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"content": "\u003cp>After 40 years of delays and false starts, San Francisco’s Mexican Museum is finally getting a new home in the Yerba Buena Art District next to the Contemporary Jewish Museum (CJM).\u003c/p>\n\u003cp>City and museum officials have scheduled a dedication and cornerstone dedication for Tuesday morning.\u003c/p>\n\u003cp>The museum outgrew its current home in Fort Mason years ago, says museum chairman, Andrew Kluger.\u003c/p>\n\u003cp>“This is the single largest collection of Mexican, Latino, and Chicano art in the U.S., with 17,000 pieces,” Kluger said. Those include about 800 pieces of Mexican folk art donated by the family of Nelson Rockefeller and work by Mexican artist Diego Rivera.\u003c/p>\n\u003cfigure id=\"attachment_11830917\" class=\"wp-caption aligncenter\" style=\"max-width: 775px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11830917\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-775x600.jpg\" alt=\"Andrew Kluger, chairman of the board for the Mexican Museum\" width=\"775\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-775x600.jpg 775w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-400x310.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-1920x1486.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-960x743.jpg 960w\" sizes=\"(max-width: 775px) 100vw, 775px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Kluger, chairman of the board for the Mexican Museum \u003ccite>(Photo: Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kluger, hired three years ago, says the new space will make it the largest Mexican Museum in the U.S., measuring 60,000 square feet, almost nine times the size of the Fort Mason space and about the same as the CJM and the Jumex Museum in Mexico.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But raising the money for the new building, Kluger says, took some work. “It required really a business perspective, and we had to take this museum from a community museum to a national museum level.”\u003c/p>\n\u003cp>Construction of the new museum was delayed again and again, by legal and financial problems, and by clashing egos.\u003c/p>\n\u003cp>“The first change,” Kluger says, “was a complete change in the board of directors. We needed to bring in talent who could raise serious money.”\u003c/p>\n\u003cp>Kluger and the board raised half the cost of construction cost, $30 million, by selling the air rights, the space above the museum’s four floors, to a developer who will build a luxury condo tower. The museum also passed a grueling accreditation process, that itself cost $300,000, to win an affiliation with the Smithsonian Museums. That, Kluger says will make it the Mexican Museum eligible for grants from non-profits and federal funds.\u003c/p>\n\u003cfigure id=\"attachment_11830918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11830918\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-800x400.jpg\" alt=\"Another view of the Mexican Museum, now under construction in Jessie Square next to the Contemporary Jewish Museum\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-960x480.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another view of the Mexican Museum, now under construction in Jessie Square next to the Contemporary Jewish Museum \u003ccite>(Photo: Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kluger says the museum can also count on help and loans of art from the Mexican government, including \u003cem>Frida and Me\u003c/em>, about Mexican artist Frida Kahlo, the first show scheduled after its opening in the spring of 2019.\u003c/p>\n\u003cp>Kluger says there’s more fund raising to do, $30 million for the endowment and to fully furnish the museum’s interior. Among other donors, Edward James Olmos has pledged to raise $250,000.\u003c/p>\n\u003cp>Kluger notes one man will be sadly missing at the dedication. Peter Rodriguez, who founded the museum in a Mission District storefront in 1975, died at the age of 90 on June 30, after years battling Parkinson’s Disease.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think he would be very proud,” Kluger says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After 40 years of delays and false starts, San Francisco’s Mexican Museum is finally getting a new home in the Yerba Buena Art District next to the Contemporary Jewish Museum (CJM).\u003c/p>\n\u003cp>City and museum officials have scheduled a dedication and cornerstone dedication for Tuesday morning.\u003c/p>\n\u003cp>The museum outgrew its current home in Fort Mason years ago, says museum chairman, Andrew Kluger.\u003c/p>\n\u003cp>“This is the single largest collection of Mexican, Latino, and Chicano art in the U.S., with 17,000 pieces,” Kluger said. Those include about 800 pieces of Mexican folk art donated by the family of Nelson Rockefeller and work by Mexican artist Diego Rivera.\u003c/p>\n\u003cfigure id=\"attachment_11830917\" class=\"wp-caption aligncenter\" style=\"max-width: 775px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11830917\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-775x600.jpg\" alt=\"Andrew Kluger, chairman of the board for the Mexican Museum\" width=\"775\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-775x600.jpg 775w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-400x310.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-1920x1486.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Andrew-Kluger-chairman-of-the-board-for-the-Mexican-Museum-e1468885187178-960x743.jpg 960w\" sizes=\"(max-width: 775px) 100vw, 775px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Kluger, chairman of the board for the Mexican Museum \u003ccite>(Photo: Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kluger, hired three years ago, says the new space will make it the largest Mexican Museum in the U.S., measuring 60,000 square feet, almost nine times the size of the Fort Mason space and about the same as the CJM and the Jumex Museum in Mexico.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But raising the money for the new building, Kluger says, took some work. “It required really a business perspective, and we had to take this museum from a community museum to a national museum level.”\u003c/p>\n\u003cp>Construction of the new museum was delayed again and again, by legal and financial problems, and by clashing egos.\u003c/p>\n\u003cp>“The first change,” Kluger says, “was a complete change in the board of directors. We needed to bring in talent who could raise serious money.”\u003c/p>\n\u003cp>Kluger and the board raised half the cost of construction cost, $30 million, by selling the air rights, the space above the museum’s four floors, to a developer who will build a luxury condo tower. The museum also passed a grueling accreditation process, that itself cost $300,000, to win an affiliation with the Smithsonian Museums. That, Kluger says will make it the Mexican Museum eligible for grants from non-profits and federal funds.\u003c/p>\n\u003cfigure id=\"attachment_11830918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11830918\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-800x400.jpg\" alt=\"Another view of the Mexican Museum, now under construction in Jessie Square next to the Contemporary Jewish Museum\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TMM_View-02_2015-10-21-960x480.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another view of the Mexican Museum, now under construction in Jessie Square next to the Contemporary Jewish Museum \u003ccite>(Photo: Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kluger says the museum can also count on help and loans of art from the Mexican government, including \u003cem>Frida and Me\u003c/em>, about Mexican artist Frida Kahlo, the first show scheduled after its opening in the spring of 2019.\u003c/p>\n\u003cp>Kluger says there’s more fund raising to do, $30 million for the endowment and to fully furnish the museum’s interior. Among other donors, Edward James Olmos has pledged to raise $250,000.\u003c/p>\n\u003cp>Kluger notes one man will be sadly missing at the dedication. Peter Rodriguez, who founded the museum in a Mission District storefront in 1975, died at the age of 90 on June 30, after years battling Parkinson’s Disease.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think he would be very proud,” Kluger says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "trail-blazing-bay-area-photographer-gets-her-due-in-los-gatos-exhibition",
"title": "Trail-Blazing Bay Area Photographer Gets Her Due in Los Gatos Exhibition",
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"content": "\u003cp>You may not recognize her name, but you’ve probably seen one of Anne Brigman’s photos before. She photographed people — including herself — nude, in dramatic poses against wild, natural backdrops, often in the High Sierras. Her photographs have become textbook examples of “Pictorialism,” a phase in photographic history which flourished in the late 19th and early 20th centuries — a time when photographers tried to justify their worth in a world more fond of painting. Pictorialist photographers manipulated their images to make them look more like “artistic creations” than mere realistic snaps of a subject.\u003c/p>\n\u003cp>“Photography was a new medium then,” says\u003cstrong> \u003c/strong>Marianne McGrath, curator at New Museum Los Gatos, which is showing \u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/7/15/in-the-heart-of-the-wild-anne-brigman-and-her-circle\" target=\"_blank\" rel=\"noopener\">\u003cem>In the Heart of the Wild: Anne Brigman and her Circle\u003c/em>\u003c/a>. “Artists wanted to elevate photography to the level of other fields and be taken seriously.”\u003c/p>\n\u003cp>Brigman wanted to be taken seriously. A mere year after she took up photography in 1901, she wrote a letter to Alfred Stieglitz, the godfather of art photography of her day. Stieglitz rewarded Brigman’s moxie and talent by inducting her into the Photo-Secession movement. Photo-Secessionists championed the idea that a photograph need not be slavishly dedicated to the depiction of reality, but instead composed and even manipulated to deliver a compelling subjective vision.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/274266602″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Brigman was one of only a handful of west coast photographers to be accepted by the Photo-Secessionists. Stieglitz also published her photos in \u003cem>Camera Work\u003c/em>, his taste-making quarterly. “That was the publication that brought Anne Brigman to the forefront nationally and then internationally,” says McGrath.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brigman won awards here and abroad. Her work was exhibited all over the Bay Area, as well as in Chicago, New York, Tokyo and Madrid, to name just a few places. She helped photographer Francis Bruguière organize an exhibition of pictorial photographs for the 1915 Panama-Pacific International Exposition in San Francisco, at which she won the grand prize.\u003c/p>\n\u003cp>\u003cstrong>A pagan child of missionaries\u003c/strong>\u003c/p>\n\u003cp>This was not the life Brigman’s parents had in mind for their daughter. The child and grandchild of Christian missionaries, Brigman was born in Honolulu and moved to Los Gatos at age 16 with her parents. When she married a sea captain a few years later, she seemed to be heading towards a conventional life.\u003c/p>\n\u003cp>Brigman had dabbled in painting landscapes, along with many women of the day, but she also immersed herself in the Bay Area’s thriving bohemian artistic community. She developed friendships with artists like painter William Keith and author Jack London. She also wrote and acted in theatrical productions.\u003c/p>\n\u003cp>Advancing technology made photography more accessible and popular as the century turned, and Brigman adopted it with a passion. She created her first serious portrait — of her husband — in 1900, and quickly moved into the public sphere. She first exhibited her photographs in early 1902 at the San Francisco Photographic Salon. By May of that year, she won a prize in the First Los Angeles Photographic Salon, and saw some of her images published in \u003cem>Camera Craft.\u003c/em>\u003c/p>\n\u003cp>Brigman started taking multi-day hikes in the Sierra Nevada with her camera kit in tow. It was not the sort of thing many women did back then. “People didn’t have the equipment that we have today,” McGrath says. “There was no REI. She toted a heavy camera and a wooden tripod and enough supplies for these long ventures into the Sierras.”\u003c/p>\n\u003cfigure id=\"attachment_11812084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11812084 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-800x450.jpg\" alt=\"Detail of Anne Brigman,'Dawn,' 1912. Photogravure from Camera Work No. 38. "There’s something poetic in every photograph," says Marianne McGrath, curator at New Museum Los Gatos.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Anne Brigman,’Dawn,’ 1912. Photogravure from Camera Work No. 38. “There’s something poetic in every photograph,” says Marianne McGrath, curator at New Museum Los Gatos. \u003ccite>(Photo: Courtesy of Judy Dater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brigman’s models were family members, close friends, and often, herself. Her work hinted at a wild world full of fairies and nymphs, Greco-Roman mythology and also the pantheistic tales Brigman picked up during her childhood in Hawaii.\u003c/p>\n\u003cp>Brigman wasn’t the only female Pictorialist on the west coast, and she wasn’t the only Pictorialist doing nudes. Nevertheless, the effect of her images on the public was shocking.\u003c/p>\n\u003cp>“The style of nudes she did –- out in the open air, in high elevations in the Sierras with the bristle cone pines and the granite and so forth –- a lot of the photographic establishment was very critical of that,” says Drew Johnson, curator of photography and visual culture at the \u003ca href=\"http://collections.museumca.org/?q=list/taxonomy/term/1523\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a>. (Oakland has one of two top-tier collections of Brigman’s work in the U.S., alongside the \u003ca href=\"http://www.geh.org/ar/strip81/htmlsrc/brigmanetal_sum00002.html\" target=\"_blank\" rel=\"noopener\">George Eastman House\u003c/a> in Rochester, New York.) “They would say things like ‘She takes these scrawny, skinny California women, and just sticks them in a tree or something.’ Of course, from her point of view, she was exalting the athletic Western woman.”\u003c/p>\n\u003cp>In 1910, Brigman separated from her husband. The reasons for the split are hazy. “He had his way of looking at things and I had mine,” Brigman told a reporter for the \u003ci>San Francisco Call \u003c/i>in 1913. “We developed along different lines,” Brigman is quoted saying in an article titled “Fear Retards Woman, Avers Mrs. Brigman.” After a pilgrimage to New York to meet with Stieglitz and others, she returned to Oakland and set up a new home, and was a grande dame of the local arts scene. Her studio became a gathering place for Northern California’s finest photographers, like Imogen Cunningham, Edward Weston, and Louise Dahl-Wolfe.\u003c/p>\n\u003cp>\u003cstrong>Why Brigman disappeared from view\u003c/strong>\u003c/p>\n\u003cp>Avant-garde artists began to back away from Pictorialism in the 1920s, although its lamp continued to flicker all the way to World War II. Johnson says the very aesthetic that helped to push photography as a serious artistic medium became an embarrassing, drippy reminder of the craft’s infancy. “It was almost written out of the history books,” Johnson says. “It was in such low critical repute for most of the second half of the 20\u003csup>th\u003c/sup> century.” Some of the very same photographers — like Adams, Cunningham and Weston — with whom Brigman had celebrated Romanticism, joined a different group dedicated to the modern aesthetic, called Group f/64.\u003c/p>\n\u003cp>[contextly_sidebar id=”f8pyw4aKMQQFTaA9zMyI7L8mJj63yuFg”]But Brigman couldn’t move on as decisively as many of her compatriots. When she moved south to Long Beach in 1929 to be near family, the photographer expanded her creative output to include drawings, prints, etchings and poetry. She created mock-ups for three books combining poems with photographs and her poems, one of which was published — \u003cem>Songs of a Pagan, \u003c/em>in\u003cem> \u003c/em>1949.\u003c/p>\n\u003cp>\u003cstrong>Her legacy today\u003c/strong>\u003c/p>\n\u003cp>Anne Brigman many not be a household name now. “Anne Brigman is very well known to photography historians,” McGrath says. “But not that well known to your average person.” However, her influence lingers, and can be seen in the work of artists like \u003ca href=\"http://www.spencertunick.com/\">Spencer Tunick\u003c/a>. \u003cem>\u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/7/15/in-the-heart-of-the-wild-anne-brigman-and-her-circle\" target=\"_blank\" rel=\"noopener\">In the Heart of the Wild\u003c/a> \u003c/em>offers a couple of examples, including this one from Bay Area-based artist Judy Dater.\u003c/p>\n\u003cfigure id=\"attachment_11812194\" class=\"wp-caption aligncenter\" style=\"max-width: 760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11812194\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-760x600.jpg\" alt=\"Judy Dater, 'Self Portrait with Stone,' 1981.\" width=\"760\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-760x600.jpg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-768x606.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-1180x932.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-960x758.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut.jpg 1330w\" sizes=\"(max-width: 760px) 100vw, 760px\">\u003cfigcaption class=\"wp-caption-text\">Judy Dater, ‘Self Portrait with Stone,’ 1981. \u003ccite>(Photo: Courtesy of Judy Dater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McGrath herself might not have known much more about Brigman than a few bullet points if she hadn’t been looking for a prominent artist with Los Gatos connections to profile. Now, after months of research and exploration, McGrath has grown fond of her. “Her enthusiasm, her passion for what she did, her love for the environment, and the fact she was always herself and true to what she wanted in her life,” McGrath says by way of explaining why this artists still resonates today. “She’s just delightful.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>In the Heart of the Wild: Anne Brigman and her Circle continues through Jan. 8, 2017. For more information, head \u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/7/15/in-the-heart-of-the-wild-anne-brigman-and-her-circle\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\n",
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"excerpt": "A new exhibition at New Museum Los Gatos sheds light on pioneering Pictorialist photographer Anne Brigman.",
