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"content": "\u003cp>The \u003ca href=\"https://www.famsf.org/\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a> (FAMSF) announced Wednesday that Claudia Schmuckli will be become its Curator-in-Charge of Contemporary Art and Programming. \u003c/p>\n\u003cp>Schmuckli comes to this newly created position in San Francisco from her post as Director and Chief Curator at the\u003ca href=\"http://blafferartmuseum.org/\" target=\"_blank\" rel=\"noopener\"> Blaffer Art Museum at the University of Houston\u003c/a> in Texas.\u003c/p>\n\u003cp>\u003ca href=\"https://www.famsf.org/press-room/fine-arts-museums-san-francisco-announce-director\" target=\"_blank\" rel=\"noopener\">Max Hollein\u003c/a>, the recently appointed director of FAMSF, says while the two museums of FAMSF, the \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener\">de Young\u003c/a> and the \u003ca href=\"https://legionofhonor.famsf.org/\" target=\"_blank\" rel=\"noopener\">Legion of Honor\u003c/a>, are not modern art museums, he created the new post so someone would be creating “cutting edge programming in video and live performance.”\u003c/p>\n\u003cp>“Claudia seemed the ideal candidate because of her vast experience in contemporary art,” Hollein said, “And someone with a good eye as a curator, but also a good administrator.”\u003c/p>\n\u003cp>Schmuckli will start her new job on Sept. 1, and Hollein says museum visitors “will see her impact fairly quickly, with new programming and site specific works.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schmuckli has been Director and Chief Curator at the Blaffer Art Museum since 2009, joining the staff there as director of public relations and membership in 2004.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.famsf.org/\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a> (FAMSF) announced Wednesday that Claudia Schmuckli will be become its Curator-in-Charge of Contemporary Art and Programming. \u003c/p>\n\u003cp>Schmuckli comes to this newly created position in San Francisco from her post as Director and Chief Curator at the\u003ca href=\"http://blafferartmuseum.org/\" target=\"_blank\" rel=\"noopener\"> Blaffer Art Museum at the University of Houston\u003c/a> in Texas.\u003c/p>\n\u003cp>\u003ca href=\"https://www.famsf.org/press-room/fine-arts-museums-san-francisco-announce-director\" target=\"_blank\" rel=\"noopener\">Max Hollein\u003c/a>, the recently appointed director of FAMSF, says while the two museums of FAMSF, the \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener\">de Young\u003c/a> and the \u003ca href=\"https://legionofhonor.famsf.org/\" target=\"_blank\" rel=\"noopener\">Legion of Honor\u003c/a>, are not modern art museums, he created the new post so someone would be creating “cutting edge programming in video and live performance.”\u003c/p>\n\u003cp>“Claudia seemed the ideal candidate because of her vast experience in contemporary art,” Hollein said, “And someone with a good eye as a curator, but also a good administrator.”\u003c/p>\n\u003cp>Schmuckli will start her new job on Sept. 1, and Hollein says museum visitors “will see her impact fairly quickly, with new programming and site specific works.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The largest collection of works by Salvador Dalí on the West Coast opened to the public on Thursday. More than 570 etchings, lithographs, sculptures and tapestries essentially took over the Museum of Monterey, and the building received a new name: \u003ca href=\"http://www.dali17.com\" target=\"_blank\" rel=\"noopener\">Dali17\u003c/a>, a reference to the original 17-mile drive that once began at Hotel Del Monte, where Dalí stayed for a time.\u003c/p>\n\u003cp>[contextly_sidebar id=”kwXXlW8EQarNymujeZVZy6OJBge9Rsq0″]\u003c/p>\n\u003cp>The Spanish Surrealist spent much of the 1940s avoiding World War II and its aftermath in Monterey and Pebble Beach, but until now, his Central Coast sojourn was an unheralded footnote in a region packed with other tourist draws.\u003c/p>\n\u003cp>Why is this happening? Ukranian-born real estate developer Dmitry Piterman fell in love with Dalí \u003ca href=\"http://ww2.kqed.org/arts/2016/03/11/dali-in-monterey-alchemy-of-a-museum-makeover/\" target=\"_blank\" rel=\"noopener\">as a college student\u003c/a>, and amassed a collection he wants to share with the rest of the world.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/272592000″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“He was a radical, in the sense that he always went against the norm, against the establishment, against thinking in the box,” says Piterman, who also admires the way Dalí continued to educate himself over the course of his lifetime about psychology.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Dreams played a big part in his life, and a huge part in his work. He believed that if you could tap in to your subconscious mind, the art you create is much more pure, much more vivid, much more uncensored.”\u003c/p>\n\u003cfigure id=\"attachment_11774479\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11774479\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451-800x451.jpg\" alt=\"Dmitry Piterman, a real estate investor from Pebble Beach, has amassed the West Coast's biggest collection of works by Salvador Dali.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451-768x433.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dmitry Piterman, a real estate investor from Pebble Beach, has amassed the West Coast’s biggest collection of works by Salvador Dali. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A Cal grad, Piterman talked with UC Berkeley officials about housing his collection there, but backed away when it became clear much of that collection would not be openly exhibited. “They can’t create one museum dedicated to one artist. They have different priorities,” Piterman says. “So there would have been some kind of rotation, and a lot of art in storage. They showed me the storage, and the storage was much larger than the museum.”\u003c/p>\n\u003cp>In contrast, his collection takes up the majority of the Museum of Monterey, aside from a token historical exhibit in the former museum store.\u003c/p>\n\u003cp>Surrealism may no longer be in vogue, but Dalí’s techni-color art work has more chance of a drawing a crowd than what used to fill the museum run by the \u003ca href=\"http://museumofmonterey.org/\" target=\"_blank\" rel=\"noopener\">Monterey History and Art Association\u003c/a> at the foot of Fisherman’s Wharf. President Larry Chavez says the museum operated at a loss in recent years, as public interest in its maritime collection faded. In an attempt to engage the local community, the Association put out a call for new ideas to attract visitors.\u003c/p>\n\u003cp>“We’ve been in existence since the 1930s,” Chavez says. “Our membership is getting a little older, and this is going to be a kick starter to get new people involved.” The Association, he adds, can devote more attention now to some of its other priorities, like raising money to restore and maintain the region’s famous adobes.\u003c/p>\n\u003cfigure id=\"attachment_11777006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11777006 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-800x600.jpg\" alt=\"Gorgeous, hand-carved ship models like this one reflect the region's maritime history, but they weren't driving much foot traffic into the Museum of Monterey.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gorgeous, hand-carved ship models like this one reflect the region’s maritime history, but they weren’t driving much foot traffic into the Museum of Monterey. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piterman is not a casual art investor. He lived in Spain for the better part of a decade where he exhibited his collection in Spain and Belgium.\u003c/p>\n\u003cp>He can speak with great detail about Dalí’s “paranoiac-critical method,” to use the artist’s own words. “Some of the brushes he used had only one hair,” Piterman says. “So imagine the meticulousness with which he painted and created his art. That’s when jokester Dalí kind of disappeared. But burning giraffes and elephants on their frail little legs, all that is part of his work and part of kind of the provoking Dalí.”\u003c/p>\n\u003cp>Dalí was a fixture on the local art scene in the 1940s, but here as elsewhere, his outrageous eccentricities made more of a splash than his art did. Nearly everyone remembers his curlicue mustache, as much as they do “The Persistence of Memory,” his painting with the melting clocks.\u003c/p>\n\u003cfigure id=\"attachment_11774472\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11774472\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Dali17_logo_final_300dpi-1.jpg\" alt=\"The Monterey History and Art Association still owns the building, but the museum is almost entirely taken up with Dali17,\" width=\"250\" height=\"169\">\u003cfigcaption class=\"wp-caption-text\">The Monterey History and Art Association still owns the building, but the museum is almost entirely taken up with Dali17, \u003ccite>(Photo: Courtesy of Dali17)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piterman has free reign to design the presentation along with curator Hillary Roberts. Her task is a formidable one: to provide context for a wide range of visitors who made not be that familiar with the huge range of work Dalí put out over the course of his lifetime. He wasn’t just obsessed with Sigmund Freud and dreams, but also Spanish history and Catholicism. “Ours is a very large collection,” she says “You could imagine wanting to spend days here.”\u003c/p>\n\u003cp>“Dalí was classically trained, and learned in the style of Rafael and Valasquez,” says Lila Staples Thorsen, an associate professor of art history at \u003ca href=\"https://csumb.edu/vpa\" target=\"_blank\" rel=\"noopener\">Cal State Monterey Bay\u003c/a>. What you see looking at his body of work is traditional training bent to the service of Dalí’s “crazy Freudian, 20th century sense of the ridiculous.”\u003c/p>\n\u003cp>Dalí17 doesn’t compete with the museum the artist founded in \u003ca href=\"http://www.salvador-dali.org/museus/teatre-museu-dali/en_index/\" target=\"_blank\" rel=\"noopener\">Figueres\u003c/a>, (in the artist’s hometown in Spain), but it stands with that one, and the \u003ca href=\"http://thedali.org/\" target=\"_blank\" rel=\"noopener\">Salvador Dalí Museum\u003c/a> in St. Petersburg, Florida, as a temple to the artist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dalí17 will stay at the Museum of Monterey permanently. Piterman says he hopes to add to the collection, and host visiting Dalí exhibitions, as well as historic photos of Dalí’s time on the Peninsula. Perhaps most provocatively, he promises to stage Surrealist dinners that shock and delight the way the artist himself did back in the day.\u003c/p>\n\u003cfigure id=\"attachment_11774473\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11774473 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-450x600.jpg\" alt='\"Lima de los Dientes,\" an etching from \"Les Caprices De Goya De Salvador Dalí.\" For many people, this is not what they imagine when they imagine Dalí.' width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-884x1180.jpg 884w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-960x1281.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut.jpg 1200w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">“Lima de los Dientes,” an etching from “Les Caprices De Goya De Salvador Dalí.” For many people, this is not what they imagine when they imagine Dalí. \u003ccite>(Photo: Courtesy of Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The largest collection of works by Salvador Dalí on the West Coast opened to the public on Thursday. More than 570 etchings, lithographs, sculptures and tapestries essentially took over the Museum of Monterey, and the building received a new name: \u003ca href=\"http://www.dali17.com\" target=\"_blank\" rel=\"noopener\">Dali17\u003c/a>, a reference to the original 17-mile drive that once began at Hotel Del Monte, where Dalí stayed for a time.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Spanish Surrealist spent much of the 1940s avoiding World War II and its aftermath in Monterey and Pebble Beach, but until now, his Central Coast sojourn was an unheralded footnote in a region packed with other tourist draws.\u003c/p>\n\u003cp>Why is this happening? Ukranian-born real estate developer Dmitry Piterman fell in love with Dalí \u003ca href=\"http://ww2.kqed.org/arts/2016/03/11/dali-in-monterey-alchemy-of-a-museum-makeover/\" target=\"_blank\" rel=\"noopener\">as a college student\u003c/a>, and amassed a collection he wants to share with the rest of the world.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/272592000″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/272592000″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“He was a radical, in the sense that he always went against the norm, against the establishment, against thinking in the box,” says Piterman, who also admires the way Dalí continued to educate himself over the course of his lifetime about psychology.