c/a>\u003cbr>\nLocated at 467 S. 1st St. (SoFA District)\u003cbr>\nSupported by The Core Companies, Phantom Galleries and SubZERO.Festival\u003c/p>\n\u003cfigure id=\"attachment_11741857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741857\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932-800x534.jpg\" alt=\"Mural by Aaron De La Cruz\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932.jpg 1079w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Aaron De La Cruz \u003ccite>(Photo by Brian Eder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Untitled by \u003ca href=\"http://www.aarondelacruz.com/\" target=\"_blank\" rel=\"noopener\">Aaron De La Cruz\u003c/a>\u003cbr>\nLocated at MACLA 300 S. 1st St. (SoFA District)\u003cbr>\nSupported by MACLA\u003c/p>\n\u003cfigure id=\"attachment_11741844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Nosego_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741844\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Nosego_CLakey-800x533.jpg\" alt=\"Mural by Nosego\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Nosego_CLakey-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Nosego_CLakey-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Nosego_CLakey-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Nosego_CLakey-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Nosego_CLakey.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Nosego \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Little Moment” by \u003ca href=\"http://www.nosego.com/\" target=\"_blank\" rel=\"noopener\">Nosego\u003c/a>\u003cbr>\nLocated at Nichi Bei Bussan 140 E. Jackson St. (Japantown)\u003cbr>\nSupported by Empire Seven Studios and the Knight Foundation\u003c/p>\n\u003cfigure id=\"attachment_11741851\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741851\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder-800x534.jpg\" alt=\"Mural by Andrew Schoultz\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder.jpg 1079w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Andrew Schoultz \u003ccite>(Photo by Brian Eder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Empty Vessel” by \u003ca href=\"http://www.andrewschoultz.com/\" target=\"_blank\" rel=\"noopener\">Andrew Schoultz\u003c/a>\u003cbr>\nLocated at the corner of 6th & Empire streets (Japantown)\u003cbr>\nSupported by Empire Seven Studios and the Knight Foundation\u003c/p>\n\u003cfigure id=\"attachment_11741840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741840\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey-800x545.jpg\" alt=\"Mural by Thomas Talamantes\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey-400x272.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey-960x654.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey.jpg 1057w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Thomas Talamantes \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“‘You are never strong enough where you don’t need help.’~Cesar Chavez” by \u003ca href=\"https://www.facebook.com/wisper.t.talamantes\" target=\"_blank\" rel=\"noopener\">Thomas Talamantes\u003c/a>\u003cbr>\nLocated at The Bottle Shop 899 S. 1st St. (downtown)\u003cbr>\nSupported by Beautiful Day, Santa Clara County District Attorney’s office and the Guadalupe Washington Neighborhood Association\u003c/p>\n\u003cfigure id=\"attachment_11741843\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SaraTomasello_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741843\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SaraTomasello_CLakey-400x600.jpg\" alt=\"ArtBox by Sara Tomasello\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SaraTomasello_CLakey-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SaraTomasello_CLakey.jpg 480w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">ArtBox by Sara Tomasello \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>BONUS ArtBox Mini-Murals: Over 60 hand painted utility boxes by local artists in most San Jose neighborhoods.\u003cbr>\nSupported by the ArtBox SJ Project and individual sponsors\u003cbr>\nPictured ArtBox by \u003ca href=\"https://www.facebook.com/Sara-Tomasello-Artist-151292364893059/\" target=\"_blank\" rel=\"noopener\">Sara Tomasello\u003c/a> at 13th & Hedding streets\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Use the ArtMap below to help you navigate to the featured murals as well as many more works of art in downtown San Jose. (\u003cem>created by\u003c/em> Brian Eder)\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cp>[googlemaps https://www.google.com/maps/d/embed?mid=1Z49E6ee1e0E_4qH68DFcqjWUGlI&w=640&h=480]\u003c/p>\n\u003c/aside>\n\n",
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"title": "Find Beauty in the Streets of San Jose this Summer | KQED",
"description": "In August 2000, the renowned street artist Shepard Fairey was in town for his solo exhibition at Anno Domini. He spent the afternoon leading up to his opening reception wheat pasting his art on numerous walls and utility boxes surrounding the hotel in which he was staying -- not that many of us in downtown San Jose ever saw it. Our city had a “zero tolerance” graffiti policy and a well-funded anti-graffiti team to back it up. By the next morning, they had completely and effectively eradicated Fairey’s art. Street art and graffiti have often been seen as two sides",
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"headline": "Find Beauty in the Streets of San Jose this Summer",
"datePublished": "2016-07-05T08:00:32-07:00",
"dateModified": "2024-09-19T16:12:51-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/hot-summer-days-and-nights-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11638282\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg\" alt=\"SummerArtsGuide-2016-300x300\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>In August 2000, the renowned street artist \u003ca href=\"https://obeygiant.com/\" target=\"_blank\" rel=\"noopener\">Shepard Fairey\u003c/a> was in town for his solo exhibition at Anno Domini. He spent the afternoon leading up to his opening reception wheat pasting his art on numerous walls and utility boxes surrounding the hotel in which he was staying — not that many of us in downtown San Jose ever saw it. Our city had a “zero tolerance” graffiti policy and a well-funded anti-graffiti team to back it up. By the next morning, they had completely and effectively eradicated Fairey’s art.\u003c/p>\n\u003cfigure id=\"attachment_11741849\" class=\"wp-caption aligncenter\" style=\"max-width: 1069px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741849\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini.jpg\" alt=\"Shepard Fairey in San Jose 2000.\" width=\"1069\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini.jpg 1069w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini-960x647.jpg 960w\" sizes=\"(max-width: 1069px) 100vw, 1069px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shepard Fairey in San Jose 2000. \u003ccite>(Photo courtesy of Anno Domini)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Street art and graffiti have often been seen as two sides of the same coin when it comes to legal interpretation and ramifications, but the simple step of an artist asking and being granted permission has resulted in an explosion of murals on privately-owned buildings all over the world. San Jose has slowly but surely begun to acknowledge the contributions artists make towards a vibrant city that attracts and retains the creative class with much of the work being accomplished by a mix of inspired individuals, artists, grass roots collectives and civic-minded nonprofits.\u003c/p>\n\u003cp>The murals highlighted below are just a few of the many outdoor art works that can be found in San Jose if you have the presence of mind to explore the neighborhoods and look up once in a while. These particular murals were chosen for their originality and contribution to the actual space surrounding them as well as the wonderment they inspire when you view them. It’s easy to imagine these murals as portals into other worlds where you can linger a while and give your cerebral side a rest and let your intuitive imagination side have some fun and play.\u003c/p>\n\u003cp>One caveat of private/permissioned murals is that its longevity is uncertain. So consider a détournement next time you’re out walking, skating or biking this summer and see what beauty awaits you in the streets of San Jose.\u003c/p>\n\u003cfigure id=\"attachment_11741845\" class=\"wp-caption aligncenter\" style=\"max-width: 1127px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741845\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey.jpg\" alt=\"Mural by Ian S. Young\" width=\"1127\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey.jpg 1127w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey-960x613.jpg 960w\" sizes=\"(max-width: 1127px) 100vw, 1127px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Ian S. Young \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Interview with an Icon” by \u003ca href=\"http://quietgiantdesign.com/\" target=\"_blank\" rel=\"noopener\">Ian S. Young\u003c/a>\u003cbr>\nLocated at Barber’s Inc. 332 E. Santa Clara St. (downtown)\u003cbr>\nSupported by SJSU African American Task Force for Student Success and the San Jose Downtown Foundation\u003c/p>\n\u003cfigure id=\"attachment_11741846\" class=\"wp-caption aligncenter\" style=\"max-width: 1079px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741846\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder.jpg\" alt=\"Mural by Jeffrey Hemming\" width=\"1079\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder.jpg 1079w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder-960x641.jpg 960w\" sizes=\"(max-width: 1079px) 100vw, 1079px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Jeffrey Hemming \u003ccite>(Photo by Brian Eder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Phylum of the Free” by \u003ca href=\"http://www.andradehemming.com/\" target=\"_blank\" rel=\"noopener\">Jeffrey Hemming\u003c/a>\u003cbr>\nLocated at Lido Nightclub 30 S. 1st St. (Fountain Alley)\u003cbr>\nSupported by the San Jose Downtown Association, the Santa Clara County District Attorney’s office and Phantom Galleries\u003c/p>\n\u003cfigure id=\"attachment_11741842\" class=\"wp-caption aligncenter\" style=\"max-width: 1087px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741842\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey.jpg\" alt=\"Mural by Galen Oback\" width=\"1087\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey.jpg 1087w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey-960x636.jpg 960w\" sizes=\"(max-width: 1087px) 100vw, 1087px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Galen Oback \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Labor of Our Love” by \u003ca href=\"http://www.galenoback.com/\" target=\"_blank\" rel=\"noopener\">Galen Oback\u003c/a>\u003cbr>\nLocated at Workingman’s Emporium 260 N. 1st St. (downtown)\u003cbr>\nSupported by Exhibition District and the Knight Foundation\u003c/p>\n\u003cfigure id=\"attachment_11741853\" class=\"wp-caption aligncenter\" style=\"max-width: 1079px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/NotreDame_BEder.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741853\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/NotreDame_BEder.jpg\" alt=\"Mural by Jamie Friedman & Notre Dame H.S.\" width=\"1079\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/NotreDame_BEder.jpg 1079w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/NotreDame_BEder-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/NotreDame_BEder-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/NotreDame_BEder-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/NotreDame_BEder-960x641.jpg 960w\" sizes=\"(max-width: 1079px) 100vw, 1079px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Jamie Friedman & Notre Dame H.S. \u003ccite>(Photo by Brian Eder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11741847\" class=\"wp-caption aligncenter\" style=\"max-width: 1064px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11741847 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey.jpg\" alt=\"Mural by Marcos LaFarga\" width=\"1064\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey.jpg 1064w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey-960x650.jpg 960w\" sizes=\"(max-width: 1064px) 100vw, 1064px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Marcos LaFarga \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Front:\u003c/em> ”Looking Back” by \u003ca href=\"http://www.ndsj.org/s/970/RtCol.aspx?sid=970&gid=1&calcid=1017&calpgid=371&pgid=2477&crid=0&cid=1017\" target=\"_blank\" rel=\"noopener\">Jamie Friedman & Notre Dame High School students\u003c/a>\u003cbr>\n\u003cem>Reverse:\u003c/em> “The Future” by \u003ca href=\"http://marcoslafarga.com/\" target=\"_blank\" rel=\"noopener\">Marcos LaFarga\u003c/a>\u003cbr>\nLocated at the corner of E. San Carlos & S. 2nd streets (SoFA District)\u003cbr>\nSupported by San Jose Downtown Association and the Property-Based Improvement District funds\u003c/p>\n\u003cfigure id=\"attachment_11741852\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741852\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey.jpg\" alt=\"Mural by LAuruS Myth\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey-768x576.