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"title": "Trail-Blazing Bay Area Photographer Gets Her Due in Los Gatos Exhibition | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You may not recognize her name, but you’ve probably seen one of Anne Brigman’s photos before. She photographed people — including herself — nude, in dramatic poses against wild, natural backdrops, often in the High Sierras. Her photographs have become textbook examples of “Pictorialism,” a phase in photographic history which flourished in the late 19th and early 20th centuries — a time when photographers tried to justify their worth in a world more fond of painting. Pictorialist photographers manipulated their images to make them look more like “artistic creations” than mere realistic snaps of a subject.\u003c/p>\n\u003cp>“Photography was a new medium then,” says\u003cstrong> \u003c/strong>Marianne McGrath, curator at New Museum Los Gatos, which is showing \u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/7/15/in-the-heart-of-the-wild-anne-brigman-and-her-circle\" target=\"_blank\" rel=\"noopener\">\u003cem>In the Heart of the Wild: Anne Brigman and her Circle\u003c/em>\u003c/a>. “Artists wanted to elevate photography to the level of other fields and be taken seriously.”\u003c/p>\n\u003cp>Brigman wanted to be taken seriously. A mere year after she took up photography in 1901, she wrote a letter to Alfred Stieglitz, the godfather of art photography of her day. Stieglitz rewarded Brigman’s moxie and talent by inducting her into the Photo-Secession movement. Photo-Secessionists championed the idea that a photograph need not be slavishly dedicated to the depiction of reality, but instead composed and even manipulated to deliver a compelling subjective vision.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/274266602″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/274266602″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Brigman was one of only a handful of west coast photographers to be accepted by the Photo-Secessionists. Stieglitz also published her photos in \u003cem>Camera Work\u003c/em>, his taste-making quarterly. “That was the publication that brought Anne Brigman to the forefront nationally and then internationally,” says McGrath.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brigman won awards here and abroad. Her work was exhibited all over the Bay Area, as well as in Chicago, New York, Tokyo and Madrid, to name just a few places. She helped photographer Francis Bruguière organize an exhibition of pictorial photographs for the 1915 Panama-Pacific International Exposition in San Francisco, at which she won the grand prize.\u003c/p>\n\u003cp>\u003cstrong>A pagan child of missionaries\u003c/strong>\u003c/p>\n\u003cp>This was not the life Brigman’s parents had in mind for their daughter. The child and grandchild of Christian missionaries, Brigman was born in Honolulu and moved to Los Gatos at age 16 with her parents. When she married a sea captain a few years later, she seemed to be heading towards a conventional life.\u003c/p>\n\u003cp>Brigman had dabbled in painting landscapes, along with many women of the day, but she also immersed herself in the Bay Area’s thriving bohemian artistic community. She developed friendships with artists like painter William Keith and author Jack London. She also wrote and acted in theatrical productions.\u003c/p>\n\u003cp>Advancing technology made photography more accessible and popular as the century turned, and Brigman adopted it with a passion. She created her first serious portrait — of her husband — in 1900, and quickly moved into the public sphere. She first exhibited her photographs in early 1902 at the San Francisco Photographic Salon. By May of that year, she won a prize in the First Los Angeles Photographic Salon, and saw some of her images published in \u003cem>Camera Craft.\u003c/em>\u003c/p>\n\u003cp>Brigman started taking multi-day hikes in the Sierra Nevada with her camera kit in tow. It was not the sort of thing many women did back then. “People didn’t have the equipment that we have today,” McGrath says. “There was no REI. She toted a heavy camera and a wooden tripod and enough supplies for these long ventures into the Sierras.”\u003c/p>\n\u003cfigure id=\"attachment_11812084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11812084 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-800x450.jpg\" alt=\"Detail of Anne Brigman,'Dawn,' 1912. Photogravure from Camera Work No. 38. "There’s something poetic in every photograph," says Marianne McGrath, curator at New Museum Los Gatos.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Anne Brigman,’Dawn,’ 1912. Photogravure from Camera Work No. 38. “There’s something poetic in every photograph,” says Marianne McGrath, curator at New Museum Los Gatos. \u003ccite>(Photo: Courtesy of Judy Dater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brigman’s models were family members, close friends, and often, herself. Her work hinted at a wild world full of fairies and nymphs, Greco-Roman mythology and also the pantheistic tales Brigman picked up during her childhood in Hawaii.\u003c/p>\n\u003cp>Brigman wasn’t the only female Pictorialist on the west coast, and she wasn’t the only Pictorialist doing nudes. Nevertheless, the effect of her images on the public was shocking.\u003c/p>\n\u003cp>“The style of nudes she did –- out in the open air, in high elevations in the Sierras with the bristle cone pines and the granite and so forth –- a lot of the photographic establishment was very critical of that,” says Drew Johnson, curator of photography and visual culture at the \u003ca href=\"http://collections.museumca.org/?q=list/taxonomy/term/1523\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a>. (Oakland has one of two top-tier collections of Brigman’s work in the U.S., alongside the \u003ca href=\"http://www.geh.org/ar/strip81/htmlsrc/brigmanetal_sum00002.html\" target=\"_blank\" rel=\"noopener\">George Eastman House\u003c/a> in Rochester, New York.) “They would say things like ‘She takes these scrawny, skinny California women, and just sticks them in a tree or something.’ Of course, from her point of view, she was exalting the athletic Western woman.”\u003c/p>\n\u003cp>In 1910, Brigman separated from her husband. The reasons for the split are hazy. “He had his way of looking at things and I had mine,” Brigman told a reporter for the \u003ci>San Francisco Call \u003c/i>in 1913. “We developed along different lines,” Brigman is quoted saying in an article titled “Fear Retards Woman, Avers Mrs. Brigman.” After a pilgrimage to New York to meet with Stieglitz and others, she returned to Oakland and set up a new home, and was a grande dame of the local arts scene. Her studio became a gathering place for Northern California’s finest photographers, like Imogen Cunningham, Edward Weston, and Louise Dahl-Wolfe.\u003c/p>\n\u003cp>\u003cstrong>Why Brigman disappeared from view\u003c/strong>\u003c/p>\n\u003cp>Avant-garde artists began to back away from Pictorialism in the 1920s, although its lamp continued to flicker all the way to World War II. Johnson says the very aesthetic that helped to push photography as a serious artistic medium became an embarrassing, drippy reminder of the craft’s infancy. “It was almost written out of the history books,” Johnson says. “It was in such low critical repute for most of the second half of the 20\u003csup>th\u003c/sup> century.” Some of the very same photographers — like Adams, Cunningham and Weston — with whom Brigman had celebrated Romanticism, joined a different group dedicated to the modern aesthetic, called Group f/64.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>But Brigman couldn’t move on as decisively as many of her compatriots. When she moved south to Long Beach in 1929 to be near family, the photographer expanded her creative output to include drawings, prints, etchings and poetry. She created mock-ups for three books combining poems with photographs and her poems, one of which was published — \u003cem>Songs of a Pagan, \u003c/em>in\u003cem> \u003c/em>1949.\u003c/p>\n\u003cp>\u003cstrong>Her legacy today\u003c/strong>\u003c/p>\n\u003cp>Anne Brigman many not be a household name now. “Anne Brigman is very well known to photography historians,” McGrath says. “But not that well known to your average person.” However, her influence lingers, and can be seen in the work of artists like \u003ca href=\"http://www.spencertunick.com/\">Spencer Tunick\u003c/a>. \u003cem>\u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/7/15/in-the-heart-of-the-wild-anne-brigman-and-her-circle\" target=\"_blank\" rel=\"noopener\">In the Heart of the Wild\u003c/a> \u003c/em>offers a couple of examples, including this one from Bay Area-based artist Judy Dater.\u003c/p>\n\u003cfigure id=\"attachment_11812194\" class=\"wp-caption aligncenter\" style=\"max-width: 760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11812194\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-760x600.jpg\" alt=\"Judy Dater, 'Self Portrait with Stone,' 1981.\" width=\"760\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-760x600.jpg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-768x606.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-1180x932.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-960x758.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut.jpg 1330w\" sizes=\"(max-width: 760px) 100vw, 760px\">\u003cfigcaption class=\"wp-caption-text\">Judy Dater, ‘Self Portrait with Stone,’ 1981. \u003ccite>(Photo: Courtesy of Judy Dater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McGrath herself might not have known much more about Brigman than a few bullet points if she hadn’t been looking for a prominent artist with Los Gatos connections to profile. Now, after months of research and exploration, McGrath has grown fond of her. “Her enthusiasm, her passion for what she did, her love for the environment, and the fact she was always herself and true to what she wanted in her life,” McGrath says by way of explaining why this artists still resonates today. “She’s just delightful.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>In the Heart of the Wild: Anne Brigman and her Circle continues through Jan. 8, 2017. For more information, head \u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/7/15/in-the-heart-of-the-wild-anne-brigman-and-her-circle\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "women-to-watch-jean-melesaine",
"title": "Women to Watch: Jean Melesaine",
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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 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>\u003ca href=\"http://www.jeanmelesaine.com/\" target=\"_blank\" rel=\"noopener\">Jean Melesaine\u003c/a> grew up all over the Bay Area, but most days you’ll find her in the offices of \u003ca href=\"http://www.siliconvalleydebug.org/\" target=\"_blank\" rel=\"noopener\">Silicon Valley De-Bug\u003c/a>, a media, community organizing and entrepreneurial collective based out of San Jose, where she’s worked for ten years. As a queer Samoan American community activist and documentary photographer, her cameras shed light on the unheard and the unseen. She covers everything everything from \u003ca href=\"http://www.siliconvalleydebug.org/articles/2016/03/03/families-whove-been-torn-police-shootings-are-uniting-justice\" target=\"_blank\" rel=\"noopener\">gatherings of families affected by police shootings\u003c/a> to the story of \u003ca href=\"http://www.siliconvalleydebug.org/articles/2015/06/10/langilangi-master-seamstress-little-tonga-east-oakland\" target=\"_blank\" rel=\"noopener\">Langilangi\u003c/a>, a traditional seamstress for the Bay Area’s Tongan community. Most recently, she co-edited \u003ci>\u003ca href=\"https://heydaybooks.com/book/de-bug/\" target=\"_blank\" rel=\"noopener\">Voices from the Underside of Silicon Valley\u003c/a>\u003c/i>, a book filled with stories from the tech boom’s working class.[contextly_sidebar id=”UmkbzEgvNz6CVMEPkhcmDLN7456iAwLK”]\u003c/p>\n\u003cp>\u003cstrong>Where do you live?\u003c/strong>\u003c/p>\n\u003cp>I live in West Oakland in the Ralph Bunche neighborhood.\u003c/p>\n\u003cp>\u003cstrong>How would you describe yourself in one word?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Low-key.\u003c/p>\n\u003cp>\u003cstrong>What did you do last night?\u003c/strong>\u003c/p>\n\u003cp>My neighbor’s daughter entertained us for two hours. She’s one of the most brilliant 5-year-olds I ever met.\u003c/p>\n\u003cp>\u003cstrong>What can’t you live without?\u003c/strong>\u003c/p>\n\u003cp>I can’t live without the people I love. I can’t live without my family, my friends who are like family to me or my community. I just wouldn’t survive.\u003c/p>\n\u003cfigure id=\"attachment_11829836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11829836\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-jean-800x450.jpg\" alt=\"Jean Melesaine\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean Melesaine \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>If you could travel anywhere in the world, where would it be?\u003c/strong>\u003c/p>\n\u003cp>I would go the Himalayas. I was watching this documentary and there’s a Buddhist meditation school run by this guy who used to study under the Dalai Lama. I need to go to that school for a year.\u003c/p>\n\u003cp>\u003cstrong>Who is your personal hero? Why?\u003c/strong>\u003c/p>\n\u003cp>I really don’t have a single hero. I have many heroes. Basically all the people that I couldn’t survive without, those are my personal heroes.\u003c/p>\n\u003cp>\u003cstrong>How did you find your creative voice?\u003c/strong>\u003c/p>\n\u003cp>I’m not sure. I’m still trying to figure out my creative voice. Maybe when I started going to Silicon Valley De-Bug. They ask you, “What do you want to do? Do you want to do photography, let’s figure out how to get you this, how to do this.” There aren’t a lot of place where your bosses ask you what your dreams are.\u003c/p>\n\u003cp>\u003cstrong>What is something most people don’t know about you?\u003c/strong>\u003c/p>\n\u003cp>I’m such a social person, maybe everybody knows everything about me!\u003c/p>\n\u003cp>I do have a secret wish, a secret dream. I really love furniture design and I really love old school jazz. If I ever get old, I totally want to move back to the islands and eat papaya and listen to jazz all day, play clarinet and make furniture for old people to sit on.\u003c/p>\n\u003cfigure id=\"attachment_11829837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11829837\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-jean-2-800x450.jpg\" alt=\"Jean Melesaine\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-2-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean Melesaine \u003ccite>(Photo Credit: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you do when you feel uninspired?\u003c/strong>\u003c/p>\n\u003cp>I don’t think I’m ever uninspired. I think people inspire me all the time.\u003c/p>\n\u003cp>\u003cstrong>What was your biggest ‘learning moment,’ and what did you you take from that experience?\u003c/strong>\u003c/p>\n\u003cp>When I was young, I got locked up. I spent my 21st birthday in jail. I was pretty popular in jail. All these women, they were from the South Bay and they were all moms. They would tell me all their problems and issues. When women commit crimes, it’s very shameful, you know. There isn’t family coming to visit them. When men get locked up, moms come to the rescue.\u003c/p>\n\u003cp>When I was in there I was drawing. The women would give me their kids’ pictures and tell me their stories while they were sitting next to me drawing. Those women who I was locked up with, I have so much love for them. I hope everything’s cool and they made it. They had so much they were going through, trying to make it on their own and hold it all together.\u003c/p>\n\u003cp>\u003cstrong>What’s your greatest achievement and how has it shaped you?\u003c/strong>\u003c/p>\n\u003cp>My sister and my niece were eating at some Chinese restaurant and they had a fortune cookie that said, “Read a book and learn about life.” My niece is like, “This is what Auntie Jean always tells us!” That’s an achievement, that my nieces and my nephews look at me that way and they remember what I say.\u003c/p>\n\u003cp>With my nephew, I was like, “What do you want to be when you grow up?” And he’s like, “I want to work at De-Bug!” “Do you know what do you do there?” “No.”\u003c/p>\n\u003cp>He didn’t realize that people work for like eight hours.\u003c/p>\n\u003cp>\u003cstrong>Coffee or tea? What kind?\u003c/strong>\u003c/p>\n\u003cp>This was like my most difficult question. I used to be such a coffee snob. I totally transitioned from coffee to yerba mate. I don’t even drink coffee that much anymore. Now I’m telling everybody you need to drink mate, it makes your mind on point.\u003c/p>\n\u003cfigure id=\"attachment_11812087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11812087 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/762C3833-800x533.jpg\" alt=\"Photo by Jean Melesaine.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/762C3833-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/762C3833-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/762C3833-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/762C3833-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/762C3833-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/762C3833-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photo by Jean Melesaine. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does a perfect day look like for you?\u003c/strong>\u003c/p>\n\u003cp>No traffic in the Bay Area. That would be the dreamiest day for me.\u003c/p>\n\u003cp>I could say other things about a perfect day, like peace in the world, Donald Trump drops out of the presidential election, but no, it’s really no traffic.\u003c/p>\n\u003cp>\u003cstrong>Who are your local inspirations?\u003c/strong>\u003c/p>\n\u003cp>In Oakland there’s all these women who are doing so many amazing things. They’re just creating sh-t from nothing. I’m going to bring my boo into this one: Vanessa Camarena runs this space \u003ca href=\"http://www.studiograndoakland.org/\" target=\"_blank\" rel=\"noopener\">Studio Grand\u003c/a> on her own. And Anyka Barber runs this spot, \u003ca href=\"https://bettiono.com/\" target=\"_blank\" rel=\"noopener\">Betti Ono\u003c/a>. There’s all these local folks who inspire me, who made stuff happen and create a beautiful Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Favorite meal?\u003c/strong>\u003c/p>\n\u003cp>There’s a Samoan dish made out of taro leaves and coconut milk I used to make with my dad. It’s called luau or palusami. You put it into foil and you bake it and it all steams together. If you make it straight from fresh coconut, it’s like the best thing you could ever have.\u003c/p>\n\u003cfigure id=\"attachment_11812082\" class=\"wp-caption aligncenter\" style=\"max-width: 745px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11812082\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/5E-745x600.jpg\" alt=\"United Voices Against State Sponsored Violence\" width=\"745\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5E-745x600.jpg 745w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5E-400x322.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5E-768x618.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5E-1180x950.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5E-1920x1546.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5E-960x773.jpg 960w\" sizes=\"(max-width: 745px) 100vw, 745px\">\u003cfigcaption class=\"wp-caption-text\">United Voices Against State Sponsored Violence \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What upcoming show are you excited about?\u003c/strong>\u003c/p>\n\u003cp>There’s a possible show that I’m working on — we applied for a grant. I’m going to find young Samoans who were raised in San Francisco. They would interview their closest elder in their lives and ask them about their migration stories to San Francisco. I would photograph those folks and put it together in a mini book.\u003c/p>\n\u003cp>\u003cstrong>Where do you see yourself in five years?\u003c/strong>\u003c/p>\n\u003cp>In Oakland, hopefully. I had plans to try to move to New Zealand, where my family’s at. It’s hard because I’m such a Bay Area person. I can never leave the Bay, I almost get homesick like five days later. So: Stay in the Bay, try to put in work for folks to make life better.\u003c/p>\n\u003cp>\u003cstrong>If you could live in a book, TV show, movie, play, song or painting what would it be?\u003c/strong>\u003c/p>\n\u003cp>Maybe I’ll be one of those little kids in Art Kane’s photo \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/A_Great_Day_in_Harlem_(photograph)\" target=\"_blank\" rel=\"noopener\">A Great Day in Harlem\u003c/a>\u003c/i>. I’d be like the kid picking my nose or something.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, videos and information about our upcoming Women to Watch event at the \u003ca href=\"https://ww2.kqed.org/arts/2016/07/13/kqed-arts-women-to-watch-event/\" target=\"_blank\" rel=\"noopener\">SFJAZZ Center\u003c/a> featuring artists from the series.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We\u003c/a> want to hear from you! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"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 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>\u003ca href=\"http://www.jeanmelesaine.com/\" target=\"_blank\" rel=\"noopener\">Jean Melesaine\u003c/a> grew up all over the Bay Area, but most days you’ll find her in the offices of \u003ca href=\"http://www.siliconvalleydebug.org/\" target=\"_blank\" rel=\"noopener\">Silicon Valley De-Bug\u003c/a>, a media, community organizing and entrepreneurial collective based out of San Jose, where she’s worked for ten years. As a queer Samoan American community activist and documentary photographer, her cameras shed light on the unheard and the unseen. She covers everything everything from \u003ca href=\"http://www.siliconvalleydebug.org/articles/2016/03/03/families-whove-been-torn-police-shootings-are-uniting-justice\" target=\"_blank\" rel=\"noopener\">gatherings of families affected by police shootings\u003c/a> to the story of \u003ca href=\"http://www.siliconvalleydebug.org/articles/2015/06/10/langilangi-master-seamstress-little-tonga-east-oakland\" target=\"_blank\" rel=\"noopener\">Langilangi\u003c/a>, a traditional seamstress for the Bay Area’s Tongan community. Most recently, she co-edited \u003ci>\u003ca href=\"https://heydaybooks.com/book/de-bug/\" target=\"_blank\" rel=\"noopener\">Voices from the Underside of Silicon Valley\u003c/a>\u003c/i>, a book filled with stories from the tech boom’s working class.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Where do you live?\u003c/strong>\u003c/p>\n\u003cp>I live in West Oakland in the Ralph Bunche neighborhood.