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Dreams played a big part in his life, and a huge part in his work. He believed that if you could tap in to your subconscious mind, the art you create is much more pure, much more vivid, much more uncensored.”\u003c/p>\n\u003cfigure id=\"attachment_11774479\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11774479\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451-800x451.jpg\" alt=\"Dmitry Piterman, a real estate investor from Pebble Beach, has amassed the West Coast's biggest collection of works by Salvador Dali.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Dali_5-e1457735187315-800x451-768x433.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dmitry Piterman, a real estate investor from Pebble Beach, has amassed the West Coast’s biggest collection of works by Salvador Dali. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A Cal grad, Piterman talked with UC Berkeley officials about housing his collection there, but backed away when it became clear much of that collection would not be openly exhibited. “They can’t create one museum dedicated to one artist. They have different priorities,” Piterman says. “So there would have been some kind of rotation, and a lot of art in storage. They showed me the storage, and the storage was much larger than the museum.”\u003c/p>\n\u003cp>In contrast, his collection takes up the majority of the Museum of Monterey, aside from a token historical exhibit in the former museum store.\u003c/p>\n\u003cp>Surrealism may no longer be in vogue, but Dalí’s techni-color art work has more chance of a drawing a crowd than what used to fill the museum run by the \u003ca href=\"http://museumofmonterey.org/\" target=\"_blank\" rel=\"noopener\">Monterey History and Art Association\u003c/a> at the foot of Fisherman’s Wharf. President Larry Chavez says the museum operated at a loss in recent years, as public interest in its maritime collection faded. In an attempt to engage the local community, the Association put out a call for new ideas to attract visitors.\u003c/p>\n\u003cp>“We’ve been in existence since the 1930s,” Chavez says. “Our membership is getting a little older, and this is going to be a kick starter to get new people involved.” The Association, he adds, can devote more attention now to some of its other priorities, like raising money to restore and maintain the region’s famous adobes.\u003c/p>\n\u003cfigure id=\"attachment_11777006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11777006 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-800x600.jpg\" alt=\"Gorgeous, hand-carved ship models like this one reflect the region's maritime history, but they weren't driving much foot traffic into the Museum of Monterey.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20076_Ship-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gorgeous, hand-carved ship models like this one reflect the region’s maritime history, but they weren’t driving much foot traffic into the Museum of Monterey. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piterman is not a casual art investor. He lived in Spain for the better part of a decade where he exhibited his collection in Spain and Belgium.\u003c/p>\n\u003cp>He can speak with great detail about Dalí’s “paranoiac-critical method,” to use the artist’s own words. “Some of the brushes he used had only one hair,” Piterman says. “So imagine the meticulousness with which he painted and created his art. That’s when jokester Dalí kind of disappeared. But burning giraffes and elephants on their frail little legs, all that is part of his work and part of kind of the provoking Dalí.”\u003c/p>\n\u003cp>Dalí was a fixture on the local art scene in the 1940s, but here as elsewhere, his outrageous eccentricities made more of a splash than his art did. Nearly everyone remembers his curlicue mustache, as much as they do “The Persistence of Memory,” his painting with the melting clocks.\u003c/p>\n\u003cfigure id=\"attachment_11774472\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11774472\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Dali17_logo_final_300dpi-1.jpg\" alt=\"The Monterey History and Art Association still owns the building, but the museum is almost entirely taken up with Dali17,\" width=\"250\" height=\"169\">\u003cfigcaption class=\"wp-caption-text\">The Monterey History and Art Association still owns the building, but the museum is almost entirely taken up with Dali17, \u003ccite>(Photo: Courtesy of Dali17)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piterman has free reign to design the presentation along with curator Hillary Roberts. Her task is a formidable one: to provide context for a wide range of visitors who made not be that familiar with the huge range of work Dalí put out over the course of his lifetime. He wasn’t just obsessed with Sigmund Freud and dreams, but also Spanish history and Catholicism. “Ours is a very large collection,” she says “You could imagine wanting to spend days here.”\u003c/p>\n\u003cp>“Dalí was classically trained, and learned in the style of Rafael and Valasquez,” says Lila Staples Thorsen, an associate professor of art history at \u003ca href=\"https://csumb.edu/vpa\" target=\"_blank\" rel=\"noopener\">Cal State Monterey Bay\u003c/a>. What you see looking at his body of work is traditional training bent to the service of Dalí’s “crazy Freudian, 20th century sense of the ridiculous.”\u003c/p>\n\u003cp>Dalí17 doesn’t compete with the museum the artist founded in \u003ca href=\"http://www.salvador-dali.org/museus/teatre-museu-dali/en_index/\" target=\"_blank\" rel=\"noopener\">Figueres\u003c/a>, (in the artist’s hometown in Spain), but it stands with that one, and the \u003ca href=\"http://thedali.org/\" target=\"_blank\" rel=\"noopener\">Salvador Dalí Museum\u003c/a> in St. Petersburg, Florida, as a temple to the artist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dalí17 will stay at the Museum of Monterey permanently. Piterman says he hopes to add to the collection, and host visiting Dalí exhibitions, as well as historic photos of Dalí’s time on the Peninsula. Perhaps most provocatively, he promises to stage Surrealist dinners that shock and delight the way the artist himself did back in the day.\u003c/p>\n\u003cfigure id=\"attachment_11774473\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11774473 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-450x600.jpg\" alt='\"Lima de los Dientes,\" an etching from \"Les Caprices De Goya De Salvador Dalí.\" For many people, this is not what they imagine when they imagine Dalí.' width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-884x1180.jpg 884w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut-960x1281.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20075_Dali_6-qut.jpg 1200w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">“Lima de los Dientes,” an etching from “Les Caprices De Goya De Salvador Dalí.” For many people, this is not what they imagine when they imagine Dalí. \u003ccite>(Photo: Courtesy of Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Ranu Mukherjee coined the term “hybrid film” to describe her dynamic, animated artworks created with hundreds of layers of photography, paintings and digital imagery. Some of her work examines cultural hybridity, the aftermath of colonialism, and questions of gender equality and feminism. Mukherjee combines influences from her personal visual culture and remixes them to create something new, with a narrative pointed towards social change. She is the mother of triplets and is currently exhibiting a new animation trilogy at the Asian Art Museum.\u003c/p>\n\u003cp>[contextly_sidebar id=”OCoPQd04mevFEximgAdCaRn0x0WgHUIL”]\u003c/p>\n\u003cp>\u003cb>Where do you live?\u003c/b>\u003c/p>\n\u003cp>I live in the Mission. My studio is in Dogpatch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Describe yourself in one word.\u003c/b>\u003c/p>\n\u003cp>Artist.\u003c/p>\n\u003cp>\u003cb>What did you do last night?\u003c/b>\u003c/p>\n\u003cp>Worked on \u003ci>Oracle Bones\u003c/i>, the last animation for my trilogy, \u003ci>\u003ca href=\"http://www.asianart.org/exhibitions/extracted\" target=\"_blank\" rel=\"noopener\">Extracted\u003c/a>\u003c/i>, and helped my kids with writing reports for school.\u003c/p>\n\u003cp>\u003cb>What can’t you live without?\u003c/b>\u003c/p>\n\u003cp>Love and hot showers.\u003c/p>\n\u003cp>\u003cb>If you could travel anywhere in the world, where would it be?\u003c/b>\u003c/p>\n\u003cp>I would do an extensive tour of Asian cities, with mountain villages in between. Some I have been to, and some not: Shanghai, Guangzhou, Kyoto, Tokyo, Hong Kong, Mumbai, Calcutta, Kochi, Varanasi, Saigon, Kathmandu, Xigazê, Manila, Lahore, Penang, Chiang Mai and Busan.\u003c/p>\n\u003cp>\u003cb>Who is your personal hero? \u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://theherbanalchemist.com/\" target=\"_blank\" rel=\"noopener\">Dr. Gabrielle Francis\u003c/a>. Gabrielle is a visionary holistic doctor that I have been working with for 11 years. She is so far ahead of the game in her ways of combining a variety of traditions tailored to the individual and teaching in the ways of being a body now. She has helped me be in the place I need to be to do what I do, in so many ways. When I see her, I always think about how different things would be if everyone were exposed to the understanding she has to offer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11641384 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-800x451.png\" alt=\"ranualt1-01\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-800x451.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-768x433.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-1180x665.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-960x541.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1.png 1493w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cb>How did you find your creative voice?\u003c/b>\u003c/p>\n\u003cp>I think it found me. Art takes up time and space differently than most things and I find that really compelling. I caught a glimpse of it once while making a painting in my first year of undergrad and I was hooked.\u003c/p>\n\u003cp>\u003cb>What is something most people don’t know about you?\u003c/b>\u003c/p>\n\u003cp>When I was a child I had tons of recurring nightmares that I named and wrote down. I always knew one was coming because I would be falling through a cavernous space full of screaming cartoon mouths. And while awake, I often saw cats out of the corner of my eye. (I have never posted this on Facebook, Twitter or Instagram, and I guess that’s the best measure of what most people know about you.)\u003c/p>\n\u003cp>\u003cb>What do you do when you feel uninspired?\u003c/b>\u003c/p>\n\u003cp>Write, procrastinate, dance, wander, worry.\u003c/p>\n\u003cp>\u003cb>What’s been your biggest learning moment in your art practice or otherwise, and what did you take from that experience?\u003c/b>\u003c/p>\n\u003cp>I think I learned most when I let go of ambivalence around being an artist and stopped trying to do anything else. Once I fully committed like that, I was able to start making a visual language that could reach people and do things I needed it to do, and as soon as that happened, opportunities started to come. It helped me to understand that despite all the different elements that are at play, it is the work that speaks.\u003c/p>\n\u003cfigure id=\"attachment_11757852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757852\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Breach-Install-800x534.jpg\" alt=\"An installation of Ranu Mukherjee's animation 'Breach.' (2015)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Breach-Install-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Breach-Install-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Breach-Install-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Breach-Install.jpg 920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An installation of Ranu Mukherjee’s animation ‘Breach’ (2015) \u003ccite>(Courtesy of the artist and Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your greatest achievement and how has it shaped you?\u003c/b>\u003c/p>\n\u003cp>Carrying and delivering healthy triplets. That taught me how incredible and strange bodies really are. Now that I live with them, they open up all kinds of dimensions I might never have access to otherwise.\u003c/p>\n\u003cp>\u003cb>Coffee or tea? What kind?\u003c/b>\u003c/p>\n\u003cp>Tea. Spicy Chai. Though I had to stop having caffeine, so for now it has to be spicy herbal chai.\u003c/p>\n\u003cp>\u003cb>What does a perfect day look like for you?\u003c/b>\u003c/p>\n\u003cp>Perfect day number one: A long studio day (mid-process after having collected or made all the source material I need in order to dig into the making of the work), followed by a dance class, dinner with my family, a bit of reading and a good sleep.\u003c/p>\n\u003cp>Perfect day number two: Art viewing and dialogue in the city during the day, beach on the island with family and friends in the evening sunset. I would add ending the day in a hot tub if that were an option. (This is modeled on a summer day in New York but could be adapted to anywhere.)