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by LAuruS Myth \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Expanding Circuits – Stairs to the Moon – Rising Naturally” by \u003ca href=\"http://www.artbylaurus.com/\" target=\"_blank\" rel=\"noopener\">LAuruS Myth\u003c/a>\u003cbr>\nLocated at TechShopSJ 300 S. 2nd St. (SoFA District)\u003cbr>\nSupported by Phantom Galleries and SubZERO Festival\u003c/p>\n\u003cfigure id=\"attachment_11741848\" class=\"wp-caption aligncenter\" style=\"max-width: 1416px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741848\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey.jpg\" alt=\"Murals by Poesia, Michael Borja, and Denis Korkh\" width=\"1416\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey.jpg 1416w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey-400x203.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey-800x407.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey-768x391.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey-1180x600.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey-960x488.jpg 960w\" sizes=\"(max-width: 1416px) 100vw, 1416px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Murals by Poesia, Michael Borja, and Denis Korkh \u003ccite>(Photos by Brian Eder & Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Left to right\u003c/em>: murals by \u003ca href=\"http://poesiatranscend.com/\" target=\"_blank\" rel=\"noopener\">Poesia,\u003c/a> \u003ca href=\"http://michaelborja.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Michael Borja\u003c/a>, and \u003ca href=\"http://deniskorkh.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Denis Korkh\u003c/a>\u003cbr>\nLocated at The Studio Climbing Gym 396 S. 1st St. (SoFA District)\u003cbr>\nSupported by Phantom Galleries and SubZERO Festival\u003c/p>\n\u003cfigure id=\"attachment_11741850\" class=\"wp-caption aligncenter\" style=\"max-width: 920px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741850\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey.jpg\" alt=\"Street print design by Scape Martinez\" width=\"920\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey.jpg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey-800x478.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey-768x459.jpg 768w\" sizes=\"(max-width: 920px) 100vw, 920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Street print design by Scape Martinez \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Symphony of Style; Color, Light, and Sound”. by \u003ca href=\"http://www.scapemartinez.com/\" target=\"_blank\" rel=\"noopener\">Scape Martinez\u003c/a>\u003cbr>\nLocated at the intersection of S. 1st & San Salvador streets (SoFA District)\u003cbr>\nSupported by San Jose Downtown Association & SoFA District\u003c/p>\n\u003cfigure id=\"attachment_11741841\" class=\"wp-caption aligncenter\" style=\"max-width: 932px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Force129_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741841\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Force129_CLakey.jpg\" alt=\"Mural by Force 129\" width=\"932\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Force129_CLakey.jpg 932w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Force129_CLakey-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Force129_CLakey-777x600.jpg 777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Force129_CLakey-768x593.jpg 768w\" sizes=\"(max-width: 932px) 100vw, 932px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Force 129 \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Peeps and Pups” by \u003ca href=\"http://www.force129.com\" target=\"_blank\" rel=\"noopener\">Force 129\u003c/a>\u003cbr>\nLocated at 467 S. 1st St. (SoFA District)\u003cbr>\nSupported by The Core Companies, Phantom Galleries and SubZERO.Festival\u003c/p>\n\u003cfigure id=\"attachment_11741857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741857\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932-800x534.jpg\" alt=\"Mural by Aaron De La Cruz\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932.jpg 1079w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Aaron De La Cruz \u003ccite>(Photo by Brian Eder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Untitled by \u003ca href=\"http://www.aarondelacruz.com/\" target=\"_blank\" rel=\"noopener\">Aaron De La Cruz\u003c/a>\u003cbr>\nLocated at MACLA 300 S. 1st St. (SoFA District)\u003cbr>\nSupported by MACLA\u003c/p>\n\u003cfigure id=\"attachment_11741844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Nosego_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741844\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Nosego_CLakey-800x533.jpg\" alt=\"Mural by Nosego\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Nosego_CLakey-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Nosego_CLakey-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Nosego_CLakey-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Nosego_CLakey-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Nosego_CLakey.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Nosego \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Little Moment” by \u003ca href=\"http://www.nosego.com/\" target=\"_blank\" rel=\"noopener\">Nosego\u003c/a>\u003cbr>\nLocated at Nichi Bei Bussan 140 E. Jackson St. (Japantown)\u003cbr>\nSupported by Empire Seven Studios and the Knight Foundation\u003c/p>\n\u003cfigure id=\"attachment_11741851\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741851\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder-800x534.jpg\" alt=\"Mural by Andrew Schoultz\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder.jpg 1079w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Andrew Schoultz \u003ccite>(Photo by Brian Eder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Empty Vessel” by \u003ca href=\"http://www.andrewschoultz.com/\" target=\"_blank\" rel=\"noopener\">Andrew Schoultz\u003c/a>\u003cbr>\nLocated at the corner of 6th & Empire streets (Japantown)\u003cbr>\nSupported by Empire Seven Studios and the Knight Foundation\u003c/p>\n\u003cfigure id=\"attachment_11741840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741840\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey-800x545.jpg\" alt=\"Mural by Thomas Talamantes\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey-400x272.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey-960x654.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey.jpg 1057w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Thomas Talamantes \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“‘You are never strong enough where you don’t need help.’~Cesar Chavez” by \u003ca href=\"https://www.facebook.com/wisper.t.talamantes\" target=\"_blank\" rel=\"noopener\">Thomas Talamantes\u003c/a>\u003cbr>\nLocated at The Bottle Shop 899 S. 1st St. (downtown)\u003cbr>\nSupported by Beautiful Day, Santa Clara County District Attorney’s office and the Guadalupe Washington Neighborhood Association\u003c/p>\n\u003cfigure id=\"attachment_11741843\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SaraTomasello_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741843\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SaraTomasello_CLakey-400x600.jpg\" alt=\"ArtBox by Sara Tomasello\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SaraTomasello_CLakey-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SaraTomasello_CLakey.jpg 480w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">ArtBox by Sara Tomasello \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>BONUS ArtBox Mini-Murals: Over 60 hand painted utility boxes by local artists in most San Jose neighborhoods.\u003cbr>\nSupported by the ArtBox SJ Project and individual sponsors\u003cbr>\nPictured ArtBox by \u003ca href=\"https://www.facebook.com/Sara-Tomasello-Artist-151292364893059/\" target=\"_blank\" rel=\"noopener\">Sara Tomasello\u003c/a> at 13th & Hedding streets\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>Use the ArtMap below to help you navigate to the featured murals as well as many more works of art in downtown San Jose. (\u003cem>created by\u003c/em> Brian Eder)\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cp>\u003c/p>\u003cp>\u003ciframe\n src='https://www.google.com/maps/d/embed?mid=1Z49E6ee1e0E_4qH68DFcqjWUGlI&w=640&h=480'\n title='https://www.google.com/maps/d/embed?mid=1Z49E6ee1e0E_4qH68DFcqjWUGlI&w=640&h=480'\n width='640'\n height='480'\n scrolling='no'\n frameborder='no'>\u003c/iframe>\u003c/p>\u003cp>\u003c/p>\n\u003c/aside>\n\n\u003c/div>\u003c/p>",
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"title": "What Do Grace Jones and Athol Fugard Have in Common?",
"headTitle": "What Do Grace Jones and Athol Fugard Have in Common? | KQED",
"content": "\u003cp>I don’t know if the world-renowned South African playwright Athol Fugard has ever met the Jamaican-born, New York-raised pop icon Grace Jones. If not, they should meet. Fugard, whose 1982 hit \u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=119\" target=\"_blank\" rel=\"noopener\">\u003cem>Master Harold and the Boys\u003c/em>\u003c/a> is receiving a well-acted revival at the Aurora Theatre Company in Berkeley, might have an interesting conversation with Jones, the slippery subject of \u003ca href=\"http://www.moadsf.org/exhibition/the-grace-jones-project/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Grace Jones Project\u003c/em>\u003c/a>, a fascinating little exhibition at the Museum of the African Diaspora (MOAD) in San Francisco.\u003c/p>\n\u003cp>Both Fugard and Jones were striking figures in early-to-mid-1980’s America. They played a crucial role in the cultural ferment that bloomed in opposition to the ascending conservative movement and Ronald Reagan’s presidency. They were messengers from other worlds — specifically, apartheid South Africa and the burgeoning underground club scene of New York. And they proved difficult to assimilate.\u003c/p>\n\u003cp>In 2016, the Aurora Theatre Company and MOAD return to the 80’s and make strong cases for the continuing relevance of these artists. As one might imagine, their attempts are tricky, complex, and full of pitfalls.\u003c/p>\n\u003cp>\u003cstrong>Athol Fugard sums up and shuts down\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Master Harold\u003c/em> is very much a play of culmination. Fugard had been writing complex, vexed, experimental pieces about South Africa for over two decades. By the late 70’s Anti-Apartheid rallies had begun to multiply on American campuses and would continue to grow throughout the 80’s; Nelson Mandela was well on his way to folk hero status (and as we now know much more), and Fugard’s work was being critically lauded around the world for its artistry, daring, and political commitment. And so the time felt right for change, which must have put tremendous pressure on Fugard to do his part to keep the movement going.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can feel it in the careful imagery of \u003cem>Master Harold\u003c/em>. The play ends with two black workers, Sam and Willie, waltzing in an empty restaurant. They have been humiliated and come close to attacking young Harold, who is white, 16, and suffering from a world of problems. In a just society, this boy shouldn’t have any power over these men. But in 1950’s South Africa, he can command them, even confidently spit in their faces without fear.\u003c/p>\n\u003cfigure id=\"attachment_11758038\" class=\"wp-caption alignnone\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11758038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747.jpg\" alt=\"Harold (Andrew Humann) gets some bad news while Sam (L. Peter Callender) looks on with concern in 'Master Harold and the Boys' at the Aurora Theatre.\" width=\"680\" height=\"382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747.jpg 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747-400x225.jpg 400w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003cfigcaption class=\"wp-caption-text\">Harold (Andrew Humann) gets some bad news while Sam (L. Peter Callender) looks on with concern in ‘Master Harold and the Boys’ at the Aurora Theatre. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fugard uses the structure of the \u003cem>bildungsroman —\u003c/em> a young adult’s journey to maturity and entrance into the real world — to get at the origins and ongoing brutality of apartheid. When Harold acts the master around Sam and Willie we wince at his pretension and the society that would allow him to get away with it. He thwacks Willie with a ruler and asks, “How the hell am I supposed to concentrate with the two of you acting like bloody children?” Or the way he constantly chides Sam (clearly the true father in his life) to not “get clever” every time he gets tense about his own intellectual shortcomings.\u003c/p>\n\u003cp>Harold’s journey into adulthood is obviously more fraught because of South Africa — the world he’s coming into is corrupt all the way to the center of its rancid, beating heart. Yet, curiously, that deadens and flattens our response to the injustices in front of us. The play’s ability to produce liberal gasps of censure is one of its principle weaknesses. Unlike Fugard’s earlier plays, like \u003cem>Blood Knot\u003c/em> (1961), and \u003cem>Boseman and Lena\u003c/em> (1969), which find new, complex ways to capture the twisted lives of South Africans of every color and hue, \u003cem>Master Harold\u003c/em> feels just too canned and easy. Even Aurora’s beautifully acted and directed production can’t make up for the drama’s shortcomings, though it does take us back to the moment when a play like this felt necessary.\u003c/p>\n\u003cp>\u003cstrong>Grace Jones is a big, ferocious flower\u003c/strong>\u003c/p>\n\u003cp>It is entirely possible that you could have visited New York in 1982, gone and seen \u003cem>Master Harold\u003c/em> on Broadway, and then found your way to a Grace Jones concert. It would have made for a rather contradictory sense of the dramatic possibilities of blackness — an early-to-mid-80’s primer on just how far America was willing to think about race.