\u003c/p>\n\u003cp>\u003cstrong>How would you describe yourself in one word?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Low-key.\u003c/p>\n\u003cp>\u003cstrong>What did you do last night?\u003c/strong>\u003c/p>\n\u003cp>My neighbor’s daughter entertained us for two hours. She’s one of the most brilliant 5-year-olds I ever met.\u003c/p>\n\u003cp>\u003cstrong>What can’t you live without?\u003c/strong>\u003c/p>\n\u003cp>I can’t live without the people I love. I can’t live without my family, my friends who are like family to me or my community. I just wouldn’t survive.\u003c/p>\n\u003cfigure id=\"attachment_11829836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11829836\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-jean-800x450.jpg\" alt=\"Jean Melesaine\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean Melesaine \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>If you could travel anywhere in the world, where would it be?\u003c/strong>\u003c/p>\n\u003cp>I would go the Himalayas. I was watching this documentary and there’s a Buddhist meditation school run by this guy who used to study under the Dalai Lama. I need to go to that school for a year.\u003c/p>\n\u003cp>\u003cstrong>Who is your personal hero? Why?\u003c/strong>\u003c/p>\n\u003cp>I really don’t have a single hero. I have many heroes. Basically all the people that I couldn’t survive without, those are my personal heroes.\u003c/p>\n\u003cp>\u003cstrong>How did you find your creative voice?\u003c/strong>\u003c/p>\n\u003cp>I’m not sure. I’m still trying to figure out my creative voice. Maybe when I started going to Silicon Valley De-Bug. They ask you, “What do you want to do? Do you want to do photography, let’s figure out how to get you this, how to do this.” There aren’t a lot of place where your bosses ask you what your dreams are.\u003c/p>\n\u003cp>\u003cstrong>What is something most people don’t know about you?\u003c/strong>\u003c/p>\n\u003cp>I’m such a social person, maybe everybody knows everything about me!\u003c/p>\n\u003cp>I do have a secret wish, a secret dream. I really love furniture design and I really love old school jazz. If I ever get old, I totally want to move back to the islands and eat papaya and listen to jazz all day, play clarinet and make furniture for old people to sit on.\u003c/p>\n\u003cfigure id=\"attachment_11829837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11829837\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-jean-2-800x450.jpg\" alt=\"Jean Melesaine\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-jean-2-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean Melesaine \u003ccite>(Photo Credit: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you do when you feel uninspired?\u003c/strong>\u003c/p>\n\u003cp>I don’t think I’m ever uninspired. I think people inspire me all the time.\u003c/p>\n\u003cp>\u003cstrong>What was your biggest ‘learning moment,’ and what did you you take from that experience?\u003c/strong>\u003c/p>\n\u003cp>When I was young, I got locked up. I spent my 21st birthday in jail. I was pretty popular in jail. All these women, they were from the South Bay and they were all moms. They would tell me all their problems and issues. When women commit crimes, it’s very shameful, you know. There isn’t family coming to visit them. When men get locked up, moms come to the rescue.\u003c/p>\n\u003cp>When I was in there I was drawing. The women would give me their kids’ pictures and tell me their stories while they were sitting next to me drawing. Those women who I was locked up with, I have so much love for them. I hope everything’s cool and they made it. They had so much they were going through, trying to make it on their own and hold it all together.\u003c/p>\n\u003cp>\u003cstrong>What’s your greatest achievement and how has it shaped you?\u003c/strong>\u003c/p>\n\u003cp>My sister and my niece were eating at some Chinese restaurant and they had a fortune cookie that said, “Read a book and learn about life.” My niece is like, “This is what Auntie Jean always tells us!” That’s an achievement, that my nieces and my nephews look at me that way and they remember what I say.\u003c/p>\n\u003cp>With my nephew, I was like, “What do you want to be when you grow up?” And he’s like, “I want to work at De-Bug!” “Do you know what do you do there?” “No.”\u003c/p>\n\u003cp>He didn’t realize that people work for like eight hours.\u003c/p>\n\u003cp>\u003cstrong>Coffee or tea? What kind?\u003c/strong>\u003c/p>\n\u003cp>This was like my most difficult question. I used to be such a coffee snob. I totally transitioned from coffee to yerba mate. I don’t even drink coffee that much anymore. Now I’m telling everybody you need to drink mate, it makes your mind on point.\u003c/p>\n\u003cfigure id=\"attachment_11812087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11812087 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/762C3833-800x533.jpg\" alt=\"Photo by Jean Melesaine.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/762C3833-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/762C3833-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/762C3833-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/762C3833-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/762C3833-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/762C3833-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photo by Jean Melesaine. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does a perfect day look like for you?\u003c/strong>\u003c/p>\n\u003cp>No traffic in the Bay Area. That would be the dreamiest day for me.\u003c/p>\n\u003cp>I could say other things about a perfect day, like peace in the world, Donald Trump drops out of the presidential election, but no, it’s really no traffic.\u003c/p>\n\u003cp>\u003cstrong>Who are your local inspirations?\u003c/strong>\u003c/p>\n\u003cp>In Oakland there’s all these women who are doing so many amazing things. They’re just creating sh-t from nothing. I’m going to bring my boo into this one: Vanessa Camarena runs this space \u003ca href=\"http://www.studiograndoakland.org/\" target=\"_blank\" rel=\"noopener\">Studio Grand\u003c/a> on her own. And Anyka Barber runs this spot, \u003ca href=\"https://bettiono.com/\" target=\"_blank\" rel=\"noopener\">Betti Ono\u003c/a>. There’s all these local folks who inspire me, who made stuff happen and create a beautiful Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Favorite meal?\u003c/strong>\u003c/p>\n\u003cp>There’s a Samoan dish made out of taro leaves and coconut milk I used to make with my dad. It’s called luau or palusami. You put it into foil and you bake it and it all steams together. If you make it straight from fresh coconut, it’s like the best thing you could ever have.\u003c/p>\n\u003cfigure id=\"attachment_11812082\" class=\"wp-caption aligncenter\" style=\"max-width: 745px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11812082\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/5E-745x600.jpg\" alt=\"United Voices Against State Sponsored Violence\" width=\"745\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5E-745x600.jpg 745w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5E-400x322.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5E-768x618.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5E-1180x950.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5E-1920x1546.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5E-960x773.jpg 960w\" sizes=\"(max-width: 745px) 100vw, 745px\">\u003cfigcaption class=\"wp-caption-text\">United Voices Against State Sponsored Violence \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What upcoming show are you excited about?\u003c/strong>\u003c/p>\n\u003cp>There’s a possible show that I’m working on — we applied for a grant. I’m going to find young Samoans who were raised in San Francisco. They would interview their closest elder in their lives and ask them about their migration stories to San Francisco. I would photograph those folks and put it together in a mini book.\u003c/p>\n\u003cp>\u003cstrong>Where do you see yourself in five years?\u003c/strong>\u003c/p>\n\u003cp>In Oakland, hopefully. I had plans to try to move to New Zealand, where my family’s at. It’s hard because I’m such a Bay Area person. I can never leave the Bay, I almost get homesick like five days later. So: Stay in the Bay, try to put in work for folks to make life better.\u003c/p>\n\u003cp>\u003cstrong>If you could live in a book, TV show, movie, play, song or painting what would it be?\u003c/strong>\u003c/p>\n\u003cp>Maybe I’ll be one of those little kids in Art Kane’s photo \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/A_Great_Day_in_Harlem_(photograph)\" target=\"_blank\" rel=\"noopener\">A Great Day in Harlem\u003c/a>\u003c/i>. I’d be like the kid picking my nose or something.\u003c/p>\n\u003cp> \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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We\u003c/a> want to hear from you! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Croatian artists Olinka Vištica and Dražen Grubišić ended their romance in 2003, they were left with ordinary, seemingly insignificant items they’d shared that had meaning only to them. So they did what artists do: They turned them into art.\u003c/p>\n\u003cp>Along with pieces donated from friends’ failed love affairs, they toured their art show in 25 cities, and in 2010 the pair opened the Museum of Broken Relationships in Zagreb. Last month, in the building that once housed the lingerie shop Frederick’s of Hollywood, a permanent American branch of the museum opened, offering 105 souvenirs of heartbreak.\u003c/p>\n\u003cp>“It’s almost like we don’t choose these things, they kind of choose us,” says museum director Alexis Hyde, “these totems that get organically created in these relationships.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/273894455″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Though the museum sits on the same block as less-than-elegant boutiques like Souvenir Land and Chateau Denim, it has all the understated trappings of a classic gallery. Stark white walls, polished concrete floors, recessed lighting. The air is cool and people whisper. It’s a far cry from the old Frederick’s days when lace-clad mannequins lined the floor, though it’s somehow appropriate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s fitting, you know?” says Hyde. “I mean, that had to have been a place where relationships started and ended all the time, and this becomes kind of a repository of other people’s stories that include some lingerie.”\u003c/p>\n\u003caside class=\"pullquote alignright\">It’s a museum devoted to broken relationships, but it’s also a tribute to the bond of heartbreak that links almost everyone.\u003c/aside>\n\u003cp>But Hyde stresses that the museum’s dedication to relationships gone south is not confined to romance.\u003c/p>\n\u003cp>“It’s not just exclusively romantic love. It can be anything. It can be family, it can be friends, it can be businesses, it can be geography. Broken relationships mean a lot of different things to different people.”\u003c/p>\n\u003cp>The multitude of “profoundly ordinary” objects on display were all donated anonymously and are accompanied by captions written by the brokenhearted donors, stories that bring these mundane things to life.\u003c/p>\n\u003cp>There’s a coffeemaker from a woman whose ex-boyfriend’s only redeeming quality was cleaning it every day. And a Peter Pan plush toy a man bought at 25 to remind him to “keep the little boy inside awake.” Nearing 50, he writes, “The boy is lost to me.” There are half-used cologne bottles from a widow whose husband died of cancer. And a pair of fake breasts. Whoever molded them apparently had a very crude sense of anatomy. A husband asked his wife to wear them during sex. She left him.\u003c/p>\n\u003cp>[gallery type=\"rectangular\" link=\"file\" ids=\"11021333,11021334\"]\u003c/p>\n\u003cp>Though the place is founded on breakups, it’s ironically become a dating hot spot.\u003c/p>\n\u003cp>“I think people come in sometimes as a joke on a first date,” Hyde says. “They kind of come in as like, ‘Oh, this is going to be ironic,’ and then they leave feeling very endeared to each other.”\u003c/p>\n\u003cp>According to Hyde, the museum has the same effect on long-term couples.\u003c/p>\n\u003cp>“Established relationships come in, a lot of married couples and people who’ve been dating for a long time and it’s just a regular day. ‘Let’s go to a museum and get cultured,’ and then about a quarter of the way through it’s hand-holding. And then a little bit further in it’s locked arms, and then about three-quarters of the way through is when I’ve got pretzels and/or makeout spots going on. They leave and they’re just all over each other physically.”\u003c/p>\n\u003cp>In March, the museum held a preview show at the Ace Hotel in downtown L.A. The place was packed, mainly, it seemed, with couples. Trevor Donn and Jose Cera were among them.\u003c/p>\n\u003cp>“I thought it was like a really cute fourth-date idea,” says Donn. “This is our fourth date, so time to bring him to the Museum of Broken Relationships. I got a lot of morbid satisfaction out of it, just watching them all crumble. This could be us!”\u003c/p>\n\u003cp>[gallery type=\"rectangular\" ids=\"11021481,11021479,11021480,11021478\"]\u003c/p>\n\u003cp>But for friends Mike Burns and Katie Chaffey, the exhibit wasn’t all fun.\u003c/p>\n\u003cp>“Her first reaction was, ‘That sounds depressing,’ ” says Burns.\u003c/p>\n\u003cp>And was it?\u003c/p>\n\u003cp>“Yeah,” agrees Chaffey. “We only made it through one exhibit because I think it’s the combination of having the object and the story behind it that made it a little bit too emotionally intense for me, and I was like, ‘OK, let’s get a drink.’ ”\u003c/p>\n\u003cp>Since donations are anonymous, you don’t know who submitted what. You also don’t know when a donor might be standing next to you.\u003c/p>\n\u003cp>“I submitted a tie from a seven-year relationship that I used to sleep with,” says a young woman who has just toured the exhibit (and wants to remain anonymous). “I painted this tie, it was very symbolic and I felt like it was a noose, so then I had to let it go. Now it’s going to live in the Museum of Broken Relationships. No longer tied to the tie.”\u003c/p>\n\u003cp>Though it’s a museum devoted to broken relationships, it’s also a tribute to the bond of heartbreak that links almost everyone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You go through these experiences and you feel so profoundly alone,” says Hyde, “and no one wants to talk to you about it anymore, no one’s ever hurt this bad before in their life and you’ll never get back on the horse. Then you walk through here and you’re like, ‘Oh no, I have so many friends.’ And they’re all over the world. And they’re all different ages and races and creeds and sexualities, and this is incredible, and we’re all in this together. It’s just so profoundly human.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s fitting, you know?” says Hyde. “I mean, that had to have been a place where relationships started and ended all the time, and this becomes kind of a repository of other people’s stories that include some lingerie.”\u003c/p>\n\u003caside class=\"pullquote alignright\">It’s a museum devoted to broken relationships, but it’s also a tribute to the bond of heartbreak that links almost everyone.\u003c/aside>\n\u003cp>But Hyde stresses that the museum’s dedication to relationships gone south is not confined to romance.\u003c/p>\n\u003cp>“It’s not just exclusively romantic love. It can be anything. It can be family, it can be friends, it can be businesses, it can be geography. Broken relationships mean a lot of different things to different people.”\u003c/p>\n\u003cp>The multitude of “profoundly ordinary” objects on display were all donated anonymously and are accompanied by captions written by the brokenhearted donors, stories that bring these mundane things to life.\u003c/p>\n\u003cp>There’s a coffeemaker from a woman whose ex-boyfriend’s only redeeming quality was cleaning it every day. And a Peter Pan plush toy a man bought at 25 to remind him to “keep the little boy inside awake.” Nearing 50, he writes, “The boy is lost to me.” There are half-used cologne bottles from a widow whose husband died of cancer. And a pair of fake breasts. Whoever molded them apparently had a very crude sense of anatomy. A husband asked his wife to wear them during sex. She left him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though the place is founded on breakups, it’s ironically become a dating hot spot.\u003c/p>\n\u003cp>“I think people come in sometimes as a joke on a first date,” Hyde says. “They kind of come in as like, ‘Oh, this is going to be ironic,’ and then they leave feeling very endeared to each other.”\u003c/p>\n\u003cp>According to Hyde, the museum has the same effect on long-term couples.\u003c/p>\n\u003cp>“Established relationships come in, a lot of married couples and people who’ve been dating for a long time and it’s just a regular day. ‘Let’s go to a museum and get cultured,’ and then about a quarter of the way through it’s hand-holding. And then a little bit further in it’s locked arms, and then about three-quarters of the way through is when I’ve got pretzels and/or makeout spots going on. They leave and they’re just all over each other physically.”\u003c/p>\n\u003cp>In March, the museum held a preview show at the Ace Hotel in downtown L.A. The place was packed, mainly, it seemed, with couples. Trevor Donn and Jose Cera were among them.\u003c/p>\n\u003cp>“I thought it was like a really cute fourth-date idea,” says Donn. “This is our fourth date, so time to bring him to the Museum of Broken Relationships. I got a lot of morbid satisfaction out of it, just watching them all crumble. This could be us!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for friends Mike Burns and Katie Chaffey, the exhibit wasn’t all fun.\u003c/p>\n\u003cp>“Her first reaction was, ‘That sounds depressing,’ ” says Burns.\u003c/p>\n\u003cp>And was it?\u003c/p>\n\u003cp>“Yeah,” agrees Chaffey. “We only made it through one exhibit because I think it’s the combination of having the object and the story behind it that made it a little bit too emotionally intense for me, and I was like, ‘OK, let’s get a drink.’ ”\u003c/p>\n\u003cp>Since donations are anonymous, you don’t know who submitted what. You also don’t know when a donor might be standing next to you.\u003c/p>\n\u003cp>“I submitted a tie from a seven-year relationship that I used to sleep with,” says a young woman who has just toured the exhibit (and wants to remain anonymous). “I painted this tie, it was very symbolic and I felt like it was a noose, so then I had to let it go. Now it’s going to live in the Museum of Broken Relationships. No longer tied to the tie.”\u003c/p>\n\u003cp>Though it’s a museum devoted to broken relationships, it’s also a tribute to the bond of heartbreak that links almost everyone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You go through these experiences and you feel so profoundly alone,” says Hyde, “and no one wants to talk to you about it anymore, no one’s ever hurt this bad before in their life and you’ll never get back on the horse. Then you walk through here and you’re like, ‘Oh no, I have so many friends.’ And they’re all over the world. And they’re all different ages and races and creeds and sexualities, and this is incredible, and we’re all in this together. It’s just so profoundly human.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Think of it as art to go — and on the go.\u003c/p>\n\u003cp>That’s the theme for the exhibition “\u003ca href=\"https://artbma.org/exhibitions/2016-design-for-mobile-living\" target=\"_blank\" rel=\"noopener\">Designs for Mobile Living: Art from Eastern Africa\u003c/a>” at the Baltimore Museum of Art. There are a mere 28 objects, ranging from brightly decorated shields and glass-beaded belts for carrying spears to finely crafted necklaces and painstakingly carved drinking vessels. But individually and together the objects demonstrate how nomadic cultures in the region of the Great Rift Valley, where Kenya borders Tanzania, imbue even the most functional objects with artistic style and cultural identity.\u003c/p>\n\u003cp>In cultures that tend to livestock, like the Maasai, Samburu, Somali and Turkana groups represented here, “everyone is in motion,” says exhibition organizer Kevin Tervala. And every possession must be carried along as they go with their animals from place to place.\u003c/p>\n\u003cp>Heavy or unwieldy art objects — like an enormous brass abstract sculpture he points to in a neighboring gallery — would be impractical in their culture, Tervala says. Instead, he says, “creative drives translate into what people wear, what they use.”