\u003c/p>\n\u003cp>\u003cb>[contextly_sidebar id=”2KB2DFvVdfoefJwzzpekVzCm6jkVBe5Y”]Who are your local inspirations?\u003c/b>\u003c/p>\n\u003cp>So many. I’m surrounded by inspiring people. I’m most inspired by people I have been lucky enough to work with in one way or another. Among them Wendi Norris, Marc Mayer, Desirée Holman and Amy Balkin.\u003c/p>\n\u003cfigure id=\"attachment_11757854\" class=\"wp-caption aligncenter\" style=\"max-width: 512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757854\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Jade2-512x600.jpg\" alt=\"'Jade 2', ink and pigment on paper (2016)\" width=\"512\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jade2-512x600.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jade2-400x469.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jade2-768x901.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jade2.jpg 960w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003cfigcaption class=\"wp-caption-text\">Ranu Mukherjee’s ‘Jade 2’, ink and pigment on paper (2016). \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Favorite meal?\u003c/b>\u003c/p>\n\u003cp>I love Indian food of all regions.\u003c/p>\n\u003cp>\u003cb>What upcoming show are you excited about?\u003c/b>\u003c/p>\n\u003cp>\u003ci>Hito Steyerl: Factory of the Sun\u003c/i> at the Museum of Contemporary Art in Los Angeles. It’s been up since February but I haven’t been to see it yet. It runs until Sept. 12. Locally, Otobong Nkanga’s \u003ci>MATRIX 260\u003c/i> at the Berkeley Art Museum and Pacific Film Archive.\u003c/p>\n\u003cp>\u003cb>Where do you see yourself in five years?\u003c/b>\u003c/p>\n\u003cp>Making large bodies of work — pushing multiple-channel video, collaged textiles and painting, making national and international exhibitions, and doing large-scale public commissions.\u003c/p>\n\u003cp>\u003cb>If you could live in a book, TV show, movie, play or painting, what would it be?\u003c/b>\u003c/p>\n\u003cp>Wangechi Mutu’s \u003ci>A Shady Promise\u003c/i>.\u003c/p>\n\u003cp>\u003cb>Where and when can people see you and your art in action?\u003c/b>\u003c/p>\n\u003cp>My exhibition \u003cem>Extracted\u003c/em> is on view at the Asian Art Museum in San Francisco until Aug. 14, 2016. I also have a three-channel video at the Los Angeles County Museum of Art until Aug. 3rd. In December I’ll be doing a residency at the de Young Museum, and my third solo show at Gallery Wendi Norris opens in May 2017. \u003cem>Orphan Drift\u003c/em>, a collaborative project with Maggie Roberts, is showing with our work from the ’90s in \u003ci>Matter Fiction\u003c/i>, which is running in Museu Berardo in Lisbon until the end of August; and \u003ci>Unruly City\u003c/i>, an exhibition of new work, will be at Dold Projects in Germany in October of this year.\u003c/p>\n\u003cp>\u003cstrong>Experience Ranu Mukherjee’s artwork in her film ‘Home and The World’:\u003c/strong>\u003c/p>\n\u003cp>https://youtu.be/1mmGIGRfXjI\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, videos and information about our upcoming Women to Watch event at the \u003ca href=\"https://ww2.kqed.org/arts/2016/07/13/kqed-arts-women-to-watch-event/\" target=\"_blank\" rel=\"noopener\">SFJAZZ Center\u003c/a> featuring artists from the series.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We\u003c/a> want to hear from you! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"headline": "Women to Watch: Ranu Mukherjee",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Ranu Mukherjee coined the term “hybrid film” to describe her dynamic, animated artworks created with hundreds of layers of photography, paintings and digital imagery. Some of her work examines cultural hybridity, the aftermath of colonialism, and questions of gender equality and feminism. Mukherjee combines influences from her personal visual culture and remixes them to create something new, with a narrative pointed towards social change. She is the mother of triplets and is currently exhibiting a new animation trilogy at the Asian Art Museum.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>Where do you live?\u003c/b>\u003c/p>\n\u003cp>I live in the Mission. My studio is in Dogpatch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Describe yourself in one word.\u003c/b>\u003c/p>\n\u003cp>Artist.\u003c/p>\n\u003cp>\u003cb>What did you do last night?\u003c/b>\u003c/p>\n\u003cp>Worked on \u003ci>Oracle Bones\u003c/i>, the last animation for my trilogy, \u003ci>\u003ca href=\"http://www.asianart.org/exhibitions/extracted\" target=\"_blank\" rel=\"noopener\">Extracted\u003c/a>\u003c/i>, and helped my kids with writing reports for school.\u003c/p>\n\u003cp>\u003cb>What can’t you live without?\u003c/b>\u003c/p>\n\u003cp>Love and hot showers.\u003c/p>\n\u003cp>\u003cb>If you could travel anywhere in the world, where would it be?\u003c/b>\u003c/p>\n\u003cp>I would do an extensive tour of Asian cities, with mountain villages in between. Some I have been to, and some not: Shanghai, Guangzhou, Kyoto, Tokyo, Hong Kong, Mumbai, Calcutta, Kochi, Varanasi, Saigon, Kathmandu, Xigazê, Manila, Lahore, Penang, Chiang Mai and Busan.\u003c/p>\n\u003cp>\u003cb>Who is your personal hero? \u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://theherbanalchemist.com/\" target=\"_blank\" rel=\"noopener\">Dr. Gabrielle Francis\u003c/a>. Gabrielle is a visionary holistic doctor that I have been working with for 11 years. She is so far ahead of the game in her ways of combining a variety of traditions tailored to the individual and teaching in the ways of being a body now. She has helped me be in the place I need to be to do what I do, in so many ways. When I see her, I always think about how different things would be if everyone were exposed to the understanding she has to offer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11641384 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-800x451.png\" alt=\"ranualt1-01\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-800x451.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-768x433.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-1180x665.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1-960x541.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ranualt1-01-1.png 1493w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cb>How did you find your creative voice?\u003c/b>\u003c/p>\n\u003cp>I think it found me. Art takes up time and space differently than most things and I find that really compelling. I caught a glimpse of it once while making a painting in my first year of undergrad and I was hooked.\u003c/p>\n\u003cp>\u003cb>What is something most people don’t know about you?\u003c/b>\u003c/p>\n\u003cp>When I was a child I had tons of recurring nightmares that I named and wrote down. I always knew one was coming because I would be falling through a cavernous space full of screaming cartoon mouths. And while awake, I often saw cats out of the corner of my eye. (I have never posted this on Facebook, Twitter or Instagram, and I guess that’s the best measure of what most people know about you.)\u003c/p>\n\u003cp>\u003cb>What do you do when you feel uninspired?\u003c/b>\u003c/p>\n\u003cp>Write, procrastinate, dance, wander, worry.\u003c/p>\n\u003cp>\u003cb>What’s been your biggest learning moment in your art practice or otherwise, and what did you take from that experience?\u003c/b>\u003c/p>\n\u003cp>I think I learned most when I let go of ambivalence around being an artist and stopped trying to do anything else. Once I fully committed like that, I was able to start making a visual language that could reach people and do things I needed it to do, and as soon as that happened, opportunities started to come. It helped me to understand that despite all the different elements that are at play, it is the work that speaks.\u003c/p>\n\u003cfigure id=\"attachment_11757852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757852\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Breach-Install-800x534.jpg\" alt=\"An installation of Ranu Mukherjee's animation 'Breach.' (2015)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Breach-Install-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Breach-Install-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Breach-Install-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Breach-Install.jpg 920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An installation of Ranu Mukherjee’s animation ‘Breach’ (2015) \u003ccite>(Courtesy of the artist and Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your greatest achievement and how has it shaped you?\u003c/b>\u003c/p>\n\u003cp>Carrying and delivering healthy triplets. That taught me how incredible and strange bodies really are. Now that I live with them, they open up all kinds of dimensions I might never have access to otherwise.\u003c/p>\n\u003cp>\u003cb>Coffee or tea? What kind?\u003c/b>\u003c/p>\n\u003cp>Tea. Spicy Chai. Though I had to stop having caffeine, so for now it has to be spicy herbal chai.\u003c/p>\n\u003cp>\u003cb>What does a perfect day look like for you?\u003c/b>\u003c/p>\n\u003cp>Perfect day number one: A long studio day (mid-process after having collected or made all the source material I need in order to dig into the making of the work), followed by a dance class, dinner with my family, a bit of reading and a good sleep.\u003c/p>\n\u003cp>Perfect day number two: Art viewing and dialogue in the city during the day, beach on the island with family and friends in the evening sunset. I would add ending the day in a hot tub if that were an option. (This is modeled on a summer day in New York but could be adapted to anywhere.)\u003c/p>\n\u003cp>\u003cb>\u003c/p>\u003cp>\u003c/p>\u003cp>Who are your local inspirations?\u003c/b>\u003c/p>\n\u003cp>So many. I’m surrounded by inspiring people. I’m most inspired by people I have been lucky enough to work with in one way or another. Among them Wendi Norris, Marc Mayer, Desirée Holman and Amy Balkin.\u003c/p>\n\u003cfigure id=\"attachment_11757854\" class=\"wp-caption aligncenter\" style=\"max-width: 512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757854\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Jade2-512x600.jpg\" alt=\"'Jade 2', ink and pigment on paper (2016)\" width=\"512\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jade2-512x600.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jade2-400x469.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jade2-768x901.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Jade2.jpg 960w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003cfigcaption class=\"wp-caption-text\">Ranu Mukherjee’s ‘Jade 2’, ink and pigment on paper (2016). \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Favorite meal?\u003c/b>\u003c/p>\n\u003cp>I love Indian food of all regions.\u003c/p>\n\u003cp>\u003cb>What upcoming show are you excited about?\u003c/b>\u003c/p>\n\u003cp>\u003ci>Hito Steyerl: Factory of the Sun\u003c/i> at the Museum of Contemporary Art in Los Angeles. It’s been up since February but I haven’t been to see it yet. It runs until Sept. 12. Locally, Otobong Nkanga’s \u003ci>MATRIX 260\u003c/i> at the Berkeley Art Museum and Pacific Film Archive.\u003c/p>\n\u003cp>\u003cb>Where do you see yourself in five years?\u003c/b>\u003c/p>\n\u003cp>Making large bodies of work — pushing multiple-channel video, collaged textiles and painting, making national and international exhibitions, and doing large-scale public commissions.\u003c/p>\n\u003cp>\u003cb>If you could live in a book, TV show, movie, play or painting, what would it be?\u003c/b>\u003c/p>\n\u003cp>Wangechi Mutu’s \u003ci>A Shady Promise\u003c/i>.\u003c/p>\n\u003cp>\u003cb>Where and when can people see you and your art in action?\u003c/b>\u003c/p>\n\u003cp>My exhibition \u003cem>Extracted\u003c/em> is on view at the Asian Art Museum in San Francisco until Aug. 14, 2016. I also have a three-channel video at the Los Angeles County Museum of Art until Aug. 3rd. In December I’ll be doing a residency at the de Young Museum, and my third solo show at Gallery Wendi Norris opens in May 2017. \u003cem>Orphan Drift\u003c/em>, a collaborative project with Maggie Roberts, is showing with our work from the ’90s in \u003ci>Matter Fiction\u003c/i>, which is running in Museu Berardo in Lisbon until the end of August; and \u003ci>Unruly City\u003c/i>, an exhibition of new work, will be at Dold Projects in Germany in October of this year.\u003c/p>\n\u003cp>\u003cstrong>Experience Ranu Mukherjee’s artwork in her film ‘Home and The World’:\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1mmGIGRfXjI'\n title='//www.youtube.com/embed/1mmGIGRfXjI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, videos and information about our upcoming Women to Watch event at the \u003ca href=\"https://ww2.kqed.org/arts/2016/07/13/kqed-arts-women-to-watch-event/\" target=\"_blank\" rel=\"noopener\">SFJAZZ Center\u003c/a> featuring artists from the series.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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": "New York City to Name Intersection 'Bill Cunningham Corner'",