\u003c/p>\n\u003cp>Whereas Fugard was summing up and shutting down, Jones was a big, ferocious flower just beginning to bloom. Whether the pop star and fashion icon ever fully blossomed is one of the unanswered yet fascinating questions of \u003cem>The Grace Jones Project\u003c/em>. Watch the series of videos playing in a loop at MOAD and you begin to understand how dynamic and apt the word “Project” is for Jones, and maybe for us as well.\u003c/p>\n\u003cp>She is never anything less than fully present. And yet there’s something missing beneath Jones’ dazzling mystique; as if points A and Z were bright stars, but the rest of the alphabet had gone missing. In the video for her hit, “Pull up the Bumper,” she floats above and merges with the traffic of New York, fusing with the city in ways that are both mystical and mechanical. It’s impossible to tell whether she’s human, ghost, or automaton.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Grace Jones - Slave to the Rhythm (official video)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/Z0XLzIswI2s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Here’s a black woman who seems to have slipped beyond race and gender while fully embracing it — a persona so vibrantly present she could be a logo. And yet at the same time Jones is completely mysterious and elusive. The video for “Slave to the Rhythm” catches Jones at her most uncanny, and its last image of a feigned suicide is comic and terrifying. Jones’ embrace of the world feels utopian — an impossibility that we’re somehow witnessing — and so it isn’t surprising that it might tend towards self-destruction.\u003c/p>\n\u003cp>And depressingly that’s where the most fascinating pieces in \u003cem>The Grace Jones Project\u003c/em> land. In a show that celebrates Jones as a cultural force, it’s clear that following in her path is hazardous or the work of a saint. Harold Offeh’s minute-long video, \u003cem>Arabesque, After Grace Jones\u003c/em> (1989), recreates Jones’ crazy pose from the cover of \u003cem>Island Life\u003c/em>. His comic take on his own physical limitations only highlights how astounding Jones could be, even in stillness. She is always beyond our abilities.\u003c/p>\n\u003cfigure id=\"attachment_11758043\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758043\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-800x445.jpg\" alt=\"Harold Offeh, Arabesque, Covers: Arabesque, 'After Grace Jones,' 1978 (still), 2008-2009. Video.\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385.jpg 1004w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harold Offeh, Arabesque, Covers: Arabesque, ‘After Grace Jones,’ 1978 (still), 2008-2009. Video. \u003ccite>(Courtesy of Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wangechi Mutu’s short video, \u003cem>Eat Cake\u003c/em>, is perhaps the most disturbing piece in the MOAD show. A young woman in pseudo Victorian dress scrunches down over a chocolate cake and crudely eats it. It’s no more than eight seconds, looped, and possesses the anxious disgust of a horror movie. Like Jones, Mutu’s concerns are a product of race and gender, but her mind seems to have transcended them to take on the vastness of the world. She’s doing her own thing, and whatever that thing is it’s freeing — if not the sure path to annihilation.\u003c/p>\n\u003cp>And in the end that’s what Fugard and Jones were after: a way to overcome the incredible limitations of the world and find a way to freedom. It is a project. One that eludes Fugard’s best intentions in \u003cem>Master Harold\u003c/em>, and proves elusive and daunting for the many artists of \u003cem>The Grace Jones Project\u003c/em> who dare to follow in Jones’ liberating steps.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Master Harold and the Boys\u003c/em> plays through Saturday, Jul. 23 at the Aurora Theatre in Berkeley. For tickets and information please click \u003ca href=\"http://www.auroratheatre.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Grace Jones Project\u003c/em> runs through Sunday, Sep. 18 at the Museum of the African Diaspora in San Francisco. For tickets and information please click \u003ca href=\"http://www.moadsf.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I don’t know if the world-renowned South African playwright Athol Fugard has ever met the Jamaican-born, New York-raised pop icon Grace Jones. If not, they should meet. Fugard, whose 1982 hit \u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=119\" target=\"_blank\" rel=\"noopener\">\u003cem>Master Harold and the Boys\u003c/em>\u003c/a> is receiving a well-acted revival at the Aurora Theatre Company in Berkeley, might have an interesting conversation with Jones, the slippery subject of \u003ca href=\"http://www.moadsf.org/exhibition/the-grace-jones-project/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Grace Jones Project\u003c/em>\u003c/a>, a fascinating little exhibition at the Museum of the African Diaspora (MOAD) in San Francisco.\u003c/p>\n\u003cp>Both Fugard and Jones were striking figures in early-to-mid-1980’s America. They played a crucial role in the cultural ferment that bloomed in opposition to the ascending conservative movement and Ronald Reagan’s presidency. They were messengers from other worlds — specifically, apartheid South Africa and the burgeoning underground club scene of New York. And they proved difficult to assimilate.\u003c/p>\n\u003cp>In 2016, the Aurora Theatre Company and MOAD return to the 80’s and make strong cases for the continuing relevance of these artists. As one might imagine, their attempts are tricky, complex, and full of pitfalls.\u003c/p>\n\u003cp>\u003cstrong>Athol Fugard sums up and shuts down\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Master Harold\u003c/em> is very much a play of culmination. Fugard had been writing complex, vexed, experimental pieces about South Africa for over two decades. By the late 70’s Anti-Apartheid rallies had begun to multiply on American campuses and would continue to grow throughout the 80’s; Nelson Mandela was well on his way to folk hero status (and as we now know much more), and Fugard’s work was being critically lauded around the world for its artistry, daring, and political commitment. And so the time felt right for change, which must have put tremendous pressure on Fugard to do his part to keep the movement going.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You can feel it in the careful imagery of \u003cem>Master Harold\u003c/em>. The play ends with two black workers, Sam and Willie, waltzing in an empty restaurant. They have been humiliated and come close to attacking young Harold, who is white, 16, and suffering from a world of problems. In a just society, this boy shouldn’t have any power over these men. But in 1950’s South Africa, he can command them, even confidently spit in their faces without fear.\u003c/p>\n\u003cfigure id=\"attachment_11758038\" class=\"wp-caption alignnone\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11758038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747.jpg\" alt=\"Harold (Andrew Humann) gets some bad news while Sam (L. Peter Callender) looks on with concern in 'Master Harold and the Boys' at the Aurora Theatre.\" width=\"680\" height=\"382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747.jpg 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747-400x225.jpg 400w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003cfigcaption class=\"wp-caption-text\">Harold (Andrew Humann) gets some bad news while Sam (L. Peter Callender) looks on with concern in ‘Master Harold and the Boys’ at the Aurora Theatre. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fugard uses the structure of the \u003cem>bildungsroman —\u003c/em> a young adult’s journey to maturity and entrance into the real world — to get at the origins and ongoing brutality of apartheid. When Harold acts the master around Sam and Willie we wince at his pretension and the society that would allow him to get away with it. He thwacks Willie with a ruler and asks, “How the hell am I supposed to concentrate with the two of you acting like bloody children?” Or the way he constantly chides Sam (clearly the true father in his life) to not “get clever” every time he gets tense about his own intellectual shortcomings.\u003c/p>\n\u003cp>Harold’s journey into adulthood is obviously more fraught because of South Africa — the world he’s coming into is corrupt all the way to the center of its rancid, beating heart. Yet, curiously, that deadens and flattens our response to the injustices in front of us. The play’s ability to produce liberal gasps of censure is one of its principle weaknesses. Unlike Fugard’s earlier plays, like \u003cem>Blood Knot\u003c/em> (1961), and \u003cem>Boseman and Lena\u003c/em> (1969), which find new, complex ways to capture the twisted lives of South Africans of every color and hue, \u003cem>Master Harold\u003c/em> feels just too canned and easy. Even Aurora’s beautifully acted and directed production can’t make up for the drama’s shortcomings, though it does take us back to the moment when a play like this felt necessary.\u003c/p>\n\u003cp>\u003cstrong>Grace Jones is a big, ferocious flower\u003c/strong>\u003c/p>\n\u003cp>It is entirely possible that you could have visited New York in 1982, gone and seen \u003cem>Master Harold\u003c/em> on Broadway, and then found your way to a Grace Jones concert. It would have made for a rather contradictory sense of the dramatic possibilities of blackness — an early-to-mid-80’s primer on just how far America was willing to think about race.\u003c/p>\n\u003cp>Whereas Fugard was summing up and shutting down, Jones was a big, ferocious flower just beginning to bloom. Whether the pop star and fashion icon ever fully blossomed is one of the unanswered yet fascinating questions of \u003cem>The Grace Jones Project\u003c/em>. Watch the series of videos playing in a loop at MOAD and you begin to understand how dynamic and apt the word “Project” is for Jones, and maybe for us as well.\u003c/p>\n\u003cp>She is never anything less than fully present. And yet there’s something missing beneath Jones’ dazzling mystique; as if points A and Z were bright stars, but the rest of the alphabet had gone missing. In the video for her hit, “Pull up the Bumper,” she floats above and merges with the traffic of New York, fusing with the city in ways that are both mystical and mechanical. It’s impossible to tell whether she’s human, ghost, or automaton.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Grace Jones - Slave to the Rhythm (official video)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/Z0XLzIswI2s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Here’s a black woman who seems to have slipped beyond race and gender while fully embracing it — a persona so vibrantly present she could be a logo. And yet at the same time Jones is completely mysterious and elusive. The video for “Slave to the Rhythm” catches Jones at her most uncanny, and its last image of a feigned suicide is comic and terrifying. Jones’ embrace of the world feels utopian — an impossibility that we’re somehow witnessing — and so it isn’t surprising that it might tend towards self-destruction.\u003c/p>\n\u003cp>And depressingly that’s where the most fascinating pieces in \u003cem>The Grace Jones Project\u003c/em> land. In a show that celebrates Jones as a cultural force, it’s clear that following in her path is hazardous or the work of a saint. Harold Offeh’s minute-long video, \u003cem>Arabesque, After Grace Jones\u003c/em> (1989), recreates Jones’ crazy pose from the cover of \u003cem>Island Life\u003c/em>. His comic take on his own physical limitations only highlights how astounding Jones could be, even in stillness. She is always beyond our abilities.\u003c/p>\n\u003cfigure id=\"attachment_11758043\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758043\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-800x445.jpg\" alt=\"Harold Offeh, Arabesque, Covers: Arabesque, 'After Grace Jones,' 1978 (still), 2008-2009. Video.\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385.jpg 1004w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harold Offeh, Arabesque, Covers: Arabesque, ‘After Grace Jones,’ 1978 (still), 2008-2009. Video. \u003ccite>(Courtesy of Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wangechi Mutu’s short video, \u003cem>Eat Cake\u003c/em>, is perhaps the most disturbing piece in the MOAD show. A young woman in pseudo Victorian dress scrunches down over a chocolate cake and crudely eats it. It’s no more than eight seconds, looped, and possesses the anxious disgust of a horror movie. Like Jones, Mutu’s concerns are a product of race and gender, but her mind seems to have transcended them to take on the vastness of the world. She’s doing her own thing, and whatever that thing is it’s freeing — if not the sure path to annihilation.\u003c/p>\n\u003cp>And in the end that’s what Fugard and Jones were after: a way to overcome the incredible limitations of the world and find a way to freedom. It is a project. One that eludes Fugard’s best intentions in \u003cem>Master Harold\u003c/em>, and proves elusive and daunting for the many artists of \u003cem>The Grace Jones Project\u003c/em> who dare to follow in Jones’ liberating steps.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Master Harold and the Boys\u003c/em> plays through Saturday, Jul. 23 at the Aurora Theatre in Berkeley. For tickets and information please click \u003ca href=\"http://www.auroratheatre.