\u003c/p>\n\u003cp>“Even the most humble object,” he says, like a cradle-shaped, curved bowl, has been carefully carved and is attached to a leather strap to carry easily over the shoulder. A shield fashioned out of the wrinkled, rippled hide of a rhinoceros shows an appreciation of texture — and also proclaims the warrior status of the man who wielded it: Although the hides of camel, goat and cow could also be used, hippos and rhinos are harder to kill. In the example in the exhibit, you can also see the tiny holes where spears hit and pricked the surface.\u003c/p>\n\u003cfigure id=\"attachment_11819299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-800x456.jpg\" alt=\"A man's belt, known as "Enkeene Pus," from the Maasai region of Tanzania and dating to the mid-20th century.\" width=\"800\" height=\"456\" class=\"size-medium wp-image-11819299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-400x228.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-1180x673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d.jpg 1258w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man’s belt, known as “Enkeene Pus,” from the Maasai region of Tanzania and dating to the mid-20th century. \u003ccite>(Photo: Courtesy of Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The names of the artists are not known, nor for the most part are the exact years from which each work dates. But the materials, colors and patterns suggest a general timeline approximating when they were made, in what geographical area and by what group.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For instance, before Europeans arrived to colonize and proselytize in the 19th century, most objects were monochromatic or used muted colors from vegetable dyes. That changed when the Europeans came, bringing glass beads in many colors. “That helped artistic possibilities to take off,” says Tervala.\u003c/p>\n\u003cp>Belts, jewelry, clothing and other items began to burst with colorful beaded patterns. By the 20th century, each group favored its own color combinations and shapes and developed its own “look” to stand out, says Tervala.\u003c/p>\n\u003cp>Turkana jewelry, for example, is decorated with solid blocks of red, white and blue beads. By contrast, Maasai objects use red, white, blue, orange and green glass beads arranged in triangles, rectangles and pie-chart shapes. There’s no missing the Western influence in a Maasai bracelet designed in the shape of a wristwatch.\u003c/p>\n\u003cp>Know the clues to look for, and you could even decipher a woman’s marital status. Samburu wives wear necklaces featuring a vertical row of red glass beads strung with a giraffe’s tail. A necklace worn by a Turkana married woman is altogether different, featuring three dangling bull’s-eye-shaped pendants in alternating color patterns. The absence of extensive beadwork suggests the object has come from a more northern area, where there was less exposure to European trade, and more traditional decorative methods remained dominant.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nineteen of the 28 items on display come from the museum, the others from a private collector. Most are being shown in public for the first time, says Tervala, who is pursuing a Ph.D. in African studies and art history at Harvard. Focusing on the art and design, not just the purpose, of the objects highlights the diversity of African art, he says. It helps you see “there is art in everything.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+You%27re+A+Nomad%2C+You+Need+Portable+Art&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Think of it as art to go — and on the go.\u003c/p>\n\u003cp>That’s the theme for the exhibition “\u003ca href=\"https://artbma.org/exhibitions/2016-design-for-mobile-living\" target=\"_blank\" rel=\"noopener\">Designs for Mobile Living: Art from Eastern Africa\u003c/a>” at the Baltimore Museum of Art. There are a mere 28 objects, ranging from brightly decorated shields and glass-beaded belts for carrying spears to finely crafted necklaces and painstakingly carved drinking vessels. But individually and together the objects demonstrate how nomadic cultures in the region of the Great Rift Valley, where Kenya borders Tanzania, imbue even the most functional objects with artistic style and cultural identity.\u003c/p>\n\u003cp>In cultures that tend to livestock, like the Maasai, Samburu, Somali and Turkana groups represented here, “everyone is in motion,” says exhibition organizer Kevin Tervala. And every possession must be carried along as they go with their animals from place to place.\u003c/p>\n\u003cp>Heavy or unwieldy art objects — like an enormous brass abstract sculpture he points to in a neighboring gallery — would be impractical in their culture, Tervala says. Instead, he says, “creative drives translate into what people wear, what they use.”\u003c/p>\n\u003cp>“Even the most humble object,” he says, like a cradle-shaped, curved bowl, has been carefully carved and is attached to a leather strap to carry easily over the shoulder. A shield fashioned out of the wrinkled, rippled hide of a rhinoceros shows an appreciation of texture — and also proclaims the warrior status of the man who wielded it: Although the hides of camel, goat and cow could also be used, hippos and rhinos are harder to kill. In the example in the exhibit, you can also see the tiny holes where spears hit and pricked the surface.\u003c/p>\n\u003cfigure id=\"attachment_11819299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-800x456.jpg\" alt=\"A man's belt, known as "Enkeene Pus," from the Maasai region of Tanzania and dating to the mid-20th century.\" width=\"800\" height=\"456\" class=\"size-medium wp-image-11819299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-400x228.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-1180x673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d.jpg 1258w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man’s belt, known as “Enkeene Pus,” from the Maasai region of Tanzania and dating to the mid-20th century. \u003ccite>(Photo: Courtesy of Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The names of the artists are not known, nor for the most part are the exact years from which each work dates. But the materials, colors and patterns suggest a general timeline approximating when they were made, in what geographical area and by what group.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For instance, before Europeans arrived to colonize and proselytize in the 19th century, most objects were monochromatic or used muted colors from vegetable dyes. That changed when the Europeans came, bringing glass beads in many colors. “That helped artistic possibilities to take off,” says Tervala.\u003c/p>\n\u003cp>Belts, jewelry, clothing and other items began to burst with colorful beaded patterns. By the 20th century, each group favored its own color combinations and shapes and developed its own “look” to stand out, says Tervala.\u003c/p>\n\u003cp>Turkana jewelry, for example, is decorated with solid blocks of red, white and blue beads. By contrast, Maasai objects use red, white, blue, orange and green glass beads arranged in triangles, rectangles and pie-chart shapes. There’s no missing the Western influence in a Maasai bracelet designed in the shape of a wristwatch.\u003c/p>\n\u003cp>Know the clues to look for, and you could even decipher a woman’s marital status. Samburu wives wear necklaces featuring a vertical row of red glass beads strung with a giraffe’s tail. A necklace worn by a Turkana married woman is altogether different, featuring three dangling bull’s-eye-shaped pendants in alternating color patterns. The absence of extensive beadwork suggests the object has come from a more northern area, where there was less exposure to European trade, and more traditional decorative methods remained dominant.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nineteen of the 28 items on display come from the museum, the others from a private collector. Most are being shown in public for the first time, says Tervala, who is pursuing a Ph.D. in African studies and art history at Harvard. Focusing on the art and design, not just the purpose, of the objects highlights the diversity of African art, he says. It helps you see “there is art in everything.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+You%27re+A+Nomad%2C+You+Need+Portable+Art&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "women-to-watch-brittani-sensabaugh-brittsense",
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"content": "\u003cp>\u003cspan style=\"line-height: 1.5\">\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">Brittani Sensabaugh, best known by her moniker Brittsense, is an Oakland-based photographer documenting the vibrant lives in forgotten “melanated” neighborhoods. Her series \u003c/span>\u003ca href=\"http://brittsense.com/\">\u003cem style=\"line-height: 1.5\">222 Forgotten Cities\u003c/em>\u003c/a>\u003cspan style=\"line-height: 1.5\"> give voice to communities without a voice, and give love to communities who need unconditional love.\u003c/span>\u003c/p>\n\u003cp>[contextly_sidebar id=”eaZ1wbVQ21wIHwhVg5U656EaLJFAAurf”]\u003c/p>\n\u003cp>\u003cb>Where do you live?\u003c/b>\u003c/p>\n\u003cp>East Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Describe yourself in one word?\u003c/b>\u003c/p>\n\u003cp>I can’t describe myself in one word — I’m inspired by everything but I’m defined by nothing.\u003c/p>\n\u003cp>\u003cb>What did you do last night?\u003c/b>\u003c/p>\n\u003cp>Last night I documented the beauty of my people in Kingston, Jamaica.\u003c/p>\n\u003cp>\u003cb>What can’t you live without?\u003c/b>\u003c/p>\n\u003cp>Nature. It balances me out and keeps me sane. The smell of greenery and being by the water puts things into perspective for me. I’m a cancer, so I’m full of water.\u003c/p>\n\u003cfigure id=\"attachment_11806548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11806548 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-britt-800x450.jpg\" alt=\"Brittsense\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittsense \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>If you could travel any where in the world, where would it be?\u003c/b>\u003c/p>\n\u003cp>It differs depending on the different chapters in my life, but it’s a toss up between Africa, Cuba, Jamaica, and India.\u003c/p>\n\u003cp>\u003cb>Who is your personal hero? Why?\u003c/b>\u003c/p>\n\u003cp>I think I’m inspired by my people. I’m very inspired by Tupac Shakur, Assata Shakur. My mother inspires me to love unconditionally and teaches me to be strong. Sherrie Glassman is an uplifting force who reminds me to stay positive.\u003c/p>\n\u003cp>\u003cb>How did you find your creative voice?\u003c/b>\u003cbr>\nI think I’m still finding my creative voice. I don’t allow myself to get stuck in one chapter and one phase; I allow myself to evolve. But being from East Oakland and traveling to other cities and being able to experience different cultures and communities has added to my creative voice.\u003c/p>\n\u003cp>\u003cb>What is something most people don’t know about you?\u003c/b>\u003cbr>\nI’m reclusive. People might think I look like I want to stand out with my head wraps, but I don’t like a lot of attention.\u003c/p>\n\u003cp>\u003cb>What do you do when you feel uninspired?\u003c/b>\u003cbr>\nI watch Tupac interviews, I listen to J. Dilla, Anita Baker. I love music. I also like to speak about life and hear people’s stories.\u003c/p>\n\u003cfigure id=\"attachment_11806549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11806549 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-800x450.jpg\" alt=\"Brittsense\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittsense \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s been your biggest ‘learning moment,’ and what did you you take from the experience?\u003c/b>\u003cbr>\nWorking on \u003cem>222 Forgotten Cities\u003c/em> took me out of my comfort zone. I realized that I always want to be a healer and it’s about planting the seeds so that we all can grow. I’ve learned that everything’s a process and nothing instantly happens, and that happiness is a journey.\u003c/p>\n\u003cp>\u003cb>What’s your greatest achievement, and how has it shaped you?\u003c/b>\u003cbr>\nI think a great achievement is waking up and getting to spread the love that I have. No matter what I’ve been through, I just want to love unconditionally. But as far as societal achievements go, I shot my first book cover — \u003cem>Pushout\u003c/em> by Monique Morris, about the criminalization of black girls in schools.\u003c/p>\n\u003cp>\u003cb>Coffee or tea? What kind?\u003c/b>\u003cbr>\nChamomile tea, with a pour of honey. It’s smooth and it relaxes me.\u003c/p>\n\u003cfigure id=\"attachment_11806552\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11806552\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/222Brooklyn-800x533.jpg\" alt=\"'222 Brooklyn,' part of Brittsense's '222 Forgotten Cities: The Power Of Melanin' series.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘222 Brooklyn,’ part of Brittsense’s ‘222 Forgotten Cities: The Power Of Melanin’ series. \u003ccite>(Courtesy of Brittsense)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What does a perfect day look like for you?\u003c/b>\u003cbr>\nI wake up, I meditate, I give thanks to the universe and Ma’at. It depends on what I’m feeling when I wake up — some days I’d want to stay in and listen to music and read, or I can sit at Indian Rock and see the whole Bay Area and just embrace, not think. I don’t really think out my day much — however it flows, I’ll flow with that.\u003c/p>\n\u003cp>\u003cb>Who are your local inspirations?\u003c/b>\u003cbr>\nIt differs because I’m inspired by each moment and I don’t really have one person that I’m inspired by. I think people from East Oakland really inspire me — I love the OGs and the big mamas who look after the neighborhood, I’m inspired by the youth and their innocence and curiosity.\u003c/p>\n\u003cp>\u003cb>Favorite meal?\u003c/b>\u003cbr>\nI don’t eat cheese anymore, but nachos or french fries. On the healthier side, I love spinach, I love kale, salmon — I love coconut oil, because I can also use it on my hair.\u003c/p>\n\u003cfigure id=\"attachment_11806553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11806553\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/222Atlanta-800x533.jpg\" alt=\"'222Atlanta,' part of Brittsense's '222forgottencities: The Power Of Melanin' series.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘222 Atlanta,’ part of Brittsense’s ‘222 Forgotten Cities: The Power Of Melanin’ series. \u003ccite>(Courtesy of Brittsense)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What upcoming show are you excited about?\u003c/b>\u003cbr>\nI’m actually working on putting on an exhibit called \u003ci>The Town\u003c/i> — it’s me and a couple of my homies taking photos of East Oakland on disposable cameras to see everyone’s different perspective of the city. I’m also part of the \u003ca href=\"http://oaklandfenceproject.org/\">Oakland Fence Project \u003c/a>with NAMAC, which is a collaboration with three other youths from East Oakland.\u003c/p>\n\u003cp>\u003cb>Where do you see yourself in five years?\u003c/b>\u003cbr>\nIn five years, I want to have a lot of children, I want to have a lot of land — I don’t want to be in America, for sure. I want to be traveling still. I want to own all of my stuff.\u003c/p>\n\u003cp>\u003cb>If you could live in a book, TV show, movie, play or painting, what would it be?\u003c/b>\u003cbr>\nIf I could live in a music video, I would live either in Janet Jackson’s “Pleasure Principle” or “Drop” by Pharcyde.\u003c/p>\n\u003cp>\u003cb>Where and when can people see you or your art in action?\u003c/b>\u003cbr>\nI’ll be traveling to different places the next few months, but you’ll probably find me shooting in East Oakland.\u003c/p>\n\u003cp>\u003cstrong>Check out Brittsense in action below: \u003c/strong>\u003c/p>\n\u003cp>https://youtu.be/Zk5P1BhFeRc\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We\u003c/a> want to hear from you! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Brittani Sensabaugh, best known by her moniker Brittsense, is an Oakland-based photographer documenting the vibrant lives in forgotten \"melanated\" neighborhoods.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"line-height: 1.5\">\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">Brittani Sensabaugh, best known by her moniker Brittsense, is an Oakland-based photographer documenting the vibrant lives in forgotten “melanated” neighborhoods. Her series \u003c/span>\u003ca href=\"http://brittsense.com/\">\u003cem style=\"line-height: 1.5\">222 Forgotten Cities\u003c/em>\u003c/a>\u003cspan style=\"line-height: 1.5\"> give voice to communities without a voice, and give love to communities who need unconditional love.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>Where do you live?\u003c/b>\u003c/p>\n\u003cp>East Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Describe yourself in one word?\u003c/b>\u003c/p>\n\u003cp>I can’t describe myself in one word — I’m inspired by everything but I’m defined by nothing.\u003c/p>\n\u003cp>\u003cb>What did you do last night?\u003c/b>\u003c/p>\n\u003cp>Last night I documented the beauty of my people in Kingston, Jamaica.\u003c/p>\n\u003cp>\u003cb>What can’t you live without?\u003c/b>\u003c/p>\n\u003cp>Nature. It balances me out and keeps me sane. The smell of greenery and being by the water puts things into perspective for me. I’m a cancer, so I’m full of water.\u003c/p>\n\u003cfigure id=\"attachment_11806548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11806548 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-britt-800x450.jpg\" alt=\"Brittsense\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittsense \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>If you could travel any where in the world, where would it be?\u003c/b>\u003c/p>\n\u003cp>It differs depending on the different chapters in my life, but it’s a toss up between Africa, Cuba, Jamaica, and India.\u003c/p>\n\u003cp>\u003cb>Who is your personal hero? Why?\u003c/b>\u003c/p>\n\u003cp>I think I’m inspired by my people. I’m very inspired by Tupac Shakur, Assata Shakur. My mother inspires me to love unconditionally and teaches me to be strong. Sherrie Glassman is an uplifting force who reminds me to stay positive.\u003c/p>\n\u003cp>\u003cb>How did you find your creative voice?\u003c/b>\u003cbr>\nI think I’m still finding my creative voice. I don’t allow myself to get stuck in one chapter and one phase; I allow myself to evolve. But being from East Oakland and traveling to other cities and being able to experience different cultures and communities has added to my creative voice.\u003c/p>\n\u003cp>\u003cb>What is something most people don’t know about you?\u003c/b>\u003cbr>\nI’m reclusive. People might think I look like I want to stand out with my head wraps, but I don’t like a lot of attention.\u003c/p>\n\u003cp>\u003cb>What do you do when you feel uninspired?\u003c/b>\u003cbr>\nI watch Tupac interviews, I listen to J. Dilla, Anita Baker. I love music. I also like to speak about life and hear people’s stories.\u003c/p>\n\u003cfigure id=\"attachment_11806549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11806549 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-800x450.jpg\" alt=\"Brittsense\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-britt-3-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittsense \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s been your biggest ‘learning moment,’ and what did you you take from the experience?\u003c/b>\u003cbr>\nWorking on \u003cem>222 Forgotten Cities\u003c/em> took me out of my comfort zone. I realized that I always want to be a healer and it’s about planting the seeds so that we all can grow. I’ve learned that everything’s a process and nothing instantly happens, and that happiness is a journey.\u003c/p>\n\u003cp>\u003cb>What’s your greatest achievement, and how has it shaped you?\u003c/b>\u003cbr>\nI think a great achievement is waking up and getting to spread the love that I have. No matter what I’ve been through, I just want to love unconditionally. But as far as societal achievements go, I shot my first book cover — \u003cem>Pushout\u003c/em> by Monique Morris, about the criminalization of black girls in schools.\u003c/p>\n\u003cp>\u003cb>Coffee or tea? What kind?\u003c/b>\u003cbr>\nChamomile tea, with a pour of honey. It’s smooth and it relaxes me.\u003c/p>\n\u003cfigure id=\"attachment_11806552\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11806552\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/222Brooklyn-800x533.jpg\" alt=\"'222 Brooklyn,' part of Brittsense's '222 Forgotten Cities: The Power Of Melanin' series.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Brooklyn-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘222 Brooklyn,’ part of Brittsense’s ‘222 Forgotten Cities: The Power Of Melanin’ series. \u003ccite>(Courtesy of Brittsense)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What does a perfect day look like for you?\u003c/b>\u003cbr>\nI wake up, I meditate, I give thanks to the universe and Ma’at. It depends on what I’m feeling when I wake up — some days I’d want to stay in and listen to music and read, or I can sit at Indian Rock and see the whole Bay Area and just embrace, not think. I don’t really think out my day much — however it flows, I’ll flow with that.\u003c/p>\n\u003cp>\u003cb>Who are your local inspirations?\u003c/b>\u003cbr>\nIt differs because I’m inspired by each moment and I don’t really have one person that I’m inspired by. I think people from East Oakland really inspire me — I love the OGs and the big mamas who look after the neighborhood, I’m inspired by the youth and their innocence and curiosity.\u003c/p>\n\u003cp>\u003cb>Favorite meal?\u003c/b>\u003cbr>\nI don’t eat cheese anymore, but nachos or french fries. On the healthier side, I love spinach, I love kale, salmon — I love coconut oil, because I can also use it on my hair.\u003c/p>\n\u003cfigure id=\"attachment_11806553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11806553\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/222Atlanta-800x533.jpg\" alt=\"'222Atlanta,' part of Brittsense's '222forgottencities: The Power Of Melanin' series.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/222Atlanta-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘222 Atlanta,’ part of Brittsense’s ‘222 Forgotten Cities: The Power Of Melanin’ series. \u003ccite>(Courtesy of Brittsense)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What upcoming show are you excited about?\u003c/b>\u003cbr>\nI’m actually working on putting on an exhibit called \u003ci>The Town\u003c/i> — it’s me and a couple of my homies taking photos of East Oakland on disposable cameras to see everyone’s different perspective of the city. I’m also part of the \u003ca href=\"http://oaklandfenceproject.org/\">Oakland Fence Project \u003c/a>with NAMAC, which is a collaboration with three other youths from East Oakland.\u003c/p>\n\u003cp>\u003cb>Where do you see yourself in five years?\u003c/b>\u003cbr>\nIn five years, I want to have a lot of children, I want to have a lot of land — I don’t want to be in America, for sure. I want to be traveling still. I want to own all of my stuff.\u003c/p>\n\u003cp>\u003cb>If you could live in a book, TV show, movie, play or painting, what would it be?\u003c/b>\u003cbr>\nIf I could live in a music video, I would live either in Janet Jackson’s “Pleasure Principle” or “Drop” by Pharcyde.\u003c/p>\n\u003cp>\u003cb>Where and when can people see you or your art in action?\u003c/b>\u003cbr>\nI’ll be traveling to different places the next few months, but you’ll probably find me shooting in East Oakland.\u003c/p>\n\u003cp>\u003cstrong>Check out Brittsense in action below: \u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Zk5P1BhFeRc'\n title='//www.youtube.com/embed/Zk5P1BhFeRc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We\u003c/a> want to hear from you! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-an-artist-of-the-west-a-song-from-hades-and-a-play-about-the-confederate-flag",