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"content": "\u003cp>A Manhattan street corner will be temporarily named for longtime fashion photographer Bill Cunningham, who died last month.\u003c/p>\n\u003cp>Cunningham, who took pictures of everyday people on the streets of New York for the \u003cem>New York Times\u003c/em>, died June 25 at age 87.\u003c/p>\n\u003cp>City officials on Wednesday are renaming the northeast corner of 57th Street and Fifth Avenue “Bill Cunningham Corner.”\u003c/p>\n\u003cp>The renaming will last through next Wednesday. Mayor Bill de Blasio has the power to rename a street for a few days but permanent renaming must go through a legislative process. The city hopes to find a more lasting way to honor Cunningham.\u003c/p>\n\u003cp>The mayor says Cunningham’s photos captured the “city’s diversity in every sense of the word, and helped define New York as the fashion capital of the world.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Manhattan street corner will be temporarily named for longtime fashion photographer Bill Cunningham, who died last month.\u003c/p>\n\u003cp>Cunningham, who took pictures of everyday people on the streets of New York for the \u003cem>New York Times\u003c/em>, died June 25 at age 87.\u003c/p>\n\u003cp>City officials on Wednesday are renaming the northeast corner of 57th Street and Fifth Avenue “Bill Cunningham Corner.”\u003c/p>\n\u003cp>The renaming will last through next Wednesday. Mayor Bill de Blasio has the power to rename a street for a few days but permanent renaming must go through a legislative process. The city hopes to find a more lasting way to honor Cunningham.\u003c/p>\n\u003cp>The mayor says Cunningham’s photos captured the “city’s diversity in every sense of the word, and helped define New York as the fashion capital of the world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "a-starkly-different-iron-man-black-female-and-15-years-old",
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"content": "\u003cp>Her name is Riri Williams. She reverse-engineered her own version of the Iron Man battlesuit in her MIT dorm room, got kicked out, and struck out on her own to do the superhero thing. Clumsily at first, but she’s learning fast. So fast she’s impressing Tony Stark, who’s questioning his status as the Marvel Universe’s go-to, super-powered Campbell’s soup can. Readers first met her in the March issue of \u003cem>Invincible Iron Man\u003c/em>.\u003c/p>\n\u003cp>And \u003ca href=\"http://time.com/4394478/iron-man-riri-williams-tony-stark/?xid=homepage\" target=\"_blank\" rel=\"noopener\">according to an interview in \u003cem>TIME\u003c/em> with Brian Michael Bendis\u003c/a>, who’s writing both that \u003cem>Iron Man\u003c/em> title and this summer’s comics crossover event, \u003cem>Civil War II\u003c/em>, she’s about to take over for Tony Stark when \u003cem>Invincible Iron Man\u003c/em> relaunches in the fall.\u003c/p>\n\u003cp>It’s the latest in a series of moves that’s slowly but steadily transforming the Avengers’ roster from a team with more white dudes than a Harold Bloom syllabus into a super-group that more accurately reflects the world off of the comics page.\u003c/p>\n\u003cp>First came Miles Morales, a black Latino kid who stepped into the role of Spider-Man. Next came Kamala Khan, a teenage Muslim from New Jersey who assumed the title of Ms. Marvel, and America Chavez, a Latina lesbian who adopted the name of Golden Age hero Miss America. Recently Sam Wilson, the former Marvel hero The Falcon, took over as Captain America (not for the first time). Two years ago, Jane Foster, the girlfriend of Marvel’s resident God of Thunder, replaced him, becoming the female Thor.\u003c/p>\n\u003cfigure id=\"attachment_11781600\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg\" alt=\"The cover of 'Invincible Iron Man,' with art by Jeff Dekal\" width=\"640\" height=\"973\" class=\"size-large wp-image-11781600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-400x608.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-960x1459.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2.jpg 987w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Invincible Iron Man,’ with art by Jeff Dekal \u003ccite>(Courtesy: Marvel Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s worth noting that in every one of these cases, the new character has simply assumed an existing hero’s shtick. That’s because it takes years for brand-new characters to establish themselves, if they ever do; there’s certainly no guarantee readers will accept an original hero in a genre as steeped (read: wallowing) in history as mainstream superhero comics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Having a new character take on the name and powers of a long-established hero offers an effective shortcut, and one that assures three different but coequal outcomes:\u003c/p>\n\u003cp>1. The sheer name-recognition of the superhero in question will generate coverage, like this blog post;\u003c/p>\n\u003cp>2. A subset of hardcore fans who believe superhero comics should be fixed in a permanent, “iconic” stasis (read: should always remain exactly the way they were when these fans were thirteen years old) will rise up in protest; and\u003c/p>\n\u003cp>3. Readers who have rarely seen themselves represented in superhero comics in such a high-profile way — people of color, LGBT people, people of different faiths — will at least investigate a new take on a character. Whether or not they stick with it depends, of course, entirely on the execution; representation does not guarantee readership, nor should it. But comics, like any medium, grow more interesting, more relevant, and more revelatory as they grow less monolithic. And that’s what moves like this set out to do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In that interview in TIME, Bendis was asked why it’s taken so long for changes like this to occur in comics. He said:\u003c/p>\n\u003cblockquote>\n\u003cp>Talking to \u003cem>any\u003c/em> of the older creators, it’s the thing they said they wish they’d done more of — reflecting the world around them. It just wasn’t where the world was at at that time. Now, when you have a young woman come up to you at a signing and say how happy she is to be represented in his universe, you know you’re moving in the right direction.\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Starkly+Different+Iron+Man%3A+Black%2C+Female%2C+And+15+Years+Old&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Her name is Riri Williams. She reverse-engineered her own version of the Iron Man battlesuit in her MIT dorm room, got kicked out, and struck out on her own to do the superhero thing. Clumsily at first, but she’s learning fast. So fast she’s impressing Tony Stark, who’s questioning his status as the Marvel Universe’s go-to, super-powered Campbell’s soup can. Readers first met her in the March issue of \u003cem>Invincible Iron Man\u003c/em>.\u003c/p>\n\u003cp>And \u003ca href=\"http://time.com/4394478/iron-man-riri-williams-tony-stark/?xid=homepage\" target=\"_blank\" rel=\"noopener\">according to an interview in \u003cem>TIME\u003c/em> with Brian Michael Bendis\u003c/a>, who’s writing both that \u003cem>Iron Man\u003c/em> title and this summer’s comics crossover event, \u003cem>Civil War II\u003c/em>, she’s about to take over for Tony Stark when \u003cem>Invincible Iron Man\u003c/em> relaunches in the fall.\u003c/p>\n\u003cp>It’s the latest in a series of moves that’s slowly but steadily transforming the Avengers’ roster from a team with more white dudes than a Harold Bloom syllabus into a super-group that more accurately reflects the world off of the comics page.\u003c/p>\n\u003cp>First came Miles Morales, a black Latino kid who stepped into the role of Spider-Man. Next came Kamala Khan, a teenage Muslim from New Jersey who assumed the title of Ms. Marvel, and America Chavez, a Latina lesbian who adopted the name of Golden Age hero Miss America. Recently Sam Wilson, the former Marvel hero The Falcon, took over as Captain America (not for the first time). Two years ago, Jane Foster, the girlfriend of Marvel’s resident God of Thunder, replaced him, becoming the female Thor.\u003c/p>\n\u003cfigure id=\"attachment_11781600\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg\" alt=\"The cover of 'Invincible Iron Man,' with art by Jeff Dekal\" width=\"640\" height=\"973\" class=\"size-large wp-image-11781600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-400x608.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-960x1459.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2.jpg 987w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Invincible Iron Man,’ with art by Jeff Dekal \u003ccite>(Courtesy: Marvel Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s worth noting that in every one of these cases, the new character has simply assumed an existing hero’s shtick. That’s because it takes years for brand-new characters to establish themselves, if they ever do; there’s certainly no guarantee readers will accept an original hero in a genre as steeped (read: wallowing) in history as mainstream superhero comics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Having a new character take on the name and powers of a long-established hero offers an effective shortcut, and one that assures three different but coequal outcomes:\u003c/p>\n\u003cp>1. The sheer name-recognition of the superhero in question will generate coverage, like this blog post;\u003c/p>\n\u003cp>2. A subset of hardcore fans who believe superhero comics should be fixed in a permanent, “iconic” stasis (read: should always remain exactly the way they were when these fans were thirteen years old) will rise up in protest; and\u003c/p>\n\u003cp>3. Readers who have rarely seen themselves represented in superhero comics in such a high-profile way — people of color, LGBT people, people of different faiths — will at least investigate a new take on a character. Whether or not they stick with it depends, of course, entirely on the execution; representation does not guarantee readership, nor should it. But comics, like any medium, grow more interesting, more relevant, and more revelatory as they grow less monolithic. And that’s what moves like this set out to do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In that interview in TIME, Bendis was asked why it’s taken so long for changes like this to occur in comics. He said:\u003c/p>\n\u003cblockquote>\n\u003cp>Talking to \u003cem>any\u003c/em> of the older creators, it’s the thing they said they wish they’d done more of — reflecting the world around them. It just wasn’t where the world was at at that time. Now, when you have a young woman come up to you at a signing and say how happy she is to be represented in his universe, you know you’re moving in the right direction.\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Starkly+Different+Iron+Man%3A+Black%2C+Female%2C+And+15+Years+Old&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>As the co-founder of San Jose’s \u003ca href=\"http://www.schoolofvisualphilosophy.com/\" target=\"_blank\" rel=\"noopener\">School of Visual Philosophy\u003c/a>, fine artist Dana Harris Seeger seeks to bring together arts education, culture and technology in Silicon Valley. Like other arts institutions in the Bay Area, the school is currently under threat of being sold, but Harris Seeger pushes on, driven by the community that she serves and her own deep love for the craft.\u003c/p>\n\u003cp>\u003cb>Where do you live?\u003c/b>\u003cbr>\nSan Jose, in the Delmas Park Neighborhood[contextly_sidebar id=”c313tb164w2kSskLtSuZl2zH4tDLhZSi”]\u003c/p>\n\u003cp>\u003cb>Describe yourself in one word.\u003c/b>\u003cbr>\nDedicated.\u003c/p>\n\u003cp>\u003cb>What did you do last night?\u003c/b>\u003cbr>\nMade dinner for my family, knitted a little bit, read a story to my daughter, gave her a bath and put her to bed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>What can’t you live without?\u003c/b>\u003cbr>\nKnitting. It’s my release.\u003c/p>\n\u003cp>\u003cb>If you could travel any where in the world, where would it be?\u003c/b>\u003cbr>\nThe Baltic countries — Estonia and Latvia (my ethnic place of origin) and Norway.\u003c/p>\n\u003cfigure id=\"attachment_11666710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666710 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25-800x450.png\" alt=\"Dana Harris\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dana Harris.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Who is your personal hero? Why?\u003c/b>\u003cbr>\nMy personal hero is my grandpa. He fought in WWII for a country that wasn’t his own. He was forced to leave his home, start a new family and build a home in a foreign country where he didn’t know the language, and managed to start several businesses. He was also really creative and funny.\u003c/p>\n\u003cp>\u003cb>How did you find your creative voice?\u003c/b>\u003cbr>\nMy parents gave me my creative voice when I was little. They made it super cool to make art, and encouraged me to pursue art as a career. When I was in grad school I had a great teacher (\u003ca href=\"http://www.galeantokal.com/\" target=\"_blank\" rel=\"noopener\">Gale Antokal\u003c/a>) who helped me find my voice and a way of working that made my world make sense.\u003c/p>\n\u003cp>\u003cb>What is something most people don’t know about you?\u003c/b>\u003cbr>\nI am an identical twin.\u003c/p>\n\u003cp>\u003cb>What do you do when you feel uninspired?