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Grace Jones Project\u003c/em> runs through Sunday, Sep. 18 at the Museum of the African Diaspora in San Francisco. For tickets and information please click \u003ca href=\"http://www.moadsf.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s not all barbecues and miniature American flags this month. There’s some serious art on the horizon — at Minnesota Street Project alone, there’s \u003ca href=\"http://minnesotastreetproject.com/events/special-event/performance-julia-adam-dance\" target=\"_blank\" rel=\"noopener\">a dance performance\u003c/a>, San Francisco’s first full-fledged \u003ca href=\"http://sfartbookfair.com/\" target=\"_blank\" rel=\"noopener\">art book fair\u003c/a> and six exhibition openings all take place over the course of July’s 31 days. So put on whatever shoes help you withstand hours of standing on stylishly poured concrete floors and visit some art.\u003c/p>\n\u003cfigure id=\"attachment_11755815\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11755815\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Pecis640.jpg\" alt=\"Installation view of HIlary Pecis' 'El Verano.'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Pecis640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Pecis640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of HIlary Pecis’ ‘El Verano.’ \u003ccite>(Photo: Alan Gonzalez; Courtesy of Guerrero Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://guerrerogallery.com/\" target=\"_blank\" rel=\"noopener\">Hilary Pecis, \u003ci>El Verano\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Guerrero Gallery, San Francisco\u003cbr>\nThrough July 10\u003c/h5>\n\u003cp>Transient since they lost their Mission district location in 2013 (opposite the now-shuttered Steven Wolf Fine Arts), Guerrero Gallery just opened a brand new, jaw-droppingly enormous space in Bayview. The inaugural shows went up on June 19, so hurry over to the corner of Custer and Quint before July 10 to feel a jolt of genuine excitement about what’s still possible in the Bay Area arts scene. Don’t be confused by what at first appears to be only a lush gardening design showroom. Step through Living Green’s gravel courtyard and cross the threshold into the new Guerrero Gallery — complete with white walls, white floor and oh-so-lofty ceiling. \u003ci>El Verano\u003c/i>, Hilary Pecis’ excellent solo exhibition of small-scale painted still lifes, makes the space feel even larger, while the inaugural group show in back hints at some of the work we might get to see filling the gallery in the months (and years) to come.\u003c/p>\n\u003cfigure id=\"attachment_11755813\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11755813\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Kallmyer640.jpg\" alt=\"Chris Kallmyer, 'A Paradise Choir,' coming soon to a Sol Le Witt wall drawing near you.\" width=\"640\" height=\"414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kallmyer640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kallmyer640-400x259.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chris Kallmyer, ‘A Paradise Choir,’ coming soon to a Sol LeWitt wall drawing near you. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sfmoma.org/event/series/kallmyer-paradise-choir/\" target=\"_blank\" rel=\"noopener\">Chris Kallmyer, \u003ci>A Paradise Choir\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>SFMOMA, San Francisco\u003cbr>\nSaturdays and Sundays, July 2-24\u003c/h5>\n\u003cp>LA-based artist Chris Kallmyer invites SFMOMA visitors to join his project \u003ci>Paradise Choir\u003c/i> on weekends in July. Don a snazzy white choir robe and gray stole (the fabric that drapes around one’s neck for a bit of flair) and participate in various workshops, sonic tours, site-specific performances and something called “shallow listening,” which is “specifically designed for those interested in doing less work, quickly.” I have three words: sign me up. The month of robe-related activities culminates on \u003ca href=\"https://www.sfmoma.org/event/free-family-day-kallmyer/\" target=\"_blank\" rel=\"noopener\">Free Family Day\u003c/a>, Sunday, July 24, when up to two adults accompanying a visitor aged 18 or under all get free admission into the museum. These tickets are first-come, first-served and cannot be purchased in advance. So find yourself a minor and enjoy listening to or producing some experimental — and possibly heavenly — sounds.\u003c/p>\n\u003cfigure id=\"attachment_11755814\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11755814\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Kamiya640.jpg\" alt=\"Gary Kamiya, author of 'Cool Gray City of Love.'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kamiya640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kamiya640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Gary Kamiya, author of ‘Cool Gray City of Love.’ \u003ccite>(Courtesy of the Book Club of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.bccbooks.org/programs/\" target=\"_blank\" rel=\"noopener\">The Hidden Waters of San Francisco: An Illustrated Talk by Gary Kamiya\u003c/a>\u003c/h3>\n\u003ch5>The Book Club of California, San Francisco\u003cbr>\nMonday, July 11, 5-7pm\u003c/h5>\n\u003cp>Feeling the heat of summer? Want to travel back in time to a moment when the area now called San Francisco flowed with running waters (some of which can still be found, if you know where to look)? It’s time to pay a visit the \u003ca href=\"http://www.bccbooks.org/\" target=\"_blank\" rel=\"noopener\">Book Club of California\u003c/a>, a place that — if you haven’t had the pleasure of visiting before — will steal your heart irrevocably. I can’t tell if it’s the plush seating, the friendly bartender or the club’s unabashed support of all things bookish, but visiting this cosy second-floor Sutter Street spot always brings me great joy. On July 11, \u003ci>SF Chronicle\u003c/i> columnist, \u003cem>San Francisco\u003c/em> magazine editor, and author (\u003ci>Cool Gray City of Love: 49 Views of San Francisco\u003c/i>) Gary Kamiya gives an illustrated lecture on San Francisco’s lost (and remaining) waters.\u003c/p>\n\u003cfigure id=\"attachment_11755816\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11755816\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Ruscha640.png\" alt=\"Ed Ruscha, 'A Particular Kind of Heaven,' 1983.\" width=\"640\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Ruscha640.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Ruscha640-400x262.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ed Ruscha, ‘A Particular Kind of Heaven,’ 1983. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://deyoung.famsf.org/exhibitions/ed-ruscha-and-great-american-west\" target=\"_blank\" rel=\"noopener\">\u003ci>Ed Ruscha and the Great American West\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>de Young, San Francisco\u003cbr>\nJuly 16 – Oct. 9, 2016\u003c/h5>\n\u003cp>Ed Ruscha once printed business cards reading “ED-WERD REW-SHAY, YOUNG ARTIST” for those struggling to correctly pronounce the native Oklahoman’s surname. The de Young gathers just shy of 100 works by the now-78-year-old artist, an exhibition in nine sections that tracks his relationship to symbols of “the West,” including gas stations, billboards and endless, endless stretches of road. Often pairing pithy, evocative language with epic background imagery, Ruscha’s dry wit cemented a certain kind of California attitude in my young art-viewing mind. This is one of those rare art exhibitions I would gladly pay $20 to see.\u003c/p>\n\u003cfigure id=\"attachment_11755812\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11755812\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/HeavyBreathing400.png\" alt=\"Critical discourse and bodily exertion combine forces. \" width=\"400\" height=\"266\">\u003cfigcaption class=\"wp-caption-text\">Critical discourse and bodily exertion combine forces. \u003ccite>(Courtesy of Heavy Breathing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://bampfa.org/event/heavy-breathing-2-unseen-influence-jacqueline-kiyomi-gordon\" target=\"_blank\" rel=\"noopener\">Heavy Breathing: Unseen Influence with Jacqueline Kiyomi Gordon\u003c/a>\u003c/h3>\n\u003ch5>BAMPFA, Berkeley\u003cbr>\nSunday, July 17, 5:30-7pm\u003c/h5>\n\u003cp>\u003ca href=\"http://www.heavyheavybreathing.com/\" target=\"_blank\" rel=\"noopener\">Heavy Breathing\u003c/a>, a summer-long series of artist-led workshops that pair critical thought with physical exertion, is back for a second season. This time, instead of roving locations around the Bay Area, Heavy Breathing takes place at the new Berkeley Art Museum and Pacific Film Archive. Sound installation artist \u003ca href=\"http://jacquelinegordon.net/\" target=\"_blank\" rel=\"noopener\">Jacqueline Kyomi Gordon\u003c/a> and dancer Margit Galanter lead exercises informed by Feldenkaris (a somatic educational system) and listening meditations — all meant to alter the ways in which participants perceive artworks in relation to the museum’s architecture. Join in to find out what a somatic educational system is, or just to see \u003ca href=\"http://bampfa.org/program/berkeley-eye\" target=\"_blank\" rel=\"noopener\">\u003ci>Berkeley Eye\u003c/i>\u003c/a> (opening July 13) through different — wait for it — eyes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not all barbecues and miniature American flags this month. There’s some serious art on the horizon — at Minnesota Street Project alone, there’s \u003ca href=\"http://minnesotastreetproject.com/events/special-event/performance-julia-adam-dance\" target=\"_blank\" rel=\"noopener\">a dance performance\u003c/a>, San Francisco’s first full-fledged \u003ca href=\"http://sfartbookfair.com/\" target=\"_blank\" rel=\"noopener\">art book fair\u003c/a> and six exhibition openings all take place over the course of July’s 31 days. So put on whatever shoes help you withstand hours of standing on stylishly poured concrete floors and visit some art.\u003c/p>\n\u003cfigure id=\"attachment_11755815\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11755815\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Pecis640.jpg\" alt=\"Installation view of HIlary Pecis' 'El Verano.'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Pecis640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Pecis640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of HIlary Pecis’ ‘El Verano.’ \u003ccite>(Photo: Alan Gonzalez; Courtesy of Guerrero Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://guerrerogallery.com/\" target=\"_blank\" rel=\"noopener\">Hilary Pecis, \u003ci>El Verano\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Guerrero Gallery, San Francisco\u003cbr>\nThrough July 10\u003c/h5>\n\u003cp>Transient since they lost their Mission district location in 2013 (opposite the now-shuttered Steven Wolf Fine Arts), Guerrero Gallery just opened a brand new, jaw-droppingly enormous space in Bayview. The inaugural shows went up on June 19, so hurry over to the corner of Custer and Quint before July 10 to feel a jolt of genuine excitement about what’s still possible in the Bay Area arts scene. Don’t be confused by what at first appears to be only a lush gardening design showroom. Step through Living Green’s gravel courtyard and cross the threshold into the new Guerrero Gallery — complete with white walls, white floor and oh-so-lofty ceiling. \u003ci>El Verano\u003c/i>, Hilary Pecis’ excellent solo exhibition of small-scale painted still lifes, makes the space feel even larger, while the inaugural group show in back hints at some of the work we might get to see filling the gallery in the months (and years) to come.\u003c/p>\n\u003cfigure id=\"attachment_11755813\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11755813\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Kallmyer640.jpg\" alt=\"Chris Kallmyer, 'A Paradise Choir,' coming soon to a Sol Le Witt wall drawing near you.\" width=\"640\" height=\"414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kallmyer640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kallmyer640-400x259.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chris Kallmyer, ‘A Paradise Choir,’ coming soon to a Sol LeWitt wall drawing near you. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sfmoma.org/event/series/kallmyer-paradise-choir/\" target=\"_blank\" rel=\"noopener\">Chris Kallmyer, \u003ci>A Paradise Choir\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>SFMOMA, San Francisco\u003cbr>\nSaturdays and Sundays, July 2-24\u003c/h5>\n\u003cp>LA-based artist Chris Kallmyer invites SFMOMA visitors to join his project \u003ci>Paradise Choir\u003c/i> on weekends in July. Don a snazzy white choir robe and gray stole (the fabric that drapes around one’s neck for a bit of flair) and participate in various workshops, sonic tours, site-specific performances and something called “shallow listening,” which is “specifically designed for those interested in doing less work, quickly.” I have three words: sign me up. The month of robe-related activities culminates on \u003ca href=\"https://www.sfmoma.org/event/free-family-day-kallmyer/\" target=\"_blank\" rel=\"noopener\">Free Family Day\u003c/a>, Sunday, July 24, when up to two adults accompanying a visitor aged 18 or under all get free admission into the museum. These tickets are first-come, first-served and cannot be purchased in advance. So find yourself a minor and enjoy listening to or producing some experimental — and possibly heavenly — sounds.\u003c/p>\n\u003cfigure id=\"attachment_11755814\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11755814\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Kamiya640.jpg\" alt=\"Gary Kamiya, author of 'Cool Gray City of Love.'