"title": "Cy and David's Picks: An Artist of the West, A Song from Hades, and a Play about the Confederate Flag",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/273728708″ params=”color=ff5500&inverse=false&auto_play=false&show_user=true” width=”100%” height=”20″ iframe=”true” /]\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=-ruktixvAUw\u003c/p>\n\u003cp>\u003cstrong>July 16\u003c/strong>: \u003ca href=\"http://www.parkermillsap.com/\" target=\"_blank\" rel=\"noopener\">Parker Milsap\u003c/a> sings about Hades’s (Greek god of the underworld) love for Persephone in the song “Hades Pleads” on his new album (and above). “I’m gonna take you to my house on the Styx, On a long black train going clackety-click.” Great lyrics from a guy who definitely knows his ancient texts. Milsap was a choir boy growing up in his parent’s Pentacostal church. You can hear the influence of Elvis and rockabilly (acoustic bass and fiddle) on his sound, but at just 23, you have to figure Milsap will just get better and better. Details for his show at Slim’s in SF are \u003ca href=\"http://www.slimspresents.com/event/parker-millsap-slims-w-travis-linville/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11815207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815207\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-800x313.jpg\" alt=\"Hollywood by LA Artist Ed Ruscha\" width=\"800\" height=\"313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-800x313.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-400x157.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-768x301.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-1180x462.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-960x376.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hollywood by LA Artist Ed Ruscha \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 16 – Oct. 9\u003c/strong>: So many Californians, my in-laws included, heard California calling and discovered those wide open spaces along Route 66 in the mid-20th Century. Artist Ed Ruscha (roo-SHAY) was one of them, and his paintings, prints, and photos of auto repair shops, billboards, sunsets and roadways have plumbed the myths and realities of Los Angeles and the West ever since. \u003cem>Ed Ruscha and the Great American West\u003c/em> is one of the shows featuring Ruscha, 78, at the de Young Museum. Details \u003ca href=\"https://deyoung.famsf.org/exhibitions/ed-ruscha-and-great-american-west\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815508\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815508\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-698x600.jpg\" alt='\"Geary, Wilshire\" by Ed Ruscha at Crown Point Press' width=\"698\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-698x600.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-400x344.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press.jpg 700w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">“Geary, Wilshire” by Ed Ruscha at Crown Point Press \u003ccite>(Photo: Courtesy of the artist and Crown Point Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sept. 3:\u003c/strong> There’s another Ed Ruscha show, this one of prints he made in San Francisco at Crown Point Press. That’s a CHEAP THRILL! Admission is always free, even if the prints aren’t. Details \u003ca href=\"http://www.crownpoint.com/front-page\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11815361\" class=\"wp-caption aligncenter\" style=\"max-width: 626px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11815361 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940.jpg\" alt='\"85 Feet in Circumference. Mariposa Grove of Mammoth Trees, No. 51\" by Eadweard Muybridge, Wm. H Seward' width=\"626\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940.jpg 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940-400x230.jpg 400w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003cfigcaption class=\"wp-caption-text\">“85 Feet in Circumference. Mariposa Grove of Mammoth Trees, No. 51” by Eadweard Muybridge, Wm. H Seward \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sept. 11\u003c/strong>: And Ruscha is in very good company with Western artists like Chiura Obata, Albert Bierstadt, Maynard Dixon, Ester Hernández, and more in \u003cem>Wild West: Plains to the Pacific\u003c/em> at the Palace of Fine Arts in San Francisco. Details on that show are \u003ca href=\"https://legionofhonor.famsf.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0Zqp0OpzMAI\u003c/p>\n\u003cp>\u003cstrong>July 16 – 30\u003c/strong>: The Carmel Bach Festival combines a beautiful setting with gorgeous music and fresh approaches to the repertory from Artistic Director and Conductor Paul Goodwin. The festival’s mission is to study the deep influence of Bach on music of the past 300 or so years. For Goodwin, that means a production of Mozart’s \u003cem>Idemeneo\u003c/em>, \u003cem>Cloudburst,\u003c/em> Eric Whitacre’s 1992 composition for chorus, and so much more. Details \u003ca href=\"http://www.bachfestival.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11815205 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-800x470.jpg\" alt=\"Maddie (Jessica Lynn Carroll), a presidential candidate's daughter, reveals a secret to journalist Will (Richard Prioleau) in TheatreWorks' production of Confederates\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-1180x693.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-1920x1128.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-960x564.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maddie (Jessica Lynn Carroll), a presidential candidate’s daughter, reveals a secret to journalist Will (Richard Prioleau) in TheatreWorks’ production of Confederates \u003ccite>(Photo: Kevin Berne/Theatreworks Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Aug. 7\u003c/strong>: Theatreworks Silicon Valley in Palo Alto is opening a brand new play called \u003cem>Confederates\u003c/em>. A presidential candidate’s daughter shows a photo of herself wearing her father’s Confederate flag, and nothing else, to an African American reporter and things get very, very complicated. Playwright Suzanne Bradbeer and director Lisa Rothe (ROW-th-ee) developed this play through Theatreworks New Works Festival and in readings in New York. “I don’t think we’re trying to solve any problems,” director Rothe said, “but maybe make people think in a different way. And hopefully theater does that. Especially this year, when politics is looking like theater or reality television.” You can’t vote in November without seeing it. Details \u003ca href=\"http://www.theatreworks.org/shows/1617-season/confederates2016\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=akuzUWiYTdk\u003c/p>\n\u003cp>\u003cstrong>July 20:\u003c/strong> \u003ca href=\"http://hollymiranda.com/\" target=\"_blank\" rel=\"noopener\">Holly Miranda \u003c/a>has a reputation for making any song sound sad, or more accurately, I think, sound soulful. Her new EP is a set of covers including songs by Drake, Morphine, Sparklehorse and others. She’s toured with Tegan and Sara, and was part of the band Jealous Girlfriends. I’d call her a musical explorer and I love following her. Details for her (CHEAP THRILL!) show at The Chapel are \u003ca href=\"http://www.thechapelsf.com/event/1216871-holly-miranda-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-800x590.jpg\" alt=\"Welcome to Night Vale is recording a live podcast at The Fox in Oakland\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-400x295.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Welcome to Night Vale is recording a live podcast at The Fox in Oakland \u003ccite>(Photo: Courtesy of 'Welcome to Night Vale')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 16\u003c/strong>: And we have a shout out for a performance of ghost stories from the spooky podcasters at \u003cem>Welcome to Night Vale\u003c/em>. Details for their show at the Fox in Oakland are \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5232&KeepThis=true&TB_iframe=true&height=600&width=475\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"title": "Cy and David's Picks: An Artist of the West, A Song from Hades, and a Play about the Confederate Flag | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”20″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/273728708″&visual=true&”color=ff5500&inverse=false&auto_play=false&show_user=true”'\n title='”https://api.soundcloud.com/tracks/273728708″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003cbr>\n\u003c/p>\u003c/aside>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-ruktixvAUw'\n title='//www.youtube.com/embed/-ruktixvAUw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 16\u003c/strong>: \u003ca href=\"http://www.parkermillsap.com/\" target=\"_blank\" rel=\"noopener\">Parker Milsap\u003c/a> sings about Hades’s (Greek god of the underworld) love for Persephone in the song “Hades Pleads” on his new album (and above). “I’m gonna take you to my house on the Styx, On a long black train going clackety-click.” Great lyrics from a guy who definitely knows his ancient texts. Milsap was a choir boy growing up in his parent’s Pentacostal church. You can hear the influence of Elvis and rockabilly (acoustic bass and fiddle) on his sound, but at just 23, you have to figure Milsap will just get better and better. Details for his show at Slim’s in SF are \u003ca href=\"http://www.slimspresents.com/event/parker-millsap-slims-w-travis-linville/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11815207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815207\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-800x313.jpg\" alt=\"Hollywood by LA Artist Ed Ruscha\" width=\"800\" height=\"313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-800x313.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-400x157.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-768x301.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-1180x462.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-960x376.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hollywood by LA Artist Ed Ruscha \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 16 – Oct. 9\u003c/strong>: So many Californians, my in-laws included, heard California calling and discovered those wide open spaces along Route 66 in the mid-20th Century. Artist Ed Ruscha (roo-SHAY) was one of them, and his paintings, prints, and photos of auto repair shops, billboards, sunsets and roadways have plumbed the myths and realities of Los Angeles and the West ever since. \u003cem>Ed Ruscha and the Great American West\u003c/em> is one of the shows featuring Ruscha, 78, at the de Young Museum. Details \u003ca href=\"https://deyoung.famsf.org/exhibitions/ed-ruscha-and-great-american-west\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815508\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815508\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-698x600.jpg\" alt='\"Geary, Wilshire\" by Ed Ruscha at Crown Point Press' width=\"698\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-698x600.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-400x344.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press.jpg 700w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">“Geary, Wilshire” by Ed Ruscha at Crown Point Press \u003ccite>(Photo: Courtesy of the artist and Crown Point Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sept. 3:\u003c/strong> There’s another Ed Ruscha show, this one of prints he made in San Francisco at Crown Point Press. That’s a CHEAP THRILL! Admission is always free, even if the prints aren’t. Details \u003ca href=\"http://www.crownpoint.com/front-page\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11815361\" class=\"wp-caption aligncenter\" style=\"max-width: 626px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11815361 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940.jpg\" alt='\"85 Feet in Circumference. Mariposa Grove of Mammoth Trees, No. 51\" by Eadweard Muybridge, Wm. H Seward' width=\"626\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940.jpg 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940-400x230.jpg 400w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003cfigcaption class=\"wp-caption-text\">“85 Feet in Circumference. Mariposa Grove of Mammoth Trees, No. 51” by Eadweard Muybridge, Wm. H Seward \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sept. 11\u003c/strong>: And Ruscha is in very good company with Western artists like Chiura Obata, Albert Bierstadt, Maynard Dixon, Ester Hernández, and more in \u003cem>Wild West: Plains to the Pacific\u003c/em> at the Palace of Fine Arts in San Francisco. Details on that show are \u003ca href=\"https://legionofhonor.famsf.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0Zqp0OpzMAI'\n title='//www.youtube.com/embed/0Zqp0OpzMAI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 16 – 30\u003c/strong>: The Carmel Bach Festival combines a beautiful setting with gorgeous music and fresh approaches to the repertory from Artistic Director and Conductor Paul Goodwin. The festival’s mission is to study the deep influence of Bach on music of the past 300 or so years. For Goodwin, that means a production of Mozart’s \u003cem>Idemeneo\u003c/em>, \u003cem>Cloudburst,\u003c/em> Eric Whitacre’s 1992 composition for chorus, and so much more. Details \u003ca href=\"http://www.bachfestival.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11815205 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-800x470.jpg\" alt=\"Maddie (Jessica Lynn Carroll), a presidential candidate's daughter, reveals a secret to journalist Will (Richard Prioleau) in TheatreWorks' production of Confederates\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-1180x693.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-1920x1128.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-960x564.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maddie (Jessica Lynn Carroll), a presidential candidate’s daughter, reveals a secret to journalist Will (Richard Prioleau) in TheatreWorks’ production of Confederates \u003ccite>(Photo: Kevin Berne/Theatreworks Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Aug. 7\u003c/strong>: Theatreworks Silicon Valley in Palo Alto is opening a brand new play called \u003cem>Confederates\u003c/em>. A presidential candidate’s daughter shows a photo of herself wearing her father’s Confederate flag, and nothing else, to an African American reporter and things get very, very complicated. Playwright Suzanne Bradbeer and director Lisa Rothe (ROW-th-ee) developed this play through Theatreworks New Works Festival and in readings in New York. “I don’t think we’re trying to solve any problems,” director Rothe said, “but maybe make people think in a different way. And hopefully theater does that. Especially this year, when politics is looking like theater or reality television.” You can’t vote in November without seeing it. Details \u003ca href=\"http://www.theatreworks.org/shows/1617-season/confederates2016\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/akuzUWiYTdk'\n title='//www.youtube.com/embed/akuzUWiYTdk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 20:\u003c/strong> \u003ca href=\"http://hollymiranda.com/\" target=\"_blank\" rel=\"noopener\">Holly Miranda \u003c/a>has a reputation for making any song sound sad, or more accurately, I think, sound soulful. Her new EP is a set of covers including songs by Drake, Morphine, Sparklehorse and others. She’s toured with Tegan and Sara, and was part of the band Jealous Girlfriends. I’d call her a musical explorer and I love following her. Details for her (CHEAP THRILL!) show at The Chapel are \u003ca href=\"http://www.thechapelsf.com/event/1216871-holly-miranda-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-800x590.jpg\" alt=\"Welcome to Night Vale is recording a live podcast at The Fox in Oakland\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-400x295.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Welcome to Night Vale is recording a live podcast at The Fox in Oakland \u003ccite>(Photo: Courtesy of 'Welcome to Night Vale')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 16\u003c/strong>: And we have a shout out for a performance of ghost stories from the spooky podcasters at \u003cem>Welcome to Night Vale\u003c/em>. Details for their show at the Fox in Oakland are \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5232&KeepThis=true&TB_iframe=true&height=600&width=475\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Burning Man organizers are disputing their $2.8 million bill from the federal government — the cost last year of hosting its popular outdoor festival in the Black Rock Desert, a national conservation area in Nevada.\u003c/p>\n\u003cp>The festival takes issue with the Bureau of Land Management’s discretion over the weeklong counterculture celebration, claiming that the authority has been overstaffing and overcharging without fully explaining the tab, as first reported by the Reno Gazette-Journal.\u003c/p>\n\u003cp>“If they can’t explain all of it, than we’re asking for all of it back,” said Ray Allen, the San Francisco-based Burning Man organization’s lawyer.\u003c/p>\n\u003cp>But the case also pulls back the curtain on the logistical hurdles and an evolving backstage power struggle behind an event once considered an extreme camping experience that has now achieved widespread popularity with millions in revenue.\u003c/p>\n\u003cp>Held in Nevada since 1990 and known for art displays, dust storms and communal living, this year’s sold-out, 9-day festival in August and September is expected to draw tens of thousands of people to the scorching hot dry lake bed about 100 miles north of Reno. Burning Man — named for the large effigy burned during the festival — estimates more than $30 million in revenues from the 2015 event.