\u003c/b>\u003cbr>\nI love going to local art museums and galleries when I need inspiration. It gets my creative juices flowing to find things unexpectedly inspiring.\u003c/p>\n\u003cfigure id=\"attachment_11666711\" class=\"wp-caption aligncenter\" style=\"max-width: 531px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666711 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-41-531x600.png\" alt=\"Dana Harris\" width=\"531\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-41-531x600.png 531w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-41-400x452.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-41-768x868.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-41.png 885w\" sizes=\"(max-width: 531px) 100vw, 531px\">\u003cfigcaption class=\"wp-caption-text\">Dana Harris.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your biggest ‘learning moment,’ and what did you you take from that experience?\u003c/b>\u003cbr>\nMy biggest learning moment has been opening up a business. I never thought of myself as a “boss” or business person \u003cem>per se\u003c/em>, and I have learned how to manage people who look to me for inspiration and direction — as well as how to get things done when dealing with city politics!\u003c/p>\n\u003cp>\u003cb>What’s your greatest achievement and how has it shaped you?\u003c/b>\u003cbr>\nOther than opening up an art business in a struggling economy, my greatest achievement has been becoming a parent. My daughter is awesome, and has taught me so much about what to prioritize and what to let go of. Becoming responsible for the life of a magical little creature has shaped me into a more patient and appreciative human.\u003c/p>\n\u003cfigure id=\"attachment_11758491\" class=\"wp-caption aligncenter\" style=\"max-width: 465px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758491\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/DanaHarris_6-465x600.jpg\" alt=\"Lithograph with Screen Print and mixed media on paper and Plexiglas\" width=\"465\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-465x600.jpg 465w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-400x516.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-768x990.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-915x1180.jpg 915w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-1180x1522.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-960x1238.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6.jpg 1489w\" sizes=\"(max-width: 465px) 100vw, 465px\">\u003cfigcaption class=\"wp-caption-text\">Lithograph with screen print and mixed media on paper and Plexiglas. \u003ccite>(Courtesy of Dana Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Coffee or tea? What kind?\u003c/b>\u003cbr>\nI love both, but have been preferring coffee lately, mostly because I got a Keurig and it’s so damn easy to make. Peet’s medium roast.\u003c/p>\n\u003cp>\u003cb>What does a perfect day look like for you?\u003c/b>\u003cbr>\nI wake up with my family, lounge in bed for an hour, my husband makes breakfast, we all go to the studio for a few hours and I make art (instead of doing business stuff), then we go home and hang out in the garden and chill with my sister and her family on the patio by the fire.\u003c/p>\n\u003cp>\u003cb>Who are your local inspirations?\u003c/b>\u003cbr>\nI love \u003ca href=\"http://michaelcutlip.com/\" target=\"_blank\" rel=\"noopener\">Michael Cutlip’s\u003c/a> paintings and prints, \u003ca href=\"http://www.squeakcarnwath.com/\" target=\"_blank\" rel=\"noopener\">Squeak Carnwath’s\u003c/a> huge paintings, and \u003ca href=\"http://www.stephaniemetz.com/\" target=\"_blank\" rel=\"noopener\">Stephanie Metz\u003c/a> (one of our studio artists), who makes needle-felted wool sculptures.\u003c/p>\n\u003cp>\u003cb>Favorite meal?\u003c/b>\u003cbr>\nFresh bread, avocado, brie and a bottle of red wine (preferably eaten on the beach).\u003c/p>\n\u003cfigure id=\"attachment_11758492\" class=\"wp-caption aligncenter\" style=\"max-width: 765px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758492\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/DanaHarris_9-765x600.jpg\" alt=\"'Encaustic', collage, drawing materials, chalk paint and chalk on panel\" width=\"765\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9-765x600.jpg 765w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9-400x314.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9-1180x926.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9-960x753.jpg 960w\" sizes=\"(max-width: 765px) 100vw, 765px\">\u003cfigcaption class=\"wp-caption-text\">‘Encaustic’, collage, drawing materials, chalk paint and chalk on panel. \u003ccite>(Courtesy of Dana Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cbr>\nWhat upcoming show are you excited about?\u003c/b>\u003cbr>\nI am excited about the \u003ca href=\"http://ww2.kqed.org/arts/2016/03/30/sfmoma-giving-away-free-tickets-for-opening-day/\" target=\"_blank\" rel=\"noopener\">re-opening of the SFMOMA\u003c/a> and Claudy Jongstra’s piece using \u003ca href=\"http://www.claudyjongstra.com/process\" target=\"_blank\" rel=\"noopener\">sheep’s wool\u003c/a> — obviously, I am obsessed with yarn, knitting, fiber and art.\u003c/p>\n\u003cp>\u003cb>Where do you see yourself in five years?\u003c/b>\u003cbr>\nI see myself working here at Visual Philosophy, making art and exhibiting, raising my daughter (maybe another sibling as well), and growing my business into a full-fledged art school that will become an accredited MFA or PhD program.\u003c/p>\n\u003cp>\u003cb>If you could live in a book, TV show, movie, play or painting, what would it be?\u003c/b>\u003cbr>\nI would live in Matisse’s painting \u003ca href=\"http://www.henri-matisse.net/paintings/bga.html\" target=\"_blank\" rel=\"noopener\">\u003ci>The Goldfish\u003c/i>\u003c/a>. I \u003cem>love\u003c/em> the colors, patterns and happiness that painting evokes.\u003c/p>\n\u003cp>\u003cb>Where and when can people see you or your art in action?\u003c/b>\u003cbr>\nPeople are always invited to come by the \u003ca href=\"http://www.schoolofvisualphilosophy.com/\">School of Visual Philosophy\u003c/a> to see my work up there and in my studio!\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, videos and information about our upcoming Women to Watch event at the \u003ca href=\"https://ww2.kqed.org/arts/2016/07/13/kqed-arts-women-to-watch-event/\" target=\"_blank\" rel=\"noopener\">SFJAZZ Center\u003c/a> featuring artists from the series.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We\u003c/a> want to hear from you! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>As the co-founder of San Jose’s \u003ca href=\"http://www.schoolofvisualphilosophy.com/\" target=\"_blank\" rel=\"noopener\">School of Visual Philosophy\u003c/a>, fine artist Dana Harris Seeger seeks to bring together arts education, culture and technology in Silicon Valley. Like other arts institutions in the Bay Area, the school is currently under threat of being sold, but Harris Seeger pushes on, driven by the community that she serves and her own deep love for the craft.\u003c/p>\n\u003cp>\u003cb>Where do you live?\u003c/b>\u003cbr>\nSan Jose, in the Delmas Park Neighborhood\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>Describe yourself in one word.\u003c/b>\u003cbr>\nDedicated.\u003c/p>\n\u003cp>\u003cb>What did you do last night?\u003c/b>\u003cbr>\nMade dinner for my family, knitted a little bit, read a story to my daughter, gave her a bath and put her to bed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>What can’t you live without?\u003c/b>\u003cbr>\nKnitting. It’s my release.\u003c/p>\n\u003cp>\u003cb>If you could travel any where in the world, where would it be?\u003c/b>\u003cbr>\nThe Baltic countries — Estonia and Latvia (my ethnic place of origin) and Norway.\u003c/p>\n\u003cfigure id=\"attachment_11666710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666710 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25-800x450.png\" alt=\"Dana Harris\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/KQED-WOMEN-TO-WATCH-25.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dana Harris.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Who is your personal hero? Why?\u003c/b>\u003cbr>\nMy personal hero is my grandpa. He fought in WWII for a country that wasn’t his own. He was forced to leave his home, start a new family and build a home in a foreign country where he didn’t know the language, and managed to start several businesses. He was also really creative and funny.\u003c/p>\n\u003cp>\u003cb>How did you find your creative voice?\u003c/b>\u003cbr>\nMy parents gave me my creative voice when I was little. They made it super cool to make art, and encouraged me to pursue art as a career. When I was in grad school I had a great teacher (\u003ca href=\"http://www.galeantokal.com/\" target=\"_blank\" rel=\"noopener\">Gale Antokal\u003c/a>) who helped me find my voice and a way of working that made my world make sense.\u003c/p>\n\u003cp>\u003cb>What is something most people don’t know about you?\u003c/b>\u003cbr>\nI am an identical twin.\u003c/p>\n\u003cp>\u003cb>What do you do when you feel uninspired?\u003c/b>\u003cbr>\nI love going to local art museums and galleries when I need inspiration. It gets my creative juices flowing to find things unexpectedly inspiring.\u003c/p>\n\u003cfigure id=\"attachment_11666711\" class=\"wp-caption aligncenter\" style=\"max-width: 531px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666711 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-41-531x600.png\" alt=\"Dana Harris\" width=\"531\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-41-531x600.png 531w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-41-400x452.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-41-768x868.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/KQED-WOMEN-TO-WATCH-41.png 885w\" sizes=\"(max-width: 531px) 100vw, 531px\">\u003cfigcaption class=\"wp-caption-text\">Dana Harris.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your biggest ‘learning moment,’ and what did you you take from that experience?\u003c/b>\u003cbr>\nMy biggest learning moment has been opening up a business. I never thought of myself as a “boss” or business person \u003cem>per se\u003c/em>, and I have learned how to manage people who look to me for inspiration and direction — as well as how to get things done when dealing with city politics!\u003c/p>\n\u003cp>\u003cb>What’s your greatest achievement and how has it shaped you?\u003c/b>\u003cbr>\nOther than opening up an art business in a struggling economy, my greatest achievement has been becoming a parent. My daughter is awesome, and has taught me so much about what to prioritize and what to let go of. Becoming responsible for the life of a magical little creature has shaped me into a more patient and appreciative human.\u003c/p>\n\u003cfigure id=\"attachment_11758491\" class=\"wp-caption aligncenter\" style=\"max-width: 465px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758491\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/DanaHarris_6-465x600.jpg\" alt=\"Lithograph with Screen Print and mixed media on paper and Plexiglas\" width=\"465\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-465x600.jpg 465w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-400x516.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-768x990.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-915x1180.jpg 915w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-1180x1522.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6-960x1238.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_6.jpg 1489w\" sizes=\"(max-width: 465px) 100vw, 465px\">\u003cfigcaption class=\"wp-caption-text\">Lithograph with screen print and mixed media on paper and Plexiglas. \u003ccite>(Courtesy of Dana Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Coffee or tea? What kind?\u003c/b>\u003cbr>\nI love both, but have been preferring coffee lately, mostly because I got a Keurig and it’s so damn easy to make. Peet’s medium roast.\u003c/p>\n\u003cp>\u003cb>What does a perfect day look like for you?\u003c/b>\u003cbr>\nI wake up with my family, lounge in bed for an hour, my husband makes breakfast, we all go to the studio for a few hours and I make art (instead of doing business stuff), then we go home and hang out in the garden and chill with my sister and her family on the patio by the fire.\u003c/p>\n\u003cp>\u003cb>Who are your local inspirations?\u003c/b>\u003cbr>\nI love \u003ca href=\"http://michaelcutlip.com/\" target=\"_blank\" rel=\"noopener\">Michael Cutlip’s\u003c/a> paintings and prints, \u003ca href=\"http://www.squeakcarnwath.com/\" target=\"_blank\" rel=\"noopener\">Squeak Carnwath’s\u003c/a> huge paintings, and \u003ca href=\"http://www.stephaniemetz.com/\" target=\"_blank\" rel=\"noopener\">Stephanie Metz\u003c/a> (one of our studio artists), who makes needle-felted wool sculptures.\u003c/p>\n\u003cp>\u003cb>Favorite meal?\u003c/b>\u003cbr>\nFresh bread, avocado, brie and a bottle of red wine (preferably eaten on the beach).