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kamiya640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kamiya640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Gary Kamiya, author of ‘Cool Gray City of Love.’ \u003ccite>(Courtesy of the Book Club of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.bccbooks.org/programs/\" target=\"_blank\" rel=\"noopener\">The Hidden Waters of San Francisco: An Illustrated Talk by Gary Kamiya\u003c/a>\u003c/h3>\n\u003ch5>The Book Club of California, San Francisco\u003cbr>\nMonday, July 11, 5-7pm\u003c/h5>\n\u003cp>Feeling the heat of summer? Want to travel back in time to a moment when the area now called San Francisco flowed with running waters (some of which can still be found, if you know where to look)? It’s time to pay a visit the \u003ca href=\"http://www.bccbooks.org/\" target=\"_blank\" rel=\"noopener\">Book Club of California\u003c/a>, a place that — if you haven’t had the pleasure of visiting before — will steal your heart irrevocably. I can’t tell if it’s the plush seating, the friendly bartender or the club’s unabashed support of all things bookish, but visiting this cosy second-floor Sutter Street spot always brings me great joy. On July 11, \u003ci>SF Chronicle\u003c/i> columnist, \u003cem>San Francisco\u003c/em> magazine editor, and author (\u003ci>Cool Gray City of Love: 49 Views of San Francisco\u003c/i>) Gary Kamiya gives an illustrated lecture on San Francisco’s lost (and remaining) waters.\u003c/p>\n\u003cfigure id=\"attachment_11755816\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11755816\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Ruscha640.png\" alt=\"Ed Ruscha, 'A Particular Kind of Heaven,' 1983.\" width=\"640\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Ruscha640.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Ruscha640-400x262.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ed Ruscha, ‘A Particular Kind of Heaven,’ 1983. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://deyoung.famsf.org/exhibitions/ed-ruscha-and-great-american-west\" target=\"_blank\" rel=\"noopener\">\u003ci>Ed Ruscha and the Great American West\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>de Young, San Francisco\u003cbr>\nJuly 16 – Oct. 9, 2016\u003c/h5>\n\u003cp>Ed Ruscha once printed business cards reading “ED-WERD REW-SHAY, YOUNG ARTIST” for those struggling to correctly pronounce the native Oklahoman’s surname. The de Young gathers just shy of 100 works by the now-78-year-old artist, an exhibition in nine sections that tracks his relationship to symbols of “the West,” including gas stations, billboards and endless, endless stretches of road. Often pairing pithy, evocative language with epic background imagery, Ruscha’s dry wit cemented a certain kind of California attitude in my young art-viewing mind. This is one of those rare art exhibitions I would gladly pay $20 to see.\u003c/p>\n\u003cfigure id=\"attachment_11755812\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11755812\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/HeavyBreathing400.png\" alt=\"Critical discourse and bodily exertion combine forces. \" width=\"400\" height=\"266\">\u003cfigcaption class=\"wp-caption-text\">Critical discourse and bodily exertion combine forces. \u003ccite>(Courtesy of Heavy Breathing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://bampfa.org/event/heavy-breathing-2-unseen-influence-jacqueline-kiyomi-gordon\" target=\"_blank\" rel=\"noopener\">Heavy Breathing: Unseen Influence with Jacqueline Kiyomi Gordon\u003c/a>\u003c/h3>\n\u003ch5>BAMPFA, Berkeley\u003cbr>\nSunday, July 17, 5:30-7pm\u003c/h5>\n\u003cp>\u003ca href=\"http://www.heavyheavybreathing.com/\" target=\"_blank\" rel=\"noopener\">Heavy Breathing\u003c/a>, a summer-long series of artist-led workshops that pair critical thought with physical exertion, is back for a second season. This time, instead of roving locations around the Bay Area, Heavy Breathing takes place at the new Berkeley Art Museum and Pacific Film Archive. Sound installation artist \u003ca href=\"http://jacquelinegordon.net/\" target=\"_blank\" rel=\"noopener\">Jacqueline Kyomi Gordon\u003c/a> and dancer Margit Galanter lead exercises informed by Feldenkaris (a somatic educational system) and listening meditations — all meant to alter the ways in which participants perceive artworks in relation to the museum’s architecture. Join in to find out what a somatic educational system is, or just to see \u003ca href=\"http://bampfa.org/program/berkeley-eye\" target=\"_blank\" rel=\"noopener\">\u003ci>Berkeley Eye\u003c/i>\u003c/a> (opening July 13) through different — wait for it — eyes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Five Works From Art History That Illuminate the Fourth of July",
"headTitle": "Five Works From Art History That Illuminate the Fourth of July | KQED",
"content": "\u003cp>PBS LearningMedia has \u003ca href=\"http://ca.pbslearningmedia.org/search/?q=bridgeman\" target=\"_blank\" rel=\"noopener\">thousands of images\u003c/a> from the Bridgeman Art Library, one of the largest archives of historical art images in the world. These resources spark interest in works of art and can strengthen cross-curricular learning. In honor of Independence Day, take a quick look at Bridgeman Art Library paintings that illuminate fireworks displays. Collect images to use with students to ignite a discussion about how different cultures use fireworks displays for celebrations. Register for a free \u003ca href=\"http://ca.pbslearningmedia.org\">PBS LearningMedia\u003c/a> account for full access to thousands more media resources.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ca.pbslearningmedia.org/resource/xir154135fre/fireworks-xir154135-fre/\" target=\"_blank\" rel=\"noopener\">Fireworks\u003c/a>\u003c/strong>\u003cbr>\nThomas, Antoine Jean-Baptiste (1791-1834); French. Medium: colour engraving. Date: 19th Century. Provenance: Museo di Roma, Rome, Italy / Giraudon.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13797\" src=\"http://ww2.kqed.org/education/wp-content/uploads/sites/38/2014/07/fireworksjb.jpg\" alt=\"Fireworks (colour engraving)\" width=\"600\" height=\"459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworksjb.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworksjb-400x306.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ca.pbslearningmedia.org/resource/xyc281159eng/a-fireworks-display-xyc281159-eng/\" target=\"_blank\" rel=\"noopener\">A Fireworks Display\u003c/a>\u003c/strong>\u003cbr>\nCarmichael, John Wilson (1800-68). English. Medium: watercolour on paper. Date: 19th Century.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13798\" src=\"http://ww2.kqed.org/education/wp-content/uploads/sites/38/2014/07/fireworks-display.jpg\" alt=\"A Fireworks Display (w/c on paper)\" width=\"600\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworks-display.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworks-display-400x289.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cbr>\n\u003cstrong>\u003ca href=\"http://ca.pbslearningmedia.org/resource/xir387336fre/fire-detail-of-fireworks-c1640-41-xir387336-fre/\" target=\"_blank\" rel=\"noopener\">\u003cbr>\nFire, detail of fireworks, c.1640-41\u003c/a>\u003c/strong>\u003cbr>\nDeruet, Claude (1588-1662); French. Medium: oil on canvas. Date: 17th Century.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13802\" src=\"http://ww2.kqed.org/education/wp-content/uploads/sites/38/2014/07/details.jpg\" alt=\"Fire, detail of fireworks, c.1640-41 (oil on canvas) (detail of 387335)\" width=\"582\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/details.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/details-400x412.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/details-32x32.jpg 32w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cbr>\n\u003ca href=\"http://ca.pbslearningmedia.org/resource/xir240951fre/view-of-a-firework-display-in-the-jardin-xir240951-fre/\" target=\"_blank\" rel=\"noopener\">\u003cbr>\n\u003cstrong>View of a firework display in the Jardin du Luxembourg, 28th November 1807\u003c/strong>\u003c/a>\u003cbr>\nFrench School, (19th century); French. Medium: coloured engraving. Date: 19th Century. Vue d’un beau feu d’artifice tire au Luxembourg; celebrating the return of the Imperial guard; Provenance: Musee de la Ville de Paris, Musee Carnavalet, Paris, France / Giraudon.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13801\" src=\"http://ww2.kqed.org/education/wp-content/uploads/sites/38/2014/07/fireworks.jpg\" alt=\"View of a firework display in the Jardin du Luxembourg, 28th November 1807 (coloured engraving)\" width=\"600\" height=\"397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworks.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworks-400x265.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cbr>\n\u003cstrong>\u003ca href=\"http://ca.pbslearningmedia.org/resource/xcf314387eng/a-view-of-the-fire-workes-and-illuminations-at-his-grace-the-duke-of-richmonds-at-white-hall-and-on-the-river-thames-on-monday-15-may-1749-xcf314387-eng/\" target=\"_blank\" rel=\"noopener\">\u003cbr>\nA view of the Fire-workes and Illuminations at his Grace the Duke of Richmond’s at White-hall and on the River Thames, on Monday 15 May, 1749\u003c/a>\u003c/strong>\u003cbr>\nEnglish School, (18th century). Medium: hand-coloured engraving. Date: 18th Century. The event was part of the celebrations for the signing of the Treaty of Aix-la-Chapelle, 1748, which ended the War of the Austrian Succession.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13799\" src=\"http://ww2.kqed.org/education/wp-content/uploads/sites/38/2014/07/fireworksilluminations.jpg\" alt=\"A view of the Fire-workes and Illuminations at his Grace the Duke of Richmond's at White-hall and on the River Thames, on Monday 15 May, 1749 (hand-coloured engraving)\" width=\"600\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworksilluminations.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworksilluminations-400x297.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>PBS LearningMedia has \u003ca href=\"http://ca.pbslearningmedia.org/search/?q=bridgeman\" target=\"_blank\" rel=\"noopener\">thousands of images\u003c/a> from the Bridgeman Art Library, one of the largest archives of historical art images in the world. These resources spark interest in works of art and can strengthen cross-curricular learning. In honor of Independence Day, take a quick look at Bridgeman Art Library paintings that illuminate fireworks displays. Collect images to use with students to ignite a discussion about how different cultures use fireworks displays for celebrations. Register for a free \u003ca href=\"http://ca.pbslearningmedia.org\">PBS LearningMedia\u003c/a> account for full access to thousands more media resources.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ca.pbslearningmedia.org/resource/xir154135fre/fireworks-xir154135-fre/\" target=\"_blank\" rel=\"noopener\">Fireworks\u003c/a>\u003c/strong>\u003cbr>\nThomas, Antoine Jean-Baptiste (1791-1834); French. Medium: colour engraving. Date: 19th Century. Provenance: Museo di Roma, Rome, Italy / Giraudon.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13797\" src=\"http://ww2.kqed.org/education/wp-content/uploads/sites/38/2014/07/fireworksjb.jpg\" alt=\"Fireworks (colour engraving)\" width=\"600\" height=\"459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworksjb.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworksjb-400x306.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ca.pbslearningmedia.org/resource/xyc281159eng/a-fireworks-display-xyc281159-eng/\" target=\"_blank\" rel=\"noopener\">A Fireworks Display\u003c/a>\u003c/strong>\u003cbr>\nCarmichael, John Wilson (1800-68). English. Medium: watercolour on paper. Date: 19th Century.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13798\" src=\"http://ww2.kqed.org/education/wp-content/uploads/sites/38/2014/07/fireworks-display.jpg\" alt=\"A Fireworks Display (w/c on paper)\" width=\"600\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworks-display.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworks-display-400x289.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cbr>\n\u003cstrong>\u003ca href=\"http://ca.pbslearningmedia.org/resource/xir387336fre/fire-detail-of-fireworks-c1640-41-xir387336-fre/\" target=\"_blank\" rel=\"noopener\">\u003cbr>\nFire, detail of fireworks, c.1640-41\u003c/a>\u003c/strong>\u003cbr>\nDeruet, Claude (1588-1662); French. Medium: oil on canvas. Date: 17th Century.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13802\" src=\"http://ww2.kqed.org/education/wp-content/uploads/sites/38/2014/07/details.jpg\" alt=\"Fire, detail of fireworks, c.1640-41 (oil on canvas) (detail of 387335)\" width=\"582\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/details.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/details-400x412.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/details-32x32.jpg 32w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cbr>\n\u003ca href=\"http://ca.pbslearningmedia.org/resource/xir240951fre/view-of-a-firework-display-in-the-jardin-xir240951-fre/\" target=\"_blank\" rel=\"noopener\">\u003cbr>\n\u003cstrong>View of a firework display in the Jardin du Luxembourg, 28th November 1807\u003c/strong>\u003c/a>\u003cbr>\nFrench School, (19th century); French. Medium: coloured engraving. Date: 19th Century. Vue d’un beau feu d’artifice tire au Luxembourg; celebrating the return of the Imperial guard; Provenance: Musee de la Ville de Paris, Musee Carnavalet, Paris, France / Giraudon.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13801\" src=\"http://ww2.kqed.org/education/wp-content/uploads/sites/38/2014/07/fireworks.jpg\" alt=\"View of a firework display in the Jardin du Luxembourg, 28th November 1807 (coloured engraving)\" width=\"600\" height=\"397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworks.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworks-400x265.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cbr>\n\u003cstrong>\u003ca href=\"http://ca.pbslearningmedia.org/resource/xcf314387eng/a-view-of-the-fire-workes-and-illuminations-at-his-grace-the-duke-of-richmonds-at-white-hall-and-on-the-river-thames-on-monday-15-may-1749-xcf314387-eng/\" target=\"_blank\" rel=\"noopener\">\u003cbr>\nA view of the Fire-workes and Illuminations at his Grace the Duke of Richmond’s at White-hall and on the River Thames, on Monday 15 May, 1749\u003c/a>\u003c/strong>\u003cbr>\nEnglish School, (18th century). Medium: hand-coloured engraving. Date: 18th Century. The event was part of the celebrations for the signing of the Treaty of Aix-la-Chapelle, 1748, which ended the War of the Austrian Succession.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13799\" src=\"http://ww2.kqed.org/education/wp-content/uploads/sites/38/2014/07/fireworksilluminations.jpg\" alt=\"A view of the Fire-workes and Illuminations at his Grace the Duke of Richmond's at White-hall and on the River Thames, on Monday 15 May, 1749 (hand-coloured engraving)\" width=\"600\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworksilluminations.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworksilluminations-400x297.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "uc-davis-receives-4-more-thiebaud-paintings-for-its-new-museum",