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The festival’s special recreation permit from BLM is the largest of its kind in the country. Burning Man agrees to and pays for a cost estimate before the event and the final accounting is provided months after, following a post-event inspection of the site.\u003c/p>\n\u003cp>A BLM spokesman declined to comment on the 2015 cost appeal, but its formal response submitted noted that Burning Man officials were provided with a detailed summary of costs with receipts and that “(f)ederal government agencies are obligated to recover the full cost of providing a special benefit…”\u003c/p>\n\u003cp>The festival is taking the issue to the Interior Department’s internal appeals court, where an administrative law judge will decide on the case. This arbitration process, which could last more than a year, is commonly used for challenges related to grazing or mining uses and fees.\u003c/p>\n\u003cp>BLM contends that Burning Man demands year-round planning and an unparalleled response to protect the public lands given its scope and nature. The 2015 event required 84 law enforcement officers, as decided by the BLM.\u003c/p>\n\u003cp>The festival argues that that many officers aren’t necessary given that more than a thousand Burning Man volunteers also patrol the event and that it has a clean record of taking care of the land. Burning Man said in its appeal that more than half the BLM bill was to pay for labor costs, but that the paperwork lacked specific information about the duties they actually performed.\u003c/p>\n\u003cp>In recent years, a more openly adversarial partnership has surfaced between the festival and the increasing number of local authorities assigned to oversee it. Allen said Burning Man has been stomaching dramatically increasing costs since 2011, when its permit was $730,000.\u003c/p>\n\u003cp>Meanwhile, there’s been a noted crackdown on crime, which in the past has largely been drug-related. A tipping point also came last year when the BLM was forced to publicly rescinded its request for upgraded accommodations for its workers, from flushing toilets to Choco Tacos ice cream, that were derided as lavish and outlandish.\u003c/p>\n\u003cp>But there’s also been recent BLM leadership changes in Nevada. Both the federal authority and Burning Man organizers said planning for the 2016 festival has been going smoothly. The new state director John Rush said BLM staffing numbers are expected to go down this year because communication between both sides are now much improved.\u003c/p>\n\u003cp>“We want to work collaboratively with the system,” Allen said. “New BLM leadership will help us long term. We just need to get over this speed bump. We want the policies clarified moving forward.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Burning Man organizers are disputing their $2.8 million bill from the federal government — the cost last year of hosting its popular outdoor festival in the Black Rock Desert, a national conservation area in Nevada.\u003c/p>\n\u003cp>The festival takes issue with the Bureau of Land Management’s discretion over the weeklong counterculture celebration, claiming that the authority has been overstaffing and overcharging without fully explaining the tab, as first reported by the Reno Gazette-Journal.\u003c/p>\n\u003cp>“If they can’t explain all of it, than we’re asking for all of it back,” said Ray Allen, the San Francisco-based Burning Man organization’s lawyer.\u003c/p>\n\u003cp>But the case also pulls back the curtain on the logistical hurdles and an evolving backstage power struggle behind an event once considered an extreme camping experience that has now achieved widespread popularity with millions in revenue.\u003c/p>\n\u003cp>Held in Nevada since 1990 and known for art displays, dust storms and communal living, this year’s sold-out, 9-day festival in August and September is expected to draw tens of thousands of people to the scorching hot dry lake bed about 100 miles north of Reno. Burning Man — named for the large effigy burned during the festival — estimates more than $30 million in revenues from the 2015 event.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival’s special recreation permit from BLM is the largest of its kind in the country. Burning Man agrees to and pays for a cost estimate before the event and the final accounting is provided months after, following a post-event inspection of the site.\u003c/p>\n\u003cp>A BLM spokesman declined to comment on the 2015 cost appeal, but its formal response submitted noted that Burning Man officials were provided with a detailed summary of costs with receipts and that “(f)ederal government agencies are obligated to recover the full cost of providing a special benefit…”\u003c/p>\n\u003cp>The festival is taking the issue to the Interior Department’s internal appeals court, where an administrative law judge will decide on the case. This arbitration process, which could last more than a year, is commonly used for challenges related to grazing or mining uses and fees.\u003c/p>\n\u003cp>BLM contends that Burning Man demands year-round planning and an unparalleled response to protect the public lands given its scope and nature. The 2015 event required 84 law enforcement officers, as decided by the BLM.\u003c/p>\n\u003cp>The festival argues that that many officers aren’t necessary given that more than a thousand Burning Man volunteers also patrol the event and that it has a clean record of taking care of the land. Burning Man said in its appeal that more than half the BLM bill was to pay for labor costs, but that the paperwork lacked specific information about the duties they actually performed.\u003c/p>\n\u003cp>In recent years, a more openly adversarial partnership has surfaced between the festival and the increasing number of local authorities assigned to oversee it. Allen said Burning Man has been stomaching dramatically increasing costs since 2011, when its permit was $730,000.\u003c/p>\n\u003cp>Meanwhile, there’s been a noted crackdown on crime, which in the past has largely been drug-related. A tipping point also came last year when the BLM was forced to publicly rescinded its request for upgraded accommodations for its workers, from flushing toilets to Choco Tacos ice cream, that were derided as lavish and outlandish.\u003c/p>\n\u003cp>But there’s also been recent BLM leadership changes in Nevada. Both the federal authority and Burning Man organizers said planning for the 2016 festival has been going smoothly. The new state director John Rush said BLM staffing numbers are expected to go down this year because communication between both sides are now much improved.\u003c/p>\n\u003cp>“We want to work collaboratively with the system,” Allen said. “New BLM leadership will help us long term. We just need to get over this speed bump. We want the policies clarified moving forward.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>(Editor’s Note: We are deeply saddened by the passing of Amanda Arkansassy Harris. Amanda was a talented artist, a beacon for the queer femme community and an absolute joy to work with. Our hearts go out to everyone in mourning.)\u003c/b>\u003c/p>\n\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Curator and photographer Amanda Arkansassy Harris, a self-proclaimed “queer high femme charmer from the South,” aims to foster safe and creative spaces for marginalized communities through her strikingly intimate photographs. Her most recent portrait series, \u003cem>\u003ca href=\"http://www.femmespace.net/\" target=\"_blank\" rel=\"noopener\">Femme Space\u003c/a>\u003c/em>, is a collaborative project that explores the reclamation of spaces by the queer femme community.\u003c/p>\n\u003cp>\u003cb>Where do you live?\u003c/b>\u003cbr>\nCole Valley, San Francisco — originally from a one-stoplight town in Arkansas.\u003c/p>\n\u003cp>\u003cb>Describe yourself in one word?\u003c/b>\u003cbr>\nGlitterdone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>What did you do last night?\u003c/b>\u003cbr>\nI went to one of my favorite monthly queer bar nights, Uptown Homo at the Uptown in the Mission. With the closing of the Lexington, women and queers have found ways to keep community alive in events like these. It’s a fun, friendly crowd where you can find yourself in conversations about anything from gentrification to kink to a killer BBQ ribs recipe.\u003c/p>\n\u003cfigure id=\"attachment_11666707\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666707 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/amandafb2-800x450.png\" alt=\"Amanda Harris\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/amandafb2.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/amandafb2-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/amandafb2-768x432.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Harris\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What can’t you live without?\u003c/b>\u003cbr>\nArkansas flatland, femme community and solidarity, big gender outfits.\u003c/p>\n\u003cp>\u003cb>If you could travel any where in the world, where would it be?\u003c/b>\u003cbr>\nI have always wanted to visit Dollywood in Tennessee. New Zealand is also at the top of the list for its breathtaking landscapes.\u003c/p>\n\u003cp>\u003cb>Who is your personal hero? Why?\u003c/b>\u003cbr>\nMy sheroes are all feminist country divas like Dolly Parton and Wanda Jackson and femme writers like Dorothy Allison and Amber Hollibaugh. I love each of them for very specific reasons, but what they all have in common is bold strength, individuality, and different ways of thinking and shaping the world — all while still holding onto their roots.\u003c/p>\n\u003cfigure id=\"attachment_11666706\" class=\"wp-caption aligncenter\" style=\"max-width: 718px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666706 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169-718x600.png\" alt=\"Amanda Harris\" width=\"718\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169-718x600.png 718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169-400x334.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169-768x642.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169-960x803.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169.png 1000w\" sizes=\"(max-width: 718px) 100vw, 718px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Harris\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you find your creative voice?\u003c/b>\u003cbr>\nI was really lucky to be raised by an artistic grandmother, my Meme. She would probably never call herself an artist, as a working class rural woman from the South, but I have always viewed her as a huge artistic influence. After I came out at 19, I got involved with an arts-activist organization in Arkansas called Center for Artistic Revolution that used arts for social justice, which really helped hone some of my creative drive for social change movements. At 26 I bought my first SLR camera at B&H in New York and fell in love. I realized just this year at 31 that the things I love photographing the most are queer community and my homeland, which is really just an artistic evolution of the things that matter the most to me and my drive to explore identity, place and belonging.\u003c/p>\n\u003cp>\u003cb>What is something most people don’t know about you?\u003c/b>\u003cbr>\nI am a former pageant queen.\u003c/p>\n\u003cp>\u003cb>[contextly_sidebar id=”rDILQdfK72VZp4UPaJC47ofBOQWYzoOx”]What do you do when you feel uninspired?\u003c/b>\u003cbr>\nI get in my car and drive a couple hours outside of the city — I find some remote and quirky place to visit, usually with a rural vibe. I take my camera and I try to let my surroundings revive a sense of discovery and curiosity inside of me.\u003c/p>\n\u003cp>\u003cb>What’s your biggest ‘learning moment,’ and what did you take from the experience?\u003c/b>\u003cbr>\nMoving to New York from Arkansas when I was 23 was a big “a-ha” for me, but not in the ways that most would expect. I learned a lot about myself, including coming to terms with some of my identities and passions. But I also learned that the South will really always be my home. Around this time I also came out as femme, and I became much more aware of how both straight and queer communities view queer feminine people — often as not “authentic” or “queer enough,” because masculinity is the most valued in our culture.\u003c/p>\n\u003cfigure id=\"attachment_11800759\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11800759\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/8D5A5056-2-400x600.jpg\" alt=\"'Kimmie', 2015\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-960x1440.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Kimmie’, 2015 \u003ccite>(Courtesy of Amanda Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your greatest achievement and how has it shaped you?\u003c/b>\u003cbr>\nMy greatest achievement was coming out as queer and femme — it has shaped so much about my decisions, including where I live, what kind of causes I care about, what kind of friends I have, and generally my lens on the world. Queerness literally saved me.\u003c/p>\n\u003cp>\u003cb>Coffee or tea? What kind? \u003c/b>\u003cbr>\nSoy latte, please.\u003c/p>\n\u003cp>\u003cb>What does a perfect day look like for you?\u003c/b>\u003cbr>\nThere are so many kinds of perfect days in my world. Whether it’s discovering a new place to adventure, going thrifting with femmes, or simply taking my eight-pound Chihuahua-Shiba Inu pup to the dog park, I love little moments of simple joy in a society that consistently tells us we do not have enough to be happy.\u003c/p>\n\u003cp>\u003cb>Who are your local inspirations?\u003c/b>\u003cbr>\nI love so many local artists and activists! \u003ca href=\"http://www.virgietovar.com/\" target=\"_blank\" rel=\"noopener\">Virgie Tovar\u003c/a> for her on-point self-love, pro-fat revolutionary teachings; \u003ca href=\"https://www.instagram.com/lexnonscripta/\" target=\"_blank\" rel=\"noopener\">Lex Non Scripta\u003c/a> for their beautiful art about queerness and resistance; femme photographers and mentors \u003ca href=\"http://www.sarahderagonphotography.com/\" target=\"_blank\" rel=\"noopener\">Sarah Deragon\u003c/a> and \u003ca href=\"http://www.sophiespinelle.com/\" target=\"_blank\" rel=\"noopener\">Sophie Spinelle\u003c/a> who have both taught me a lot about a femme-inist lens in photography. I also have to plug my partner’s swoon-worthy electro band, \u003ca href=\"https://gaymous.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">GAYmous\u003c/a>, which shares clever tunes on queer topics like polyamorous dating, femme-on-femme love, and the art of queer sex.\u003c/p>\n\u003cfigure id=\"attachment_11800773\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11800773 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/8D5A1257-400x600.jpg\" alt=\"'The Lady Ms. Vagina Jenkins', 2015\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-960x1440.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘The Lady Ms. Vagina Jenkins’, 2015 \u003ccite>(Courtesy of Amanda Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Favorite meal?\u003c/b>\u003cbr>\nMy Meme’s biscuits and gravy.\u003c/p>\n\u003cp>\u003cb>Where do you see yourself in 5 years?\u003c/b>\u003cbr>\nAs a better version of myself with more life lessons under my garter belt.\u003c/p>\n\u003cp>\u003cb>If you could live in a book, TV show, movie, play or painting, what would it be?\u003c/b>\u003cbr>\nIt hasn’t been written yet (to my knowledge), but I’m looking forward to media exploring a futuristic femme oligarchy. Until then, \u003cem>Steel Magnolias\u003c/em> will do.\u003c/p>\n\u003cp>\u003cb>Where and when can people see you or your art in action?\u003c/b>\u003cbr>\n\u003ca href=\"https://www.facebook.com/FemmeSpacePhoto/\" target=\"_blank\" rel=\"noopener\">https://www.facebook.com/FemmeSpacePhoto/\u003c/a>\u003cbr>\n\u003ca href=\"http://www.femmespace.net\" target=\"_blank\" rel=\"noopener\">http://www.femmespace.net\u003c/a>\u003cbr>\n\u003ca href=\"http://www.arkansassy.com\" target=\"_blank\" rel=\"noopener\">http://www.arkansassy.com\u003c/a>\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We\u003c/a> want to hear from you! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Amanda Arkansassy Harris, a self-proclaimed \"queer high femme charmer from the South,\" aims to foster safe and creative spaces for marginalized communities through her strikingly intimate photographs.",
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"title": "Women to Watch: Amanda Arkansassy Harris | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>(Editor’s Note: We are deeply saddened by the passing of Amanda Arkansassy Harris. Amanda was a talented artist, a beacon for the queer femme community and an absolute joy to work with. Our hearts go out to everyone in mourning.)\u003c/b>\u003c/p>\n\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Curator and photographer Amanda Arkansassy Harris, a self-proclaimed “queer high femme charmer from the South,” aims to foster safe and creative spaces for marginalized communities through her strikingly intimate photographs. Her most recent portrait series, \u003cem>\u003ca href=\"http://www.femmespace.net/\" target=\"_blank\" rel=\"noopener\">Femme Space\u003c/a>\u003c/em>, is a collaborative project that explores the reclamation of spaces by the queer femme community.\u003c/p>\n\u003cp>\u003cb>Where do you live?\u003c/b>\u003cbr>\nCole Valley, San Francisco — originally from a one-stoplight town in Arkansas.\u003c/p>\n\u003cp>\u003cb>Describe yourself in one word?\u003c/b>\u003cbr>\nGlitterdone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>What did you do last night?\u003c/b>\u003cbr>\nI went to one of my favorite monthly queer bar nights, Uptown Homo at the Uptown in the Mission. With the closing of the Lexington, women and queers have found ways to keep community alive in events like these. It’s a fun, friendly crowd where you can find yourself in conversations about anything from gentrification to kink to a killer BBQ ribs recipe.\u003c/p>\n\u003cfigure id=\"attachment_11666707\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666707 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/amandafb2-800x450.png\" alt=\"Amanda Harris\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/amandafb2.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/amandafb2-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/amandafb2-768x432.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Harris\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What can’t you live without?\u003c/b>\u003cbr>\nArkansas flatland, femme community and solidarity, big gender outfits.\u003c/p>\n\u003cp>\u003cb>If you could travel any where in the world, where would it be?\u003c/b>\u003cbr>\nI have always wanted to visit Dollywood in Tennessee. New Zealand is also at the top of the list for its breathtaking landscapes.\u003c/p>\n\u003cp>\u003cb>Who is your personal hero? Why?\u003c/b>\u003cbr>\nMy sheroes are all feminist country divas like Dolly Parton and Wanda Jackson and femme writers like Dorothy Allison and Amber Hollibaugh. I love each of them for very specific reasons, but what they all have in common is bold strength, individuality, and different ways of thinking and shaping the world — all while still holding onto their roots.\u003c/p>\n\u003cfigure id=\"attachment_11666706\" class=\"wp-caption aligncenter\" style=\"max-width: 718px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666706 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169-718x600.png\" alt=\"Amanda Harris\" width=\"718\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169-718x600.png 718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169-400x334.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169-768x642.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169-960x803.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-169.png 1000w\" sizes=\"(max-width: 718px) 100vw, 718px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Harris\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you find your creative voice?\u003c/b>\u003cbr>\nI was really lucky to be raised by an artistic grandmother, my Meme. She would probably never call herself an artist, as a working class rural woman from the South, but I have always viewed her as a huge artistic influence. After I came out at 19, I got involved with an arts-activist organization in Arkansas called Center for Artistic Revolution that used arts for social justice, which really helped hone some of my creative drive for social change movements. At 26 I bought my first SLR camera at B&H in New York and fell in love. I realized just this year at 31 that the things I love photographing the most are queer community and my homeland, which is really just an artistic evolution of the things that matter the most to me and my drive to explore identity, place and belonging.\u003c/p>\n\u003cp>\u003cb>What is something most people don’t know about you?