\u003c/p>\n\u003cfigure id=\"attachment_11758492\" class=\"wp-caption aligncenter\" style=\"max-width: 765px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758492\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/DanaHarris_9-765x600.jpg\" alt=\"'Encaustic', collage, drawing materials, chalk paint and chalk on panel\" width=\"765\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9-765x600.jpg 765w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9-400x314.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9-1180x926.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DanaHarris_9-960x753.jpg 960w\" sizes=\"(max-width: 765px) 100vw, 765px\">\u003cfigcaption class=\"wp-caption-text\">‘Encaustic’, collage, drawing materials, chalk paint and chalk on panel. \u003ccite>(Courtesy of Dana Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cbr>\nWhat upcoming show are you excited about?\u003c/b>\u003cbr>\nI am excited about the \u003ca href=\"http://ww2.kqed.org/arts/2016/03/30/sfmoma-giving-away-free-tickets-for-opening-day/\" target=\"_blank\" rel=\"noopener\">re-opening of the SFMOMA\u003c/a> and Claudy Jongstra’s piece using \u003ca href=\"http://www.claudyjongstra.com/process\" target=\"_blank\" rel=\"noopener\">sheep’s wool\u003c/a> — obviously, I am obsessed with yarn, knitting, fiber and art.\u003c/p>\n\u003cp>\u003cb>Where do you see yourself in five years?\u003c/b>\u003cbr>\nI see myself working here at Visual Philosophy, making art and exhibiting, raising my daughter (maybe another sibling as well), and growing my business into a full-fledged art school that will become an accredited MFA or PhD program.\u003c/p>\n\u003cp>\u003cb>If you could live in a book, TV show, movie, play or painting, what would it be?\u003c/b>\u003cbr>\nI would live in Matisse’s painting \u003ca href=\"http://www.henri-matisse.net/paintings/bga.html\" target=\"_blank\" rel=\"noopener\">\u003ci>The Goldfish\u003c/i>\u003c/a>. I \u003cem>love\u003c/em> the colors, patterns and happiness that painting evokes.\u003c/p>\n\u003cp>\u003cb>Where and when can people see you or your art in action?\u003c/b>\u003cbr>\nPeople are always invited to come by the \u003ca href=\"http://www.schoolofvisualphilosophy.com/\">School of Visual Philosophy\u003c/a> to see my work up there and in my studio!\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, videos and information about our upcoming Women to Watch event at the \u003ca href=\"https://ww2.kqed.org/arts/2016/07/13/kqed-arts-women-to-watch-event/\" target=\"_blank\" rel=\"noopener\">SFJAZZ Center\u003c/a> featuring artists from the series.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We\u003c/a> want to hear from you! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "find-beauty-in-the-streets-of-san-jose-this-summer",
"title": "Find Beauty in the Streets of San Jose this Summer",
"publishDate": 1467730832,
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"headTitle": "Find Beauty in the Streets of San Jose this Summer | KQED",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/hot-summer-days-and-nights-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11638282\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg\" alt=\"SummerArtsGuide-2016-300x300\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>In August 2000, the renowned street artist \u003ca href=\"https://obeygiant.com/\" target=\"_blank\" rel=\"noopener\">Shepard Fairey\u003c/a> was in town for his solo exhibition at Anno Domini. He spent the afternoon leading up to his opening reception wheat pasting his art on numerous walls and utility boxes surrounding the hotel in which he was staying — not that many of us in downtown San Jose ever saw it. Our city had a “zero tolerance” graffiti policy and a well-funded anti-graffiti team to back it up. By the next morning, they had completely and effectively eradicated Fairey’s art.\u003c/p>\n\u003cfigure id=\"attachment_11741849\" class=\"wp-caption aligncenter\" style=\"max-width: 1069px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741849\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini.jpg\" alt=\"Shepard Fairey in San Jose 2000.\" width=\"1069\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini.jpg 1069w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini-960x647.jpg 960w\" sizes=\"(max-width: 1069px) 100vw, 1069px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shepard Fairey in San Jose 2000. \u003ccite>(Photo courtesy of Anno Domini)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Street art and graffiti have often been seen as two sides of the same coin when it comes to legal interpretation and ramifications, but the simple step of an artist asking and being granted permission has resulted in an explosion of murals on privately-owned buildings all over the world. San Jose has slowly but surely begun to acknowledge the contributions artists make towards a vibrant city that attracts and retains the creative class with much of the work being accomplished by a mix of inspired individuals, artists, grass roots collectives and civic-minded nonprofits.\u003c/p>\n\u003cp>The murals highlighted below are just a few of the many outdoor art works that can be found in San Jose if you have the presence of mind to explore the neighborhoods and look up once in a while. These particular murals were chosen for their originality and contribution to the actual space surrounding them as well as the wonderment they inspire when you view them. It’s easy to imagine these murals as portals into other worlds where you can linger a while and give your cerebral side a rest and let your intuitive imagination side have some fun and play.\u003c/p>\n\u003cp>One caveat of private/permissioned murals is that its longevity is uncertain. So consider a détournement next time you’re out walking, skating or biking this summer and see what beauty awaits you in the streets of San Jose.\u003c/p>\n\u003cfigure id=\"attachment_11741845\" class=\"wp-caption aligncenter\" style=\"max-width: 1127px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741845\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey.jpg\" alt=\"Mural by Ian S. Young\" width=\"1127\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey.jpg 1127w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey-960x613.jpg 960w\" sizes=\"(max-width: 1127px) 100vw, 1127px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Ian S. Young \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Interview with an Icon” by \u003ca href=\"http://quietgiantdesign.com/\" target=\"_blank\" rel=\"noopener\">Ian S. Young\u003c/a>\u003cbr>\nLocated at Barber’s Inc. 332 E. Santa Clara St. (downtown)\u003cbr>\nSupported by SJSU African American Task Force for Student Success and the San Jose Downtown Foundation\u003c/p>\n\u003cfigure id=\"attachment_11741846\" class=\"wp-caption aligncenter\" style=\"max-width: 1079px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741846\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder.jpg\" alt=\"Mural by Jeffrey Hemming\" width=\"1079\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder.jpg 1079w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder-960x641.jpg 960w\" sizes=\"(max-width: 1079px) 100vw, 1079px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Jeffrey Hemming \u003ccite>(Photo by Brian Eder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Phylum of the Free” by \u003ca href=\"http://www.andradehemming.com/\" target=\"_blank\" rel=\"noopener\">Jeffrey Hemming\u003c/a>\u003cbr>\nLocated at Lido Nightclub 30 S. 1st St. (Fountain Alley)\u003cbr>\nSupported by the San Jose Downtown Association, the Santa Clara County District Attorney’s office and Phantom Galleries\u003c/p>\n\u003cfigure id=\"attachment_11741842\" class=\"wp-caption aligncenter\" style=\"max-width: 1087px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741842\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey.jpg\" alt=\"Mural by Galen Oback\" width=\"1087\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey.jpg 1087w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey-960x636.jpg 960w\" sizes=\"(max-width: 1087px) 100vw, 1087px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Galen Oback \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Labor of Our Love” by \u003ca href=\"http://www.galenoback.com/\" target=\"_blank\" rel=\"noopener\">Galen Oback\u003c/a>\u003cbr>\nLocated at Workingman’s Emporium 260 N. 1st St. (downtown)\u003cbr>\nSupported by Exhibition District and the Knight Foundation\u003c/p>\n\u003cfigure id=\"attachment_11741853\" class=\"wp-caption aligncenter\" style=\"max-width: 1079px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/NotreDame_BEder.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741853\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/NotreDame_BEder.jpg\" alt=\"Mural by Jamie Friedman & Notre Dame H.S.\" width=\"1079\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/NotreDame_BEder.jpg 1079w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/NotreDame_BEder-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/NotreDame_BEder-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/NotreDame_BEder-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/NotreDame_BEder-960x641.jpg 960w\" sizes=\"(max-width: 1079px) 100vw, 1079px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Jamie Friedman & Notre Dame H.S. \u003ccite>(Photo by Brian Eder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11741847\" class=\"wp-caption aligncenter\" style=\"max-width: 1064px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11741847 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey.jpg\" alt=\"Mural by Marcos LaFarga\" width=\"1064\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey.jpg 1064w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey-960x650.jpg 960w\" sizes=\"(max-width: 1064px) 100vw, 1064px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Marcos LaFarga \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Front:\u003c/em> ”Looking Back” by \u003ca href=\"http://www.ndsj.org/s/970/RtCol.aspx?sid=970&gid=1&calcid=1017&calpgid=371&pgid=2477&crid=0&cid=1017\" target=\"_blank\" rel=\"noopener\">Jamie Friedman & Notre Dame High School students\u003c/a>\u003cbr>\n\u003cem>Reverse:\u003c/em> “The Future” by \u003ca href=\"http://marcoslafarga.com/\" target=\"_blank\" rel=\"noopener\">Marcos LaFarga\u003c/a>\u003cbr>\nLocated at the corner of E. San Carlos & S. 2nd streets (SoFA District)\u003cbr>\nSupported by San Jose Downtown Association and the Property-Based Improvement District funds\u003c/p>\n\u003cfigure id=\"attachment_11741852\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741852\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey.jpg\" alt=\"Mural by LAuruS Myth\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey-768x576.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by LAuruS Myth \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Expanding Circuits – Stairs to the Moon – Rising Naturally” by \u003ca href=\"http://www.artbylaurus.com/\" target=\"_blank\" rel=\"noopener\">LAuruS Myth\u003c/a>\u003cbr>\nLocated at TechShopSJ 300 S. 2nd St. (SoFA District)\u003cbr>\nSupported by Phantom Galleries and SubZERO Festival\u003c/p>\n\u003cfigure id=\"attachment_11741848\" class=\"wp-caption aligncenter\" style=\"max-width: 1416px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741848\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey.jpg\" alt=\"Murals by Poesia, Michael Borja, and Denis Korkh\" width=\"1416\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey.jpg 1416w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey-400x203.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey-800x407.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey-768x391.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey-1180x600.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey-960x488.jpg 960w\" sizes=\"(max-width: 1416px) 100vw, 1416px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Murals by Poesia, Michael Borja, and Denis Korkh \u003ccite>(Photos by Brian Eder & Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Left to right\u003c/em>: murals by \u003ca href=\"http://poesiatranscend.com/\" target=\"_blank\" rel=\"noopener\">Poesia,\u003c/a> \u003ca href=\"http://michaelborja.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Michael Borja\u003c/a>, and \u003ca href=\"http://deniskorkh.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Denis Korkh\u003c/a>\u003cbr>\nLocated at The Studio Climbing Gym 396 S. 1st St. (SoFA District)\u003cbr>\nSupported by Phantom Galleries and SubZERO Festival\u003c/p>\n\u003cfigure id=\"attachment_11741850\" class=\"wp-caption aligncenter\" style=\"max-width: 920px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741850\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey.jpg\" alt=\"Street print design by Scape Martinez\" width=\"920\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey.jpg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey-800x478.