"title": "UC Davis Receives 4 More Thiebaud Paintings from a Former Professor",
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"content": "\u003cp>UC Davis is becoming \u003cem>\u003cstrong>the\u003c/strong> \u003c/em>place to see the work of American painter Wayne Thiebaud, who donated four more of his works to the school’s new museum earlier this week.\u003c/p>\n\u003cp>Thiebaud, a 95-year-old artist who is best known for his brightly-colored paintings of California landscapes and delicious-looking food, has been the \u003ca href=\"https://www.ucdavis.edu/news/wayne-thiebaud-donates-major-works-art-new-uc-davis-museum\" target=\"_blank\" rel=\"noopener\">biggest contributor of works\u003c/a> to the university’s Jan Shrem and Maria Manetti Shrem Museum of Art, donating a total of 72 of his own pieces and 300 works from other artists to its collection.\u003c/p>\n\u003cfigure id=\"attachment_11754471\" class=\"wp-caption aligncenter\" style=\"max-width: 682px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11754471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-682x600.jpg\" alt='\"Three Treats\", c. 1975-76, oil on panel, gift of Betty Jean and Wayne Thiebaud' width=\"682\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-682x600.jpg 682w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-400x352.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-768x676.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-960x845.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP.jpg 1101w\" sizes=\"(max-width: 682px) 100vw, 682px\">\u003cfigcaption class=\"wp-caption-text\">“Three Treats”, c. 1975-76, oil on panel, gift of Betty Jean and Wayne Thiebaud \u003ccite>(Photo: Gregory Urquiaga/UC Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.ucdavis.edu/news/uc-davis-announces-grand-opening-jan-shrem-and-maria-manetti-shrem-museum-art\" target=\"_blank\" rel=\"noopener\">$30-million Manetti Shrem Museum\u003c/a> is expected to open this November and has been described as a celebration of the school’s 60-year-old art department, where Thiebaud taught for over 40 years before retiring in 1991, though he continued to teach until 2009.\u003c/p>\n\u003cp>Thiebaud’s announced the donations Monday, telling a crowd of reporters and university officials that the school was a great research institution, which also made it a great place to create art as it allowed for him to experiment.\u003c/p>\n\u003cp>“I didn’t have to concern myself with whether the paintings would sell or whether they would be useful or not,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among the paintings Thiebaud donated this week was “The Unfinished Portrait of Betty Jean,” which features his second wife, filmmaker Betty Jean Carr, who died in December of last year. The painting had never been shown in public before.\u003c/p>\n\u003cp>\u003ci>Watch a short video from UC Davis about Thiebaud’s donation below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/koL6ZBReuJA\u003c/p>\n\n",
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"excerpt": "The influential American painter taught at the school for decades and has provided hundreds of pieces to the new museum.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>UC Davis is becoming \u003cem>\u003cstrong>the\u003c/strong> \u003c/em>place to see the work of American painter Wayne Thiebaud, who donated four more of his works to the school’s new museum earlier this week.\u003c/p>\n\u003cp>Thiebaud, a 95-year-old artist who is best known for his brightly-colored paintings of California landscapes and delicious-looking food, has been the \u003ca href=\"https://www.ucdavis.edu/news/wayne-thiebaud-donates-major-works-art-new-uc-davis-museum\" target=\"_blank\" rel=\"noopener\">biggest contributor of works\u003c/a> to the university’s Jan Shrem and Maria Manetti Shrem Museum of Art, donating a total of 72 of his own pieces and 300 works from other artists to its collection.\u003c/p>\n\u003cfigure id=\"attachment_11754471\" class=\"wp-caption aligncenter\" style=\"max-width: 682px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11754471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-682x600.jpg\" alt='\"Three Treats\", c. 1975-76, oil on panel, gift of Betty Jean and Wayne Thiebaud' width=\"682\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-682x600.jpg 682w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-400x352.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-768x676.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-960x845.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP.jpg 1101w\" sizes=\"(max-width: 682px) 100vw, 682px\">\u003cfigcaption class=\"wp-caption-text\">“Three Treats”, c. 1975-76, oil on panel, gift of Betty Jean and Wayne Thiebaud \u003ccite>(Photo: Gregory Urquiaga/UC Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.ucdavis.edu/news/uc-davis-announces-grand-opening-jan-shrem-and-maria-manetti-shrem-museum-art\" target=\"_blank\" rel=\"noopener\">$30-million Manetti Shrem Museum\u003c/a> is expected to open this November and has been described as a celebration of the school’s 60-year-old art department, where Thiebaud taught for over 40 years before retiring in 1991, though he continued to teach until 2009.\u003c/p>\n\u003cp>Thiebaud’s announced the donations Monday, telling a crowd of reporters and university officials that the school was a great research institution, which also made it a great place to create art as it allowed for him to experiment.\u003c/p>\n\u003cp>“I didn’t have to concern myself with whether the paintings would sell or whether they would be useful or not,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Super Bowl City’s a thing of the past, but San Francisco has been \u003ca href=\"http://ww2.kqed.org/news/2016/02/02/tent-cities-compete-with-super-bowl-city-for-attention\" target=\"_blank\" rel=\"noopener\">clearing streets of homeless encampments\u003c/a> since the week-long event began. Yet, despite the city’s continuous efforts \u003ca href=\"http://ww2.kqed.org/news/2016/06/22/san-francisco-to-vote-on-housing-not-tents-homelessness-measure\" target=\"_blank\" rel=\"noopener\">to push the homeless out of sight,\u003c/a> they’re still there.\u003c/p>\n\u003cp>While local officials have their own ways of dealing it, San Francisco artist Annice Jacoby aimed to address the city’s homeless issue through her project \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">Undercover\u003c/a>, which started during February’s Super Bowl festivities. Jacoby and her team provided those living on the streets with blankets, seeking not only to provide warmth to those who needed it, but also to incite conversation and create visibility for a community that’s otherwise \u003ca href=\"http://ww2.kqed.org/news/2016/03/09/mayor-lee-blasts-talk-of-homeless-crisis-and-calls-for-critics-to-aid-citys-efforts\" target=\"_blank\" rel=\"noopener\">neglected\u003c/a>.\u003c/p>\n\u003cp>“Our goal is to use creativity to unite,” Jacoby says. “We’re making a visual statement, making a ceremony of care; it’s a mechanism to address this problem.”\u003c/p>\n\u003cp>Families, friends and other community members came together at knitting circles held in two Mission stores, \u003ca href=\"https://missionpraxis.com/\" target=\"_blank\" rel=\"noopener\">Praxis\u003c/a> and \u003ca href=\"http://www.alleycatbookshop.com/\" target=\"_blank\" rel=\"noopener\">Alley Cat Books.\u003c/a> Those who came out would put together blankets that doubled as ponchos and distribute them in the weeks leading up to the Super Bowl. \u003c/p>\n\u003cp>The project’s efforts gained national attention, with inquiries and notes of appreciation coming in from other states, according to Undercover’s \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>, which also provides \u003ca href=\"https://www.facebook.com/UndercoverSF/posts/1029187463790582\">patterns\u003c/a> for people hoping to make and distribute blankets themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The whole idea was for people to feel like they’re making a difference through making garments and connecting with people when they distribute them,” says Ivan Vera, program manager at Hospitality House, which helped print the Undercover blankets. “The goal is to get in touch with those who are homeless and share their humanity – they’re not invisible people; they’re just less fortunate.”\u003c/p>\n\u003cp>Jacoby has since gone on to speak about Undercover to different high schools along the Peninsula, hoping to engage students with the project, according to Txutxo Perez, one of the artists involved with the project.\u003c/p>\n\u003cp>“Some kids helped distribute during the first part of the project and got really into it and wanted to bring the experience back to their schools,” Perez says. \u003c/p>\n\u003cp>He says he believes bringing such experiences and information to the younger generation is a start, as they’ll be the ones making significant changes in the future. \u003c/p>\n\u003cp>While the larger blanket project was mostly focused on the Super Bowl, Undercover has served as inspiration for smaller efforts: Praxis distributed Undercover hats back in March, and Perez says an artist friend of his in Greece started her own project that focuses on recycling lifesaver vests from people displaced by war into backpacks for them to use on further travels. \u003c/p>\n\u003cp>Ultimately the goal of the project was to connect people — disenfranchised and not — and share each other’s humanity, and Vera says he believes Undercover did just that.\u003c/p>\n\u003cp>“I hope the project has taught others to listen to people, have compassion, start understanding how one becomes homeless – we don’t want to lose that part of ourselves that make us human.” \u003c/p>\n\u003cp>\u003ci>Watch our report on the Undercover project during the Super Bowl:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gcC6uCISQaw\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Super Bowl City’s a thing of the past, but San Francisco has been \u003ca href=\"http://ww2.kqed.org/news/2016/02/02/tent-cities-compete-with-super-bowl-city-for-attention\" target=\"_blank\" rel=\"noopener\">clearing streets of homeless encampments\u003c/a> since the week-long event began. Yet, despite the city’s continuous efforts \u003ca href=\"http://ww2.kqed.org/news/2016/06/22/san-francisco-to-vote-on-housing-not-tents-homelessness-measure\" target=\"_blank\" rel=\"noopener\">to push the homeless out of sight,\u003c/a> they’re still there.\u003c/p>\n\u003cp>While local officials have their own ways of dealing it, San Francisco artist Annice Jacoby aimed to address the city’s homeless issue through her project \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">Undercover\u003c/a>, which started during February’s Super Bowl festivities. Jacoby and her team provided those living on the streets with blankets, seeking not only to provide warmth to those who needed it, but also to incite conversation and create visibility for a community that’s otherwise \u003ca href=\"http://ww2.kqed.org/news/2016/03/09/mayor-lee-blasts-talk-of-homeless-crisis-and-calls-for-critics-to-aid-citys-efforts\" target=\"_blank\" rel=\"noopener\">neglected\u003c/a>.\u003c/p>\n\u003cp>“Our goal is to use creativity to unite,” Jacoby says. “We’re making a visual statement, making a ceremony of care; it’s a mechanism to address this problem.”\u003c/p>\n\u003cp>Families, friends and other community members came together at knitting circles held in two Mission stores, \u003ca href=\"https://missionpraxis.com/\" target=\"_blank\" rel=\"noopener\">Praxis\u003c/a> and \u003ca href=\"http://www.alleycatbookshop.com/\" target=\"_blank\" rel=\"noopener\">Alley Cat Books.