\u003c/b>\u003cbr>\nI am a former pageant queen.\u003c/p>\n\u003cp>\u003cb>\u003c/p>\u003cp>\u003c/p>\u003cp>What do you do when you feel uninspired?\u003c/b>\u003cbr>\nI get in my car and drive a couple hours outside of the city — I find some remote and quirky place to visit, usually with a rural vibe. I take my camera and I try to let my surroundings revive a sense of discovery and curiosity inside of me.\u003c/p>\n\u003cp>\u003cb>What’s your biggest ‘learning moment,’ and what did you take from the experience?\u003c/b>\u003cbr>\nMoving to New York from Arkansas when I was 23 was a big “a-ha” for me, but not in the ways that most would expect. I learned a lot about myself, including coming to terms with some of my identities and passions. But I also learned that the South will really always be my home. Around this time I also came out as femme, and I became much more aware of how both straight and queer communities view queer feminine people — often as not “authentic” or “queer enough,” because masculinity is the most valued in our culture.\u003c/p>\n\u003cfigure id=\"attachment_11800759\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11800759\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/8D5A5056-2-400x600.jpg\" alt=\"'Kimmie', 2015\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A5056-2-960x1440.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Kimmie’, 2015 \u003ccite>(Courtesy of Amanda Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your greatest achievement and how has it shaped you?\u003c/b>\u003cbr>\nMy greatest achievement was coming out as queer and femme — it has shaped so much about my decisions, including where I live, what kind of causes I care about, what kind of friends I have, and generally my lens on the world. Queerness literally saved me.\u003c/p>\n\u003cp>\u003cb>Coffee or tea? What kind? \u003c/b>\u003cbr>\nSoy latte, please.\u003c/p>\n\u003cp>\u003cb>What does a perfect day look like for you?\u003c/b>\u003cbr>\nThere are so many kinds of perfect days in my world. Whether it’s discovering a new place to adventure, going thrifting with femmes, or simply taking my eight-pound Chihuahua-Shiba Inu pup to the dog park, I love little moments of simple joy in a society that consistently tells us we do not have enough to be happy.\u003c/p>\n\u003cp>\u003cb>Who are your local inspirations?\u003c/b>\u003cbr>\nI love so many local artists and activists! \u003ca href=\"http://www.virgietovar.com/\" target=\"_blank\" rel=\"noopener\">Virgie Tovar\u003c/a> for her on-point self-love, pro-fat revolutionary teachings; \u003ca href=\"https://www.instagram.com/lexnonscripta/\" target=\"_blank\" rel=\"noopener\">Lex Non Scripta\u003c/a> for their beautiful art about queerness and resistance; femme photographers and mentors \u003ca href=\"http://www.sarahderagonphotography.com/\" target=\"_blank\" rel=\"noopener\">Sarah Deragon\u003c/a> and \u003ca href=\"http://www.sophiespinelle.com/\" target=\"_blank\" rel=\"noopener\">Sophie Spinelle\u003c/a> who have both taught me a lot about a femme-inist lens in photography. I also have to plug my partner’s swoon-worthy electro band, \u003ca href=\"https://gaymous.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">GAYmous\u003c/a>, which shares clever tunes on queer topics like polyamorous dating, femme-on-femme love, and the art of queer sex.\u003c/p>\n\u003cfigure id=\"attachment_11800773\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11800773 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/8D5A1257-400x600.jpg\" alt=\"'The Lady Ms. Vagina Jenkins', 2015\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/8D5A1257-960x1440.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘The Lady Ms. Vagina Jenkins’, 2015 \u003ccite>(Courtesy of Amanda Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Favorite meal?\u003c/b>\u003cbr>\nMy Meme’s biscuits and gravy.\u003c/p>\n\u003cp>\u003cb>Where do you see yourself in 5 years?\u003c/b>\u003cbr>\nAs a better version of myself with more life lessons under my garter belt.\u003c/p>\n\u003cp>\u003cb>If you could live in a book, TV show, movie, play or painting, what would it be?\u003c/b>\u003cbr>\nIt hasn’t been written yet (to my knowledge), but I’m looking forward to media exploring a futuristic femme oligarchy. Until then, \u003cem>Steel Magnolias\u003c/em> will do.\u003c/p>\n\u003cp>\u003cb>Where and when can people see you or your art in action?\u003c/b>\u003cbr>\n\u003ca href=\"https://www.facebook.com/FemmeSpacePhoto/\" target=\"_blank\" rel=\"noopener\">https://www.facebook.com/FemmeSpacePhoto/\u003c/a>\u003cbr>\n\u003ca href=\"http://www.femmespace.net\" target=\"_blank\" rel=\"noopener\">http://www.femmespace.net\u003c/a>\u003cbr>\n\u003ca href=\"http://www.arkansassy.com\" target=\"_blank\" rel=\"noopener\">http://www.arkansassy.com\u003c/a>\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We\u003c/a> want to hear from you! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At LA's MOCA, a Celebrated Chef Serves Up Dinner as Art Installation",
"headTitle": "At LA’s MOCA, a Celebrated Chef Serves Up Dinner as Art Installation | KQED",
"content": "\u003cp>Many chefs think of themselves as artists in the kitchen. Craig Thornton has taken it to another level: For the past five months, he’s been serving up multi-course meals as part of a room-size installation at the prestigious Museum of Contemporary Art in Los Angeles.\u003c/p>\n\u003cp>Thornton, 34, is a cult figure in LA’s booming food scene. And for this pop-up dining experiment, he whipped up a rococo menu. A typical dish — if typical is a word that even applies — might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin.\u003c/p>\n\u003cfigure id=\"attachment_11803314\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1180x944.jpg\" alt=\"Chef Craig Thornton, 34, is something of a cult figure in LA's food scene.\" width=\"640\" height=\"512\" class=\"size-large wp-image-11803314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1920x1536.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chef Craig Thornton, 34, is something of a cult figure in LA’s food scene. \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was just one of nine elaborate dishes served within MOCA’s Geffen Contemporary location, in what looked like the set of a dystopian Disney film — a space replete with taxidermied deer, wolves and peacocks arranged in a forest of cherry trees, some of them burnt. \u003cem>Wolvesmouth: Taxa\u003c/em>, as this unorthodox eating experience was called, just closed after a five-month residency. It was the most recent iteration of a roving restaurant that Thornton has run for years — sometimes in warehouses, sometimes in apartments and usually with more amenities.\u003c/p>\n\u003cp>“We’re cooking in the middle of a museum with no running water,” Thornton said ruefully during a recent dinner. “I mean, we have to know how much water we’re using.” (The answer: 75 to 85 gallons per night.)\u003c/p>\n\u003cfigure id=\"attachment_11803315\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1180x663.jpg\" alt=\"Thornton's menu for 'Wolvesmouth: Taxa' featured nine elaborate dishes. A typical dish might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin\" width=\"640\" height=\"360\" class=\"size-large wp-image-11803315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Thornton’s menu for ‘Wolvesmouth: Taxa’ featured nine elaborate dishes. A typical dish might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s funny to think that for the past several months, Thornton — a chef behind some of the most coveted reservations in Los Angeles — has had to finish each night lugging and emptying gallons of water into a tiny painters’ sink in the back of the museum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ordinarily, dining on Thornton’s carefully curated meals means months of languishing on waitlists. But at MOCA — two seatings a night, three days a week — Angeleno foodies could pay $225 for a multisensory experience in which art and food were intended to be one seamless experience. For example, one massive sculpture, a 2,000-pound iceberg sculpted from Styrofoam, was planned to complement a dish of chili-seasoned shrimp — “the spice being this kind of metaphor for heat melting glaciers,” Thornton explained.\u003c/p>\n\u003cp>Along with silverware and napkins, diners were furnished with a manifesto of sorts that laid out the chef’s thoughts about greed, nature and decay. They were urged to contemplate what it means to consume, and to discuss those thoughts with each other and with the staff busily plating their dinners. Nearby, a sculpture depicts an oil spill and the taxidermied animals are depicted struggling in the muck.\u003c/p>\n\u003cfigure id=\"attachment_11803316\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1180x786.jpg\" alt=\"Diners were urged to contemplate about what it means to consume. Near their dinner table, a sculpture depicts an oil spill — the taxidermied animals are depicted struggling in the muck.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11803316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Diners were urged to contemplate about what it means to consume. Near their dinner table, a sculpture depicts an oil spill — the taxidermied animals are depicted struggling in the muck. \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a lot to take in as a viewer and as an eater,” says Carolina Miranda, an art critic for the \u003cem>Los Angeles Times\u003c/em>. “I think if you could think of a crazy action movie on the palate, I think that’s almost what he’s going for.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a city known for both cutting-edge food and contemporary art, Miranda says it’s smart for MOCA to lure patrons with an over-the top immersive experience. \u003cem>Wolvesmouth:Taxa\u003c/em> was Part 3 of a planned series of nine culinary installations taking place over the next few years. Thornton says the 10th will combine elements of all of the dinners that preceded it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+LA%27s+MOCA%2C+A+Celebrated+Chef+Serves+Up+Dinner+As+Art+Installation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Craig Thornton is behind some of the most coveted meal reservations in LA. For the past five months, he's been melding dining, sculpture and taxidermy at the city's Museum of Contemporary Art.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many chefs think of themselves as artists in the kitchen. Craig Thornton has taken it to another level: For the past five months, he’s been serving up multi-course meals as part of a room-size installation at the prestigious Museum of Contemporary Art in Los Angeles.\u003c/p>\n\u003cp>Thornton, 34, is a cult figure in LA’s booming food scene. And for this pop-up dining experiment, he whipped up a rococo menu. A typical dish — if typical is a word that even applies — might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin.\u003c/p>\n\u003cfigure id=\"attachment_11803314\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1180x944.jpg\" alt=\"Chef Craig Thornton, 34, is something of a cult figure in LA's food scene.\" width=\"640\" height=\"512\" class=\"size-large wp-image-11803314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1920x1536.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chef Craig Thornton, 34, is something of a cult figure in LA’s food scene. \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was just one of nine elaborate dishes served within MOCA’s Geffen Contemporary location, in what looked like the set of a dystopian Disney film — a space replete with taxidermied deer, wolves and peacocks arranged in a forest of cherry trees, some of them burnt. \u003cem>Wolvesmouth: Taxa\u003c/em>, as this unorthodox eating experience was called, just closed after a five-month residency. It was the most recent iteration of a roving restaurant that Thornton has run for years — sometimes in warehouses, sometimes in apartments and usually with more amenities.\u003c/p>\n\u003cp>“We’re cooking in the middle of a museum with no running water,” Thornton said ruefully during a recent dinner. “I mean, we have to know how much water we’re using.” (The answer: 75 to 85 gallons per night.)\u003c/p>\n\u003cfigure id=\"attachment_11803315\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1180x663.jpg\" alt=\"Thornton's menu for 'Wolvesmouth: Taxa' featured nine elaborate dishes. A typical dish might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin\" width=\"640\" height=\"360\" class=\"size-large wp-image-11803315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Thornton’s menu for ‘Wolvesmouth: Taxa’ featured nine elaborate dishes. A typical dish might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s funny to think that for the past several months, Thornton — a chef behind some of the most coveted reservations in Los Angeles — has had to finish each night lugging and emptying gallons of water into a tiny painters’ sink in the back of the museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ordinarily, dining on Thornton’s carefully curated meals means months of languishing on waitlists. But at MOCA — two seatings a night, three days a week — Angeleno foodies could pay $225 for a multisensory experience in which art and food were intended to be one seamless experience. For example, one massive sculpture, a 2,000-pound iceberg sculpted from Styrofoam, was planned to complement a dish of chili-seasoned shrimp — “the spice being this kind of metaphor for heat melting glaciers,” Thornton explained.\u003c/p>\n\u003cp>Along with silverware and napkins, diners were furnished with a manifesto of sorts that laid out the chef’s thoughts about greed, nature and decay. They were urged to contemplate what it means to consume, and to discuss those thoughts with each other and with the staff busily plating their dinners. Nearby, a sculpture depicts an oil spill and the taxidermied animals are depicted struggling in the muck.\u003c/p>\n\u003cfigure id=\"attachment_11803316\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1180x786.jpg\" alt=\"Diners were urged to contemplate about what it means to consume. Near their dinner table, a sculpture depicts an oil spill — the taxidermied animals are depicted struggling in the muck.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11803316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Diners were urged to contemplate about what it means to consume. Near their dinner table, a sculpture depicts an oil spill — the taxidermied animals are depicted struggling in the muck. \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a lot to take in as a viewer and as an eater,” says Carolina Miranda, an art critic for the \u003cem>Los Angeles Times\u003c/em>. “I think if you could think of a crazy action movie on the palate, I think that’s almost what he’s going for.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a city known for both cutting-edge food and contemporary art, Miranda says it’s smart for MOCA to lure patrons with an over-the top immersive experience. \u003cem>Wolvesmouth:Taxa\u003c/em> was Part 3 of a planned series of nine culinary installations taking place over the next few years. Thornton says the 10th will combine elements of all of the dinners that preceded it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+LA%27s+MOCA%2C+A+Celebrated+Chef+Serves+Up+Dinner+As+Art+Installation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Lily Chou has braved mosh pits and thoughtless stage divers to take some of the best photos of the Bay Area’s underground music scene. A special events photographer who DJs at KALX, Chou has expanded her passion to making an online video series called \u003cem>JetLag RocknRoll.\u003c/em> A travel show, \u003cem>JetLag RocknRoll\u003c/em> takes viewers behind the scenes and around the world by joining forces with indie music makers, who share quintessential record stores, intimate venues where you can do the bop, the pop, or the cretin hop, tasty eateries that won’t bust your budget, and other rock ‘n’ roll travel essentials.[contextly_sidebar id=”DVL7Zrh626XkO7jfHHLzrr5vKbeYdgrb”]\u003c/p>\n\u003cp>\u003cstrong>Where do you live?\u003c/strong>\u003c/p>\n\u003cp>Southside Berkeley.\u003c/p>\n\u003cp>\u003cstrong>Describe yourself in one word?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Resourceful.\u003c/p>\n\u003cp>\u003cstrong>What did you do last night?\u003c/strong>\u003c/p>\n\u003cp>I spent last night cringing and laughing through Todd Solondz’s latest film \u003cem>Weiner-Dog\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>What can’t you live without?\u003c/strong>\u003c/p>\n\u003cp>You mean \u003cem>who\u003c/em>. My husband — my soulmate and partner in crime.\u003c/p>\n\u003cp>\u003cstrong>If you could travel anywhere in the world, where would it be?\u003c/strong>\u003c/p>\n\u003cp>There’s no “if” here — if I want to travel somewhere, I’ll find a way to do it!\u003c/p>\n\u003cp>\u003cstrong>Who is your personal hero? Why? \u003c/strong>\u003c/p>\n\u003cp>I admire the talents and achievements of a lot of people but I don’t have any specific heroes. There’s no one person I aspire to be.\u003c/p>\n\u003cfigure id=\"attachment_11641392\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11641392 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/lilyalt1-800x450.png\" alt=\"Lily Chou\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilyalt1.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilyalt1-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilyalt1-768x432.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lily Chou.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you find your creative voice?\u003c/strong>\u003c/p>\n\u003cp>First off, let me say that I don’t think I’m very creative. I don’t consider myself an artist or a “creative.” As far as photography and videography, I’m usually just capturing what I see to share with others, to document a moment in time. Writing is more of a creative outlet for me, and I’d say it found me. I was drawn to my mom’s manual Remington typewriter (the kind where you have to punch down on the keys really hard) when I was 10, and taught myself to type by coming up with ridiculous, elaborate stories about modern-day dogs having adventures in the world of \u003cem>Little House on the Prairie\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>What is something most people don’t know about you?\u003c/strong>\u003c/p>\n\u003cp>I grew up in a motel for half of my child- and teenhood.\u003c/p>\n\u003cfigure id=\"attachment_11758801\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758801\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-800x533.jpg\" alt=\"Photo of Nobunny at Thee Parkside \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3.jpg 1296w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nobunny at Thee Parkside. \u003ccite>(Lily Chou)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you do when you feel uninspired?\u003c/strong>\u003c/p>\n\u003cp>I watch a film like \u003cem>Chungking Express\u003c/em>. I find the colors, mood, music, and details in them so compelling.\u003c/p>\n\u003cp>\u003cstrong>What’s your biggest ‘learning moment,’ and what did you you take from that experience?\u003c/strong>\u003c/p>\n\u003cp>When I was six years old, my parents started making me do things for myself. I’d wake myself up in the morning in time to get dressed, fix myself breakfast, and walk to school a few blocks away; after school, I could watch as much TV as I wanted as long as I bathed myself and put myself to bed so that I could readily repeat the sequence the next day. I taught myself to type, ride a bike, perform first aid, deal with bullies, pierce my own ears, ride public transit… Whether it was lazy parenting or a calculated move on their part, the self-reliance and independence I learned has stayed with me and I’m forever grateful.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1uPqlxfIHD0\u003c/p>\n\u003cp>\u003cstrong>What’s your greatest achievement and how has it shaped you?\u003c/strong>\u003c/p>\n\u003cp>Even though I have a fourth-degree black belt now, training for my second-degree black belt unleashed an unexpected maelstrom of self-doubt and fear of failure. Working through my agonizing feelings of inadequacy, completing the strenuous physical test, and earning that second stripe helped me realize that, as long as I work hard, acknowledge my weaknesses, and don’t stress out about perfection, there’s no reason to fear venturing into new territory.\u003c/p>\n\u003cp>\u003cstrong>Coffee or tea? What kind?\u003c/strong>\u003c/p>\n\u003cp>I don’t regularly drink either but I do love a smooth, dark roast that pairs well with a sweet, preferably chocolatey treat. And, while I appreciate subtle, high-end teas, I’m known to enjoy boba-fied brown rice, oolong, or jasmine green tea.\u003cbr>\n\u003cstrong>\u003cbr>\nWhat does a perfect day look like for you?\u003c/strong>\u003c/p>\n\u003cp>A perfect day means no computer and no looming deadlines, freeing me up to live life, be it taking a stroll, working out, catching up with friends, eating something delicious, or exploring a new-to-me part of the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_11758806\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758806\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/lily-body-wp-480x600.png\" alt=\"Lily Chou\" width=\"480\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp-480x600.png 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp-400x500.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp-768x960.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp-944x1180.png 944w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp-960x1200.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp.png 1125w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Lily Chou. \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Who are your local inspirations?\u003c/strong>\u003c/p>\n\u003cp>Marcy Gordon, my friend and wine/travel blogger, wows me with her wit and keen sense of observation. My martial arts instructor Norman Link never ceases to amaze me with his vast knowledge, abilities, and life experiences, as well as his compassion and sense of humor. His wife and fellow martial artist Susan Link beat breast cancer and continues to run 15 miles a day — for fun!\u003c/p>\n\u003cp>\u003cstrong>Favorite meal? \u003c/strong>\u003c/p>\n\u003cp>The omakase course meal of sushi and cooked seafood at Mashiko in West Seattle.\u003c/p>\n\u003cp>\u003cstrong>What upcoming show are you excited about?\u003c/strong>\u003c/p>\n\u003cp>I’m looking forward to the Mystery Lights show at the Rickshaw Stop on July 31.\u003c/p>\n\u003cp>\u003cstrong>Where do you see yourself in 5 years?\u003c/strong>\u003c/p>\n\u003cp>Ask me again in 4.5 years.\u003cbr>\n\u003cstrong>\u003cbr>\nIf you could live in a book, TV show, movie, play or painting what would it be?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Amelie.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Where and when can people see you or your art in action?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>JetLag RocknRoll\u003c/em> video series: \u003ca href=\"http://jetlagrnr.com/\" target=\"_blank\" rel=\"noopener\">jetlagrnr.com\u003c/a>.\u003c/p>\n\u003cp>Photography: \u003ca href=\"http://www.wildaboutyouphotography.com/\" target=\"_blank\" rel=\"noopener\">www.wildaboutyouphotography.com\u003c/a>.\u003c/p>\n\u003cp>Travel and band photography: \u003ca href=\"http://www.instagram.com/jetlagrnr/\" target=\"_blank\" rel=\"noopener\">www.instagram.com/jetlagrnr\u003c/a>.\u003c/p>\n\u003cp>I can also be heard on occasion at: \u003ca href=\"http://kalx.berkeley.edu\" target=\"_blank\" rel=\"noopener\">kalx.berkeley.edu\u003c/a>.\u003c/p>\n\u003cp>And you can read my writing at: \u003ca href=\"https://jetlagrnr.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Messin Around: Rambling Non Sequiturs of a Hyperactive Mind\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We\u003c/a> want to hear from you! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Lily Chou has braved mosh pits and thoughtless stage divers to take some of the best photos of the Bay Area’s underground music scene. A special events photographer who DJs at KALX, Chou has expanded her passion to making an online video series called \u003cem>JetLag RocknRoll.\u003c/em> A travel show, \u003cem>JetLag RocknRoll\u003c/em> takes viewers behind the scenes and around the world by joining forces with indie music makers, who share quintessential record stores, intimate venues where you can do the bop, the pop, or the cretin hop, tasty eateries that won’t bust your budget, and other rock ‘n’ roll travel essentials.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Where do you live?\u003c/strong>\u003c/p>\n\u003cp>Southside Berkeley.\u003c/p>\n\u003cp>\u003cstrong>Describe yourself in one word?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Resourceful.\u003c/p>\n\u003cp>\u003cstrong>What did you do last night?\u003c/strong>\u003c/p>\n\u003cp>I spent last night cringing and laughing through Todd Solondz’s latest film \u003cem>Weiner-Dog\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>What can’t you live without?\u003c/strong>\u003c/p>\n\u003cp>You mean \u003cem>who\u003c/em>. My husband — my soulmate and partner in crime.\u003c/p>\n\u003cp>\u003cstrong>If you could travel anywhere in the world, where would it be?\u003c/strong>\u003c/p>\n\u003cp>There’s no “if” here — if I want to travel somewhere, I’ll find a way to do it!\u003c/p>\n\u003cp>\u003cstrong>Who is your personal hero? Why? \u003c/strong>\u003c/p>\n\u003cp>I admire the talents and achievements of a lot of people but I don’t have any specific heroes. There’s no one person I aspire to be.\u003c/p>\n\u003cfigure id=\"attachment_11641392\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11641392 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/lilyalt1-800x450.png\" alt=\"Lily Chou\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilyalt1.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilyalt1-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilyalt1-768x432.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lily Chou.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you find your creative voice?\u003c/strong>\u003c/p>\n\u003cp>First off, let me say that I don’t think I’m very creative. I don’t consider myself an artist or a “creative.” As far as photography and videography, I’m usually just capturing what I see to share with others, to document a moment in time. Writing is more of a creative outlet for me, and I’d say it found me. I was drawn to my mom’s manual Remington typewriter (the kind where you have to punch down on the keys really hard) when I was 10, and taught myself to type by coming up with ridiculous, elaborate stories about modern-day dogs having adventures in the world of \u003cem>Little House on the Prairie\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>What is something most people don’t know about you?\u003c/strong>\u003c/p>\n\u003cp>I grew up in a motel for half of my child- and teenhood.\u003c/p>\n\u003cfigure id=\"attachment_11758801\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758801\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-800x533.jpg\" alt=\"Photo of Nobunny at Thee Parkside \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lilychou-jetlagrnr3.jpg 1296w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nobunny at Thee Parkside. \u003ccite>(Lily Chou)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you do when you feel uninspired?\u003c/strong>\u003c/p>\n\u003cp>I watch a film like \u003cem>Chungking Express\u003c/em>. I find the colors, mood, music, and details in them so compelling.\u003c/p>\n\u003cp>\u003cstrong>What’s your biggest ‘learning moment,’ and what did you you take from that experience?\u003c/strong>\u003c/p>\n\u003cp>When I was six years old, my parents started making me do things for myself. I’d wake myself up in the morning in time to get dressed, fix myself breakfast, and walk to school a few blocks away; after school, I could watch as much TV as I wanted as long as I bathed myself and put myself to bed so that I could readily repeat the sequence the next day. I taught myself to type, ride a bike, perform first aid, deal with bullies, pierce my own ears, ride public transit… Whether it was lazy parenting or a calculated move on their part, the self-reliance and independence I learned has stayed with me and I’m forever grateful.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1uPqlxfIHD0'\n title='//www.youtube.com/embed/1uPqlxfIHD0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What’s your greatest achievement and how has it shaped you?\u003c/strong>\u003c/p>\n\u003cp>Even though I have a fourth-degree black belt now, training for my second-degree black belt unleashed an unexpected maelstrom of self-doubt and fear of failure. Working through my agonizing feelings of inadequacy, completing the strenuous physical test, and earning that second stripe helped me realize that, as long as I work hard, acknowledge my weaknesses, and don’t stress out about perfection, there’s no reason to fear venturing into new territory.\u003c/p>\n\u003cp>\u003cstrong>Coffee or tea? What kind?\u003c/strong>\u003c/p>\n\u003cp>I don’t regularly drink either but I do love a smooth, dark roast that pairs well with a sweet, preferably chocolatey treat. And, while I appreciate subtle, high-end teas, I’m known to enjoy boba-fied brown rice, oolong, or jasmine green tea.\u003cbr>\n\u003cstrong>\u003cbr>\nWhat does a perfect day look like for you?\u003c/strong>\u003c/p>\n\u003cp>A perfect day means no computer and no looming deadlines, freeing me up to live life, be it taking a stroll, working out, catching up with friends, eating something delicious, or exploring a new-to-me part of the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_11758806\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758806\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/lily-body-wp-480x600.png\" alt=\"Lily Chou\" width=\"480\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp-480x600.png 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp-400x500.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp-768x960.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp-944x1180.png 944w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp-960x1200.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lily-body-wp.png 1125w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Lily Chou. \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Who are your local inspirations?\u003c/strong>\u003c/p>\n\u003cp>Marcy Gordon, my friend and wine/travel blogger, wows me with her wit and keen sense of observation. My martial arts instructor Norman Link never ceases to amaze me with his vast knowledge, abilities, and life experiences, as well as his compassion and sense of humor. His wife and fellow martial artist Susan Link beat breast cancer and continues to run 15 miles a day — for fun!\u003c/p>\n\u003cp>\u003cstrong>Favorite meal? \u003c/strong>\u003c/p>\n\u003cp>The omakase course meal of sushi and cooked seafood at Mashiko in West Seattle.\u003c/p>\n\u003cp>\u003cstrong>What upcoming show are you excited about?\u003c/strong>\u003c/p>\n\u003cp>I’m looking forward to the Mystery Lights show at the Rickshaw Stop on July 31.\u003c/p>\n\u003cp>\u003cstrong>Where do you see yourself in 5 years?\u003c/strong>\u003c/p>\n\u003cp>Ask me again in 4.5 years.\u003cbr>\n\u003cstrong>\u003cbr>\nIf you could live in a book, TV show, movie, play or painting what would it be?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Amelie.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Where and when can people see you or your art in action?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>JetLag RocknRoll\u003c/em> video series: \u003ca href=\"http://jetlagrnr.com/\" target=\"_blank\" rel=\"noopener\">jetlagrnr.com\u003c/a>.\u003c/p>\n\u003cp>Photography: \u003ca href=\"http://www.wildaboutyouphotography.com/\" target=\"_blank\" rel=\"noopener\">www.wildaboutyouphotography.com\u003c/a>.\u003c/p>\n\u003cp>Travel and band photography: \u003ca href=\"http://www.instagram.com/jetlagrnr/\" target=\"_blank\" rel=\"noopener\">www.instagram.com/jetlagrnr\u003c/a>.\u003c/p>\n\u003cp>I can also be heard on occasion at: \u003ca href=\"http://kalx.berkeley.edu\" target=\"_blank\" rel=\"noopener\">kalx.berkeley.edu\u003c/a>.\u003c/p>\n\u003cp>And you can read my writing at: \u003ca href=\"https://jetlagrnr.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Messin Around: Rambling Non Sequiturs of a Hyperactive Mind\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco’s \u003ca href=\"http://www.galeriadelaraza.org/index.php\" target=\"_blank\" rel=\"noopener\">Galería de la Raza\u003c/a> has been told by its landlord that it will not be given a long-term lease for the space it’s occupied in the Mission District for over 43 years, gallery representatives announced Thursday.\u003c/p>\n\u003cp>Galería’s Executive Director Ani Rivera sent a mass email to its supporters Thursday stating that after more than a year of talks, the owners of the gallery space on 24th street and Bryant have refused to change their current month-to-month arrangement.\u003c/p>\n\u003cp>“Given the demographic and economic changes happening in the city and in the Mission District, we felt that it was appropriate and pressing for us to begin a ‘place keeping’ process. Above all, we aimed to secure a home for Galería, preferably in the space where we’ve called home for the last 4+ decades,” Rivera wrote. “However, we regret to inform you that our landlord has turned down our request to enter into conversation to negotiate a long-term lease. They resolutely stated that they have no interest in our offer and have no intention of revisiting the matter in the near future. For now, the rental agreement will continue on a month-to-month basis.” \u003c/p>\n\u003cp>Founded in 1970 by a group of Chicano artists and community activists, Galería has been a cultural focal point in the Mission District ever since it began. But now as the identity of the neighborhood changes due to the influx of new, wealthier residents, Rivera says she’s concerned that it will become more difficult to keep around. \u003c/p>\n\u003cp>“Galeria for many in the community is a safe space, and it’s also at the verge of going under,” Rivera said in an earlier interview with KQED Arts. “So I am in a constant mourning, I am in a constant action, trying to figure out how to protect, how to sustain, and this incidents of violence that get inflict upon us. We constantly walk with a warrior shields.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The gallery was in the news last year after its mural depicting three versions of LGBTQ “Cholo” culture was vandalized on \u003ca href=\"https://ww2.kqed.org/arts/2015/06/22/mission-district-gallerys-queer-cholo-mural-defaced-again/\" target=\"_blank\" rel=\"noopener\">multiple occasions\u003c/a>. The defacing of the mural led to an outcry from the local community, \u003ca href=\"http://ww2.kqed.org/arts/2015/07/02/mission-residents-unite-over-defaced-lgbtq-mural/\" target=\"_blank\" rel=\"noopener\">who rallied in support \u003c/a>of the gallery and its work. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read Riveras letter below:\u003c/em>\u003c/p>\n\u003cblockquote>\u003cp>\nDear Community Partners,\u003cbr>\nWe want to personally thank you for your continued support of Galería de la Raza (Galería) as we pursued a long-term lease with our current landlord. This undertaking was a culmination of over a year and a half of planning conducted through advocacy and planning with various groups on this issue, including the Office of Economic and Workforce Development (OEWD), the Northern California Community Loan Fund (NCCLF), and the Central Arts Stabilization Trust (CAST), among others. \u003c/p>\n\u003cp>As many of you know, Galería has been operating out of its current location for the last 43 years without a long-term lease in place. Given the demographic and economic changes happening in the city and in the Mission District, we felt that it was appropriate and pressing for us to begin a “place keeping” process. Above all, we aimed to secure a home for Galería, preferably in the space where we’ve called home for the last 4+ decades. \u003c/p>\n\u003cp>However, we regret to inform you that our landlord has turned down our request to enter into conversation to negotiate a long-term lease. They resolutely stated that they have no interest in our offer and have no intention of revisiting the matter in the near future. For now, the rental agreement will continue on a month-to-month basis.\u003cbr>\nWhile this decision is disappointing, it has made us realize we need to look at developing other long-term sustainable options. With the support of our board, we will begin looking at other locations within the Mission district that can offer a more secure future for the Galería to continue its legacy.\u003c/p>\n\u003cp>That being said, we want to reach out for your support and input on what could be next for Galería. In the coming weeks, we will be reaching out to you individually to set up meetings to discuss our next steps. We hope you are willing to join the conversation as we explore new opportunities and together find new ideas for the future! \u003c/p>\n\u003cp>Once again on behalf of Galería’s Board & Staff, I would like to sincerely thank you!\u003c/p>\n\u003cp>Best,\u003cbr>\nAni Rivera\n\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s \u003ca href=\"http://www.galeriadelaraza.org/index.php\" target=\"_blank\" rel=\"noopener\">Galería de la Raza\u003c/a> has been told by its landlord that it will not be given a long-term lease for the space it’s occupied in the Mission District for over 43 years, gallery representatives announced Thursday.\u003c/p>\n\u003cp>Galería’s Executive Director Ani Rivera sent a mass email to its supporters Thursday stating that after more than a year of talks, the owners of the gallery space on 24th street and Bryant have refused to change their current month-to-month arrangement.\u003c/p>\n\u003cp>“Given the demographic and economic changes happening in the city and in the Mission District, we felt that it was appropriate and pressing for us to begin a ‘place keeping’ process. Above all, we aimed to secure a home for Galería, preferably in the space where we’ve called home for the last 4+ decades,” Rivera wrote. “However, we regret to inform you that our landlord has turned down our request to enter into conversation to negotiate a long-term lease. They resolutely stated that they have no interest in our offer and have no intention of revisiting the matter in the near future. For now, the rental agreement will continue on a month-to-month basis.” \u003c/p>\n\u003cp>Founded in 1970 by a group of Chicano artists and community activists, Galería has been a cultural focal point in the Mission District ever since it began. But now as the identity of the neighborhood changes due to the influx of new, wealthier residents, Rivera says she’s concerned that it will become more difficult to keep around. \u003c/p>\n\u003cp>“Galeria for many in the community is a safe space, and it’s also at the verge of going under,” Rivera said in an earlier interview with KQED Arts. “So I am in a constant mourning, I am in a constant action, trying to figure out how to protect, how to sustain, and this incidents of violence that get inflict upon us. We constantly walk with a warrior shields.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"link": "https://www.cityarts.net",
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},
"closealltabs": {
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"order": 1
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"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.",
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"source": "Commonwealth Club of California"
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"id": "fresh-air",
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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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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
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"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. ",
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"order": 15
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"jerrybrown": {
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"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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"order": 18
},
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"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"
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},
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"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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"rss": "https://rss.art19.com/masters-of-scale"
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},
"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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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"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",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"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",
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},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
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"tagline": "KQED's series of daily listener commentaries since 1991",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"meta": {
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},
"link": "/radio/program/planet-money",
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