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey-768x459.jpg 768w\" sizes=\"(max-width: 920px) 100vw, 920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Street print design by Scape Martinez \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Symphony of Style; Color, Light, and Sound”. by \u003ca href=\"http://www.scapemartinez.com/\" target=\"_blank\" rel=\"noopener\">Scape Martinez\u003c/a>\u003cbr>\nLocated at the intersection of S. 1st & San Salvador streets (SoFA District)\u003cbr>\nSupported by San Jose Downtown Association & SoFA District\u003c/p>\n\u003cfigure id=\"attachment_11741841\" class=\"wp-caption aligncenter\" style=\"max-width: 932px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Force129_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741841\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Force129_CLakey.jpg\" alt=\"Mural by Force 129\" width=\"932\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Force129_CLakey.jpg 932w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Force129_CLakey-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Force129_CLakey-777x600.jpg 777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Force129_CLakey-768x593.jpg 768w\" sizes=\"(max-width: 932px) 100vw, 932px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Force 129 \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Peeps and Pups” by \u003ca href=\"http://www.force129.com\" target=\"_blank\" rel=\"noopener\">Force 129\u003c/a>\u003cbr>\nLocated at 467 S. 1st St. (SoFA District)\u003cbr>\nSupported by The Core Companies, Phantom Galleries and SubZERO.Festival\u003c/p>\n\u003cfigure id=\"attachment_11741857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741857\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932-800x534.jpg\" alt=\"Mural by Aaron De La Cruz\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932.jpg 1079w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Aaron De La Cruz \u003ccite>(Photo by Brian Eder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Untitled by \u003ca href=\"http://www.aarondelacruz.com/\" target=\"_blank\" rel=\"noopener\">Aaron De La Cruz\u003c/a>\u003cbr>\nLocated at MACLA 300 S. 1st St. (SoFA District)\u003cbr>\nSupported by MACLA\u003c/p>\n\u003cfigure id=\"attachment_11741844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Nosego_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741844\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Nosego_CLakey-800x533.jpg\" alt=\"Mural by Nosego\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Nosego_CLakey-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Nosego_CLakey-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Nosego_CLakey-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Nosego_CLakey-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Nosego_CLakey.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Nosego \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Little Moment” by \u003ca href=\"http://www.nosego.com/\" target=\"_blank\" rel=\"noopener\">Nosego\u003c/a>\u003cbr>\nLocated at Nichi Bei Bussan 140 E. Jackson St. (Japantown)\u003cbr>\nSupported by Empire Seven Studios and the Knight Foundation\u003c/p>\n\u003cfigure id=\"attachment_11741851\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741851\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder-800x534.jpg\" alt=\"Mural by Andrew Schoultz\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder.jpg 1079w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Andrew Schoultz \u003ccite>(Photo by Brian Eder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Empty Vessel” by \u003ca href=\"http://www.andrewschoultz.com/\" target=\"_blank\" rel=\"noopener\">Andrew Schoultz\u003c/a>\u003cbr>\nLocated at the corner of 6th & Empire streets (Japantown)\u003cbr>\nSupported by Empire Seven Studios and the Knight Foundation\u003c/p>\n\u003cfigure id=\"attachment_11741840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741840\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey-800x545.jpg\" alt=\"Mural by Thomas Talamantes\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey-400x272.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey-960x654.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey.jpg 1057w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Thomas Talamantes \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“‘You are never strong enough where you don’t need help.’~Cesar Chavez” by \u003ca href=\"https://www.facebook.com/wisper.t.talamantes\" target=\"_blank\" rel=\"noopener\">Thomas Talamantes\u003c/a>\u003cbr>\nLocated at The Bottle Shop 899 S. 1st St. (downtown)\u003cbr>\nSupported by Beautiful Day, Santa Clara County District Attorney’s office and the Guadalupe Washington Neighborhood Association\u003c/p>\n\u003cfigure id=\"attachment_11741843\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SaraTomasello_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741843\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SaraTomasello_CLakey-400x600.jpg\" alt=\"ArtBox by Sara Tomasello\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SaraTomasello_CLakey-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SaraTomasello_CLakey.jpg 480w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">ArtBox by Sara Tomasello \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>BONUS ArtBox Mini-Murals: Over 60 hand painted utility boxes by local artists in most San Jose neighborhoods.\u003cbr>\nSupported by the ArtBox SJ Project and individual sponsors\u003cbr>\nPictured ArtBox by \u003ca href=\"https://www.facebook.com/Sara-Tomasello-Artist-151292364893059/\" target=\"_blank\" rel=\"noopener\">Sara Tomasello\u003c/a> at 13th & Hedding streets\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Use the ArtMap below to help you navigate to the featured murals as well as many more works of art in downtown San Jose. (\u003cem>created by\u003c/em> Brian Eder)\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cp>[googlemaps https://www.google.com/maps/d/embed?mid=1Z49E6ee1e0E_4qH68DFcqjWUGlI&w=640&h=480]\u003c/p>\n\u003c/aside>\n\n",
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"title": "Find Beauty in the Streets of San Jose this Summer | KQED",
"description": "In August 2000, the renowned street artist Shepard Fairey was in town for his solo exhibition at Anno Domini. He spent the afternoon leading up to his opening reception wheat pasting his art on numerous walls and utility boxes surrounding the hotel in which he was staying -- not that many of us in downtown San Jose ever saw it. Our city had a “zero tolerance” graffiti policy and a well-funded anti-graffiti team to back it up. By the next morning, they had completely and effectively eradicated Fairey’s art. Street art and graffiti have often been seen as two sides",
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"headline": "Find Beauty in the Streets of San Jose this Summer",
"datePublished": "2016-07-05T08:00:32-07:00",
"dateModified": "2024-09-19T16:12:51-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/hot-summer-days-and-nights-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11638282\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg\" alt=\"SummerArtsGuide-2016-300x300\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SummerArtsGuide-2016-300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>In August 2000, the renowned street artist \u003ca href=\"https://obeygiant.com/\" target=\"_blank\" rel=\"noopener\">Shepard Fairey\u003c/a> was in town for his solo exhibition at Anno Domini. He spent the afternoon leading up to his opening reception wheat pasting his art on numerous walls and utility boxes surrounding the hotel in which he was staying — not that many of us in downtown San Jose ever saw it. Our city had a “zero tolerance” graffiti policy and a well-funded anti-graffiti team to back it up. By the next morning, they had completely and effectively eradicated Fairey’s art.\u003c/p>\n\u003cfigure id=\"attachment_11741849\" class=\"wp-caption aligncenter\" style=\"max-width: 1069px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741849\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini.jpg\" alt=\"Shepard Fairey in San Jose 2000.\" width=\"1069\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini.jpg 1069w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ShepardFairey_AnnoDomini-960x647.jpg 960w\" sizes=\"(max-width: 1069px) 100vw, 1069px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shepard Fairey in San Jose 2000. \u003ccite>(Photo courtesy of Anno Domini)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Street art and graffiti have often been seen as two sides of the same coin when it comes to legal interpretation and ramifications, but the simple step of an artist asking and being granted permission has resulted in an explosion of murals on privately-owned buildings all over the world. San Jose has slowly but surely begun to acknowledge the contributions artists make towards a vibrant city that attracts and retains the creative class with much of the work being accomplished by a mix of inspired individuals, artists, grass roots collectives and civic-minded nonprofits.\u003c/p>\n\u003cp>The murals highlighted below are just a few of the many outdoor art works that can be found in San Jose if you have the presence of mind to explore the neighborhoods and look up once in a while. These particular murals were chosen for their originality and contribution to the actual space surrounding them as well as the wonderment they inspire when you view them. It’s easy to imagine these murals as portals into other worlds where you can linger a while and give your cerebral side a rest and let your intuitive imagination side have some fun and play.\u003c/p>\n\u003cp>One caveat of private/permissioned murals is that its longevity is uncertain. So consider a détournement next time you’re out walking, skating or biking this summer and see what beauty awaits you in the streets of San Jose.\u003c/p>\n\u003cfigure id=\"attachment_11741845\" class=\"wp-caption aligncenter\" style=\"max-width: 1127px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741845\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey.jpg\" alt=\"Mural by Ian S. Young\" width=\"1127\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey.jpg 1127w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IanYoung_CLakey-960x613.jpg 960w\" sizes=\"(max-width: 1127px) 100vw, 1127px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Ian S. Young \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Interview with an Icon” by \u003ca href=\"http://quietgiantdesign.com/\" target=\"_blank\" rel=\"noopener\">Ian S. Young\u003c/a>\u003cbr>\nLocated at Barber’s Inc. 332 E. Santa Clara St. (downtown)\u003cbr>\nSupported by SJSU African American Task Force for Student Success and the San Jose Downtown Foundation\u003c/p>\n\u003cfigure id=\"attachment_11741846\" class=\"wp-caption aligncenter\" style=\"max-width: 1079px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741846\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder.jpg\" alt=\"Mural by Jeffrey Hemming\" width=\"1079\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder.jpg 1079w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/JeffHemming_BEder-960x641.jpg 960w\" sizes=\"(max-width: 1079px) 100vw, 1079px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Jeffrey Hemming \u003ccite>(Photo by Brian Eder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Phylum of the Free” by \u003ca href=\"http://www.andradehemming.com/\" target=\"_blank\" rel=\"noopener\">Jeffrey Hemming\u003c/a>\u003cbr>\nLocated at Lido Nightclub 30 S. 1st St. (Fountain Alley)\u003cbr>\nSupported by the San Jose Downtown Association, the Santa Clara County District Attorney’s office and Phantom Galleries\u003c/p>\n\u003cfigure id=\"attachment_11741842\" class=\"wp-caption aligncenter\" style=\"max-width: 1087px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741842\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey.jpg\" alt=\"Mural by Galen Oback\" width=\"1087\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey.jpg 1087w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/GalenOback_CLakey-960x636.jpg 960w\" sizes=\"(max-width: 1087px) 100vw, 1087px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Galen Oback \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Labor of Our Love” by \u003ca href=\"http://www.galenoback.com/\" target=\"_blank\" rel=\"noopener\">Galen Oback\u003c/a>\u003cbr>\nLocated at Workingman’s Emporium 260 N. 1st St. (downtown)\u003cbr>\nSupported by Exhibition District and the Knight Foundation\u003c/p>\n\u003cfigure id=\"attachment_11741853\" class=\"wp-caption aligncenter\" style=\"max-width: 1079px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/NotreDame_BEder.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741853\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/NotreDame_BEder.jpg\" alt=\"Mural by Jamie Friedman & Notre Dame H.S.