\u003c/a> Those who came out would put together blankets that doubled as ponchos and distribute them in the weeks leading up to the Super Bowl. \u003c/p>\n\u003cp>The project’s efforts gained national attention, with inquiries and notes of appreciation coming in from other states, according to Undercover’s \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>, which also provides \u003ca href=\"https://www.facebook.com/UndercoverSF/posts/1029187463790582\">patterns\u003c/a> for people hoping to make and distribute blankets themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The whole idea was for people to feel like they’re making a difference through making garments and connecting with people when they distribute them,” says Ivan Vera, program manager at Hospitality House, which helped print the Undercover blankets. “The goal is to get in touch with those who are homeless and share their humanity – they’re not invisible people; they’re just less fortunate.”\u003c/p>\n\u003cp>Jacoby has since gone on to speak about Undercover to different high schools along the Peninsula, hoping to engage students with the project, according to Txutxo Perez, one of the artists involved with the project.\u003c/p>\n\u003cp>“Some kids helped distribute during the first part of the project and got really into it and wanted to bring the experience back to their schools,” Perez says. \u003c/p>\n\u003cp>He says he believes bringing such experiences and information to the younger generation is a start, as they’ll be the ones making significant changes in the future. \u003c/p>\n\u003cp>While the larger blanket project was mostly focused on the Super Bowl, Undercover has served as inspiration for smaller efforts: Praxis distributed Undercover hats back in March, and Perez says an artist friend of his in Greece started her own project that focuses on recycling lifesaver vests from people displaced by war into backpacks for them to use on further travels. \u003c/p>\n\u003cp>Ultimately the goal of the project was to connect people — disenfranchised and not — and share each other’s humanity, and Vera says he believes Undercover did just that.\u003c/p>\n\u003cp>“I hope the project has taught others to listen to people, have compassion, start understanding how one becomes homeless – we don’t want to lose that part of ourselves that make us human.” \u003c/p>\n\u003cp>\u003ci>Watch our report on the Undercover project during the Super Bowl:\u003c/i>\u003c/p>\n\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/gcC6uCISQaw'\n title='//www.youtube.com/embed/gcC6uCISQaw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Now that \u003ci>Star Wars\u003c/i> creator George Lucas has given up on building a museum in Chicago and is looking again at bringing it to California, it also looks like its design will be different, even if slightly, according to the San Francisco Chronicle.\u003c/p>\n\u003cp>[contextly_sidebar id=”oSglLS6d55LrmnR4tNzFJE2EFI6zzh7n”]\u003c/p>\n\u003cp>Last week, the Chicago Tribune quoted Lucas saying that he was \u003ca href=\"http://ww2.kqed.org/news/2016/06/24/lucas-gives-up-on-plan-to-build-museum-in-chicago\" target=\"_blank\" rel=\"noopener\">abandoning plans to build the Lucas Museum of Narrative Art\u003c/a> on Lake Michigan’s waterfront after running into legal resistance from Chicago activists. There was talk of Lucas considering \u003ca href=\"http://www.sfchronicle.com/bayarea/article/Lucas-Museum-could-boost-Treasure-Island-transit-7513391.php\" target=\"_blank\" rel=\"noopener\">Treasure Island as a site\u003c/a> back in May, and now it looks like he will be choosing between there and Los Angeles, near the University of Southern California, his Alma Mater.\u003c/p>\n\u003cp>Over the weekend, Chronicle columnists \u003ca href=\"http://www.sfchronicle.com/bayarea/matier-ross/article/George-Lucas-SF-museum-Like-Chicago-but-this-8324501.php\" target=\"_blank\" rel=\"noopener\">Phil Matier and Andy Ross\u003c/a> reported that if Lucas chooses to build the museum on Treasure Island, he would have it redesigned to allow for views of the San Francisco Bay. \u003c/p>\n\u003cblockquote>\u003cp>“It’s quite iconic and still sculptural,” said one source connected to the planning for a possible San Francisco museum. However, unlike the largely windowless structure that Lucas hoped to build by Lake Michigan, a Treasure Island museum would be designed to give visitors sweeping views of the bay and city, said the source, speaking on condition of anonymity because the process is still in the early stages.\u003c/p>\u003c/blockquote>\n\u003cp>Deirdre Hussey, a spokesperson for San Francisco Mayor Ed Lee, said on Friday that Lee’s office and some supervisors “are working closely with the Lucas team to have a home for his world-class collection on Treasure Island.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now that \u003ci>Star Wars\u003c/i> creator George Lucas has given up on building a museum in Chicago and is looking again at bringing it to California, it also looks like its design will be different, even if slightly, according to the San Francisco Chronicle.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Last week, the Chicago Tribune quoted Lucas saying that he was \u003ca href=\"http://ww2.kqed.org/news/2016/06/24/lucas-gives-up-on-plan-to-build-museum-in-chicago\" target=\"_blank\" rel=\"noopener\">abandoning plans to build the Lucas Museum of Narrative Art\u003c/a> on Lake Michigan’s waterfront after running into legal resistance from Chicago activists. There was talk of Lucas considering \u003ca href=\"http://www.sfchronicle.com/bayarea/article/Lucas-Museum-could-boost-Treasure-Island-transit-7513391.php\" target=\"_blank\" rel=\"noopener\">Treasure Island as a site\u003c/a> back in May, and now it looks like he will be choosing between there and Los Angeles, near the University of Southern California, his Alma Mater.\u003c/p>\n\u003cp>Over the weekend, Chronicle columnists \u003ca href=\"http://www.sfchronicle.com/bayarea/matier-ross/article/George-Lucas-SF-museum-Like-Chicago-but-this-8324501.php\" target=\"_blank\" rel=\"noopener\">Phil Matier and Andy Ross\u003c/a> reported that if Lucas chooses to build the museum on Treasure Island, he would have it redesigned to allow for views of the San Francisco Bay. \u003c/p>\n\u003cblockquote>\u003cp>“It’s quite iconic and still sculptural,” said one source connected to the planning for a possible San Francisco museum. However, unlike the largely windowless structure that Lucas hoped to build by Lake Michigan, a Treasure Island museum would be designed to give visitors sweeping views of the bay and city, said the source, speaking on condition of anonymity because the process is still in the early stages.\u003c/p>\u003c/blockquote>\n\u003cp>Deirdre Hussey, a spokesperson for San Francisco Mayor Ed Lee, said on Friday that Lee’s office and some supervisors “are working closely with the Lucas team to have a home for his world-class collection on Treasure Island.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Snapshots From S.F. Pride: A Celebration in Defiance of Hate",
"title": "Snapshots From S.F. Pride: A Celebration in Defiance of Hate",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">This year’s 46th annual San Francisco Pride Celebration was charged with an energy that was at once hopeful and conflicted.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sunday’s event is just two weeks after 49 people were gunned down at Pulse, a gay nightclub in Orlando, Florida. Though the pain is fresh, tens of thousands of LGBTQ folks from the Bay Area and around the world came out to the nation’s largest pride parade and celebration. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11001833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001833\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs13-800x552.jpg\" alt=\"Three friends console each other in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets.\" width=\"800\" height=\"552\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-960x663.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three friends console each other in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sierra Valencia consoles her roommate Ryan Kleiner at a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. It's their first San Francisco Pride but their friend Tyler Adamson (right) has been to a different Pride celebration every weekend this month.\u003c/p>\n\u003cfigure id=\"attachment_11001834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001834\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs10-800x1142.jpg\" alt=\"Father and daughter watch this years's San Francisco Pride Parade. \" width=\"800\" height=\"1142\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-800x1142.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-400x571.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-1180x1685.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-960x1371.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Father and daughter watch this years's San Francisco Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Patrik Lundh carries his 3-year-old daughter, Anika Nayak-Lundh on his shoulders. Lundh says that the Orlando shooting only made me want to celebrate Pride more, to feel the unity against the hatred with so many horrible things happening in the world right now. Pride for Lundh means \"tolerance, love, openness and hope.\"\u003c/p>\n\u003cfigure id=\"attachment_11001835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001835\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs06-800x533.jpg\" alt=\"Ralph Boethling skates on the sidelines of the parade.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Boethling skates on the sidelines of the parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ralph Boethling, with the Church of 8 Wheels, skated around the parade. \"People just want to love each other,\" says Boethling. \"What could possibly be wrong with that?\" Boethling has been coming to Pride for almost 10 years.\u003c/p>\n\u003cfigure id=\"attachment_11001838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001838\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs08-800x533.jpg\" alt=\"Crowds bottleneck at the top of the stairway at Civic Center BART. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowds bottleneck at the top of the stairway at Civic Center BART. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parade started at the Embarcadero and followed along Market Street for almost two miles before ending at the Civic Center Plaza where parade-goers were met with metal detectors and police screening.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some groups were notably not in attendance. When SF Pride organizers announced last week that a \u003ca href=\"http://ww2.kqed.org/news/2016/06/22/what-you-need-to-know-for-pride-this-weekend-expect-increased-security\">greater police presence\u003c/a> would include screening by officers, organizational grand marshal Black Lives Matter withdrew from the event.\u003c/p>\n\u003cfigure id=\"attachment_11001843\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11001843 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs20-800x1289.jpg\" alt=\"Tens of thousands of people were in attendance during the San Francisco Pride Celebration and Parade.\" width=\"800\" height=\"1289\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-800x1289.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-400x645.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-1180x1902.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-960x1547.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tens of thousands of people were in attendance during the San Francisco Pride Celebration and Parade. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The increased police presence at Civic Center, as well as the ban on shopping carts and items typically belonging to marginally housed and homeless people will only make Pride less safe and accessible to our communities,” said Stephany Ashley \u003ca href=\"http://blacklivesmatter.com/in-response-to-increased-policing-of-civic-center-grand-marshals-awardees-withdraw-from-participation-in-pride-parade/\">in a press release\u003c/a> from the Black Lives Matter Network. Ashley is the executive director of San Francisco’s St. James Infirmary, a free clinic for sex workers and their families. “These policies do not reflect the theme of racial and economic justice which we sought to march under proudly.”\u003c/p>\n\u003cp>St. James Infirmary was slated to receive the Heritage of Pride Award.\u003c/p>\n\u003cp class=\"p1\">“I understand why they did it,\" says Michael Albert, 63, San Francisco resident who has been coming to SF Pride since the late 1980s. \"I’m not sure it’s necessary; it’s more than we needed. But I’m not going to second guess the people that are running this. “\u003c/p>\n\u003cfigure id=\"attachment_11001836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11001836 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs07-800x559.jpg\" alt=\"Two friends hang from a light post in order to get a better view of the parade.\" width=\"800\" height=\"559\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-800x559.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-400x280.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-1180x825.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-960x671.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two friends hang from a light post in order to get a better view of the parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"This pole has become a tradition,\" says Matilda Holtz (on the right). \"We're too short to see through the crowd.\"\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_11001839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001839\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs12-800x549.jpg\" alt=\"Two people from Sonoma County Pride march in San Francisco's Pride Parade.\" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-960x659.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two people from Sonoma County Pride march in San Francisco's Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11001840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001840\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs14-800x570.jpg\" alt=\"Two Castro district residents take a moment of silence in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets.\" width=\"800\" height=\"570\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-800x570.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-400x285.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-1180x841.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-960x684.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two Castro district residents take a moment of silence in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ivy Schlegel is a Castro resident and chose not to attend this year's Pride parade. She says that the parade is too much of a corporate march and went to the Dyke March on Saturday instead.\u003c/p>\n\u003cfigure id=\"attachment_11001841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001841\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs05-800x536.jpg\" alt=\"Parade-goers from Salesforce were one of many corporations marching in this year's parade.\" width=\"800\" height=\"536\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-800x536.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-400x268.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-1180x790.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-960x643.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parade-goers from Salesforce were one of many corporations marching in this year's parade. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salesforce was one of many corporations marching in uniform.\u003c/p>\n\u003cfigure id=\"attachment_11001842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001842\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs18-800x512.jpg\" alt=\"A man holding a sign supporting Pride on behalf of the SF Sheriff's Department marches down Market Street.\" width=\"800\" height=\"512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-800x512.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-1180x755.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-960x615.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man holding a sign supporting Pride on behalf of the SF Sheriff's Department marches down Market Street. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11001837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001837\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs11-800x533.jpg\" alt=\"Two friends travel from Melbourne, Australia to participate in San Francisco's Pride Parade.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two friends travel from Melbourne, Australia to participate in San Francisco's Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco Pride is one of the world's most notable Pride celebrations. Matthew Wade (center) and Chrisi Camp came all the way from Australia to support San Francisco's LGBTQ community by volunteering at queer film festival Frameline.\u003c/p>\n\u003cp>\"In Melbourne we have Pride celebrations but nothing compared to SF,\" says Wade.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">This year’s 46th annual San Francisco Pride Celebration was charged with an energy that was at once hopeful and conflicted.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sunday’s event is just two weeks after 49 people were gunned down at Pulse, a gay nightclub in Orlando, Florida. Though the pain is fresh, tens of thousands of LGBTQ folks from the Bay Area and around the world came out to the nation’s largest pride parade and celebration. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11001833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001833\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs13-800x552.jpg\" alt=\"Three friends console each other in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets.\" width=\"800\" height=\"552\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-960x663.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three friends console each other in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sierra Valencia consoles her roommate Ryan Kleiner at a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. It's their first San Francisco Pride but their friend Tyler Adamson (right) has been to a different Pride celebration every weekend this month.\u003c/p>\n\u003cfigure id=\"attachment_11001834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001834\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs10-800x1142.jpg\" alt=\"Father and daughter watch this years's San Francisco Pride Parade. \" width=\"800\" height=\"1142\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-800x1142.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-400x571.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-1180x1685.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-960x1371.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Father and daughter watch this years's San Francisco Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Patrik Lundh carries his 3-year-old daughter, Anika Nayak-Lundh on his shoulders. Lundh says that the Orlando shooting only made me want to celebrate Pride more, to feel the unity against the hatred with so many horrible things happening in the world right now. Pride for Lundh means \"tolerance, love, openness and hope.\"\u003c/p>\n\u003cfigure id=\"attachment_11001835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001835\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs06-800x533.jpg\" alt=\"Ralph Boethling skates on the sidelines of the parade.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Boethling skates on the sidelines of the parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ralph Boethling, with the Church of 8 Wheels, skated around the parade. \"People just want to love each other,\" says Boethling. \"What could possibly be wrong with that?\" Boethling has been coming to Pride for almost 10 years.\u003c/p>\n\u003cfigure id=\"attachment_11001838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001838\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs08-800x533.jpg\" alt=\"Crowds bottleneck at the top of the stairway at Civic Center BART. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowds bottleneck at the top of the stairway at Civic Center BART. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parade started at the Embarcadero and followed along Market Street for almost two miles before ending at the Civic Center Plaza where parade-goers were met with metal detectors and police screening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some groups were notably not in attendance. When SF Pride organizers announced last week that a \u003ca href=\"http://ww2.kqed.org/news/2016/06/22/what-you-need-to-know-for-pride-this-weekend-expect-increased-security\">greater police presence\u003c/a> would include screening by officers, organizational grand marshal Black Lives Matter withdrew from the event.\u003c/p>\n\u003cfigure id=\"attachment_11001843\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11001843 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs20-800x1289.jpg\" alt=\"Tens of thousands of people were in attendance during the San Francisco Pride Celebration and Parade.\" width=\"800\" height=\"1289\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-800x1289.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-400x645.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-1180x1902.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-960x1547.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tens of thousands of people were in attendance during the San Francisco Pride Celebration and Parade. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The increased police presence at Civic Center, as well as the ban on shopping carts and items typically belonging to marginally housed and homeless people will only make Pride less safe and accessible to our communities,” said Stephany Ashley \u003ca href=\"http://blacklivesmatter.com/in-response-to-increased-policing-of-civic-center-grand-marshals-awardees-withdraw-from-participation-in-pride-parade/\">in a press release\u003c/a> from the Black Lives Matter Network. Ashley is the executive director of San Francisco’s St. James Infirmary, a free clinic for sex workers and their families. “These policies do not reflect the theme of racial and economic justice which we sought to march under proudly.”\u003c/p>\n\u003cp>St. James Infirmary was slated to receive the Heritage of Pride Award.\u003c/p>\n\u003cp class=\"p1\">“I understand why they did it,\" says Michael Albert, 63, San Francisco resident who has been coming to SF Pride since the late 1980s. \"I’m not sure it’s necessary; it’s more than we needed. But I’m not going to second guess the people that are running this. “\u003c/p>\n\u003cfigure id=\"attachment_11001836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11001836 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs07-800x559.jpg\" alt=\"Two friends hang from a light post in order to get a better view of the parade.\" width=\"800\" height=\"559\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-800x559.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-400x280.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-1180x825.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-960x671.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two friends hang from a light post in order to get a better view of the parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"This pole has become a tradition,\" says Matilda Holtz (on the right). \"We're too short to see through the crowd.\"\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_11001839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001839\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs12-800x549.jpg\" alt=\"Two people from Sonoma County Pride march in San Francisco's Pride Parade.\" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-960x659.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two people from Sonoma County Pride march in San Francisco's Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11001840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001840\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs14-800x570.jpg\" alt=\"Two Castro district residents take a moment of silence in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets.\" width=\"800\" height=\"570\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-800x570.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-400x285.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-1180x841.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-960x684.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two Castro district residents take a moment of silence in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ivy Schlegel is a Castro resident and chose not to attend this year's Pride parade. She says that the parade is too much of a corporate march and went to the Dyke March on Saturday instead.\u003c/p>\n\u003cfigure id=\"attachment_11001841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001841\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs05-800x536.jpg\" alt=\"Parade-goers from Salesforce were one of many corporations marching in this year's parade.\" width=\"800\" height=\"536\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-800x536.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-400x268.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-1180x790.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-960x643.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parade-goers from Salesforce were one of many corporations marching in this year's parade. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salesforce was one of many corporations marching in uniform.\u003c/p>\n\u003cfigure id=\"attachment_11001842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001842\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs18-800x512.jpg\" alt=\"A man holding a sign supporting Pride on behalf of the SF Sheriff's Department marches down Market Street.\" width=\"800\" height=\"512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-800x512.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-1180x755.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-960x615.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man holding a sign supporting Pride on behalf of the SF Sheriff's Department marches down Market Street. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11001837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001837\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs11-800x533.jpg\" alt=\"Two friends travel from Melbourne, Australia to participate in San Francisco's Pride Parade.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two friends travel from Melbourne, Australia to participate in San Francisco's Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco Pride is one of the world's most notable Pride celebrations. Matthew Wade (center) and Chrisi Camp came all the way from Australia to support San Francisco's LGBTQ community by volunteering at queer film festival Frameline.\u003c/p>\n\u003cp>\"In Melbourne we have Pride celebrations but nothing compared to SF,\" says Wade.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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