\" width=\"1079\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/NotreDame_BEder.jpg 1079w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/NotreDame_BEder-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/NotreDame_BEder-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/NotreDame_BEder-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/NotreDame_BEder-960x641.jpg 960w\" sizes=\"(max-width: 1079px) 100vw, 1079px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Jamie Friedman & Notre Dame H.S. \u003ccite>(Photo by Brian Eder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11741847\" class=\"wp-caption aligncenter\" style=\"max-width: 1064px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11741847 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey.jpg\" alt=\"Mural by Marcos LaFarga\" width=\"1064\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey.jpg 1064w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MarcosLaFarga_CLakey-960x650.jpg 960w\" sizes=\"(max-width: 1064px) 100vw, 1064px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Marcos LaFarga \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Front:\u003c/em> ”Looking Back” by \u003ca href=\"http://www.ndsj.org/s/970/RtCol.aspx?sid=970&gid=1&calcid=1017&calpgid=371&pgid=2477&crid=0&cid=1017\" target=\"_blank\" rel=\"noopener\">Jamie Friedman & Notre Dame High School students\u003c/a>\u003cbr>\n\u003cem>Reverse:\u003c/em> “The Future” by \u003ca href=\"http://marcoslafarga.com/\" target=\"_blank\" rel=\"noopener\">Marcos LaFarga\u003c/a>\u003cbr>\nLocated at the corner of E. San Carlos & S. 2nd streets (SoFA District)\u003cbr>\nSupported by San Jose Downtown Association and the Property-Based Improvement District funds\u003c/p>\n\u003cfigure id=\"attachment_11741852\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741852\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey.jpg\" alt=\"Mural by LAuruS Myth\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/LAuruSMyth_CLakey-768x576.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by LAuruS Myth \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Expanding Circuits – Stairs to the Moon – Rising Naturally” by \u003ca href=\"http://www.artbylaurus.com/\" target=\"_blank\" rel=\"noopener\">LAuruS Myth\u003c/a>\u003cbr>\nLocated at TechShopSJ 300 S. 2nd St. (SoFA District)\u003cbr>\nSupported by Phantom Galleries and SubZERO Festival\u003c/p>\n\u003cfigure id=\"attachment_11741848\" class=\"wp-caption aligncenter\" style=\"max-width: 1416px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741848\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey.jpg\" alt=\"Murals by Poesia, Michael Borja, and Denis Korkh\" width=\"1416\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey.jpg 1416w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey-400x203.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey-800x407.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey-768x391.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey-1180x600.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Poesia_Borja_Korkh_CLakey-960x488.jpg 960w\" sizes=\"(max-width: 1416px) 100vw, 1416px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Murals by Poesia, Michael Borja, and Denis Korkh \u003ccite>(Photos by Brian Eder & Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Left to right\u003c/em>: murals by \u003ca href=\"http://poesiatranscend.com/\" target=\"_blank\" rel=\"noopener\">Poesia,\u003c/a> \u003ca href=\"http://michaelborja.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Michael Borja\u003c/a>, and \u003ca href=\"http://deniskorkh.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Denis Korkh\u003c/a>\u003cbr>\nLocated at The Studio Climbing Gym 396 S. 1st St. (SoFA District)\u003cbr>\nSupported by Phantom Galleries and SubZERO Festival\u003c/p>\n\u003cfigure id=\"attachment_11741850\" class=\"wp-caption aligncenter\" style=\"max-width: 920px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741850\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey.jpg\" alt=\"Street print design by Scape Martinez\" width=\"920\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey.jpg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey-800x478.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ScapeMartinez_CLakey-768x459.jpg 768w\" sizes=\"(max-width: 920px) 100vw, 920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Street print design by Scape Martinez \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Symphony of Style; Color, Light, and Sound”. by \u003ca href=\"http://www.scapemartinez.com/\" target=\"_blank\" rel=\"noopener\">Scape Martinez\u003c/a>\u003cbr>\nLocated at the intersection of S. 1st & San Salvador streets (SoFA District)\u003cbr>\nSupported by San Jose Downtown Association & SoFA District\u003c/p>\n\u003cfigure id=\"attachment_11741841\" class=\"wp-caption aligncenter\" style=\"max-width: 932px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Force129_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11741841\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Force129_CLakey.jpg\" alt=\"Mural by Force 129\" width=\"932\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Force129_CLakey.jpg 932w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Force129_CLakey-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Force129_CLakey-777x600.jpg 777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Force129_CLakey-768x593.jpg 768w\" sizes=\"(max-width: 932px) 100vw, 932px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Force 129 \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Peeps and Pups” by \u003ca href=\"http://www.force129.com\" target=\"_blank\" rel=\"noopener\">Force 129\u003c/a>\u003cbr>\nLocated at 467 S. 1st St. (SoFA District)\u003cbr>\nSupported by The Core Companies, Phantom Galleries and SubZERO.Festival\u003c/p>\n\u003cfigure id=\"attachment_11741857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741857\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932-800x534.jpg\" alt=\"Mural by Aaron De La Cruz\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MACLA_Aaron_De_La_Cruz_DSC_5932.jpg 1079w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Aaron De La Cruz \u003ccite>(Photo by Brian Eder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Untitled by \u003ca href=\"http://www.aarondelacruz.com/\" target=\"_blank\" rel=\"noopener\">Aaron De La Cruz\u003c/a>\u003cbr>\nLocated at MACLA 300 S. 1st St. (SoFA District)\u003cbr>\nSupported by MACLA\u003c/p>\n\u003cfigure id=\"attachment_11741844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Nosego_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741844\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Nosego_CLakey-800x533.jpg\" alt=\"Mural by Nosego\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Nosego_CLakey-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Nosego_CLakey-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Nosego_CLakey-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Nosego_CLakey-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Nosego_CLakey.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Nosego \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Little Moment” by \u003ca href=\"http://www.nosego.com/\" target=\"_blank\" rel=\"noopener\">Nosego\u003c/a>\u003cbr>\nLocated at Nichi Bei Bussan 140 E. Jackson St. (Japantown)\u003cbr>\nSupported by Empire Seven Studios and the Knight Foundation\u003c/p>\n\u003cfigure id=\"attachment_11741851\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741851\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder-800x534.jpg\" alt=\"Mural by Andrew Schoultz\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Andrew_Schoultz_BEder.jpg 1079w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Andrew Schoultz \u003ccite>(Photo by Brian Eder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Empty Vessel” by \u003ca href=\"http://www.andrewschoultz.com/\" target=\"_blank\" rel=\"noopener\">Andrew Schoultz\u003c/a>\u003cbr>\nLocated at the corner of 6th & Empire streets (Japantown)\u003cbr>\nSupported by Empire Seven Studios and the Knight Foundation\u003c/p>\n\u003cfigure id=\"attachment_11741840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741840\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey-800x545.jpg\" alt=\"Mural by Thomas Talamantes\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey-400x272.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey-960x654.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TTalamantes_CLakey.jpg 1057w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural by Thomas Talamantes \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“‘You are never strong enough where you don’t need help.’~Cesar Chavez” by \u003ca href=\"https://www.facebook.com/wisper.t.talamantes\" target=\"_blank\" rel=\"noopener\">Thomas Talamantes\u003c/a>\u003cbr>\nLocated at The Bottle Shop 899 S. 1st St. (downtown)\u003cbr>\nSupported by Beautiful Day, Santa Clara County District Attorney’s office and the Guadalupe Washington Neighborhood Association\u003c/p>\n\u003cfigure id=\"attachment_11741843\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SaraTomasello_CLakey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741843\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SaraTomasello_CLakey-400x600.jpg\" alt=\"ArtBox by Sara Tomasello\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SaraTomasello_CLakey-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SaraTomasello_CLakey.jpg 480w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">ArtBox by Sara Tomasello \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>BONUS ArtBox Mini-Murals: Over 60 hand painted utility boxes by local artists in most San Jose neighborhoods.\u003cbr>\nSupported by the ArtBox SJ Project and individual sponsors\u003cbr>\nPictured ArtBox by \u003ca href=\"https://www.facebook.com/Sara-Tomasello-Artist-151292364893059/\" target=\"_blank\" rel=\"noopener\">Sara Tomasello\u003c/a> at 13th & Hedding streets\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Use the ArtMap below to help you navigate to the featured murals as well as many more works of art in downtown San Jose. (\u003cem>created by\u003c/em> Brian Eder)\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cp>\u003c/p>\u003cp>\u003ciframe\n src='https://www.google.com/maps/d/embed?mid=1Z49E6ee1e0E_4qH68DFcqjWUGlI&w=640&h=480'\n title='https://www.google.com/maps/d/embed?mid=1Z49E6ee1e0E_4qH68DFcqjWUGlI&w=640&h=480'\n width='640'\n height='480'\n scrolling='no'\n frameborder='no'>\u003c/iframe>\u003c/p>\u003cp>\u003c/p>\n\u003c/aside>\n\n\u003c/div>\u003c/p>",
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"title": "What Do Grace Jones and Athol Fugard Have in Common?",
"headTitle": "What Do Grace Jones and Athol Fugard Have in Common? | KQED",
"content": "\u003cp>I don’t know if the world-renowned South African playwright Athol Fugard has ever met the Jamaican-born, New York-raised pop icon Grace Jones. If not, they should meet. Fugard, whose 1982 hit \u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=119\" target=\"_blank\" rel=\"noopener\">\u003cem>Master Harold and the Boys\u003c/em>\u003c/a> is receiving a well-acted revival at the Aurora Theatre Company in Berkeley, might have an interesting conversation with Jones, the slippery subject of \u003ca href=\"http://www.moadsf.org/exhibition/the-grace-jones-project/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Grace Jones Project\u003c/em>\u003c/a>, a fascinating little exhibition at the Museum of the African Diaspora (MOAD) in San Francisco.\u003c/p>\n\u003cp>Both Fugard and Jones were striking figures in early-to-mid-1980’s America. They played a crucial role in the cultural ferment that bloomed in opposition to the ascending conservative movement and Ronald Reagan’s presidency. They were messengers from other worlds — specifically, apartheid South Africa and the burgeoning underground club scene of New York. And they proved difficult to assimilate.\u003c/p>\n\u003cp>In 2016, the Aurora Theatre Company and MOAD return to the 80’s and make strong cases for the continuing relevance of these artists. As one might imagine, their attempts are tricky, complex, and full of pitfalls.\u003c/p>\n\u003cp>\u003cstrong>Athol Fugard sums up and shuts down\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Master Harold\u003c/em> is very much a play of culmination. Fugard had been writing complex, vexed, experimental pieces about South Africa for over two decades. By the late 70’s Anti-Apartheid rallies had begun to multiply on American campuses and would continue to grow throughout the 80’s; Nelson Mandela was well on his way to folk hero status (and as we now know much more), and Fugard’s work was being critically lauded around the world for its artistry, daring, and political commitment. And so the time felt right for change, which must have put tremendous pressure on Fugard to do his part to keep the movement going.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can feel it in the careful imagery of \u003cem>Master Harold\u003c/em>. The play ends with two black workers, Sam and Willie, waltzing in an empty restaurant. They have been humiliated and come close to attacking young Harold, who is white, 16, and suffering from a world of problems. In a just society, this boy shouldn’t have any power over these men. But in 1950’s South Africa, he can command them, even confidently spit in their faces without fear.\u003c/p>\n\u003cfigure id=\"attachment_11758038\" class=\"wp-caption alignnone\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11758038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747.jpg\" alt=\"Harold (Andrew Humann) gets some bad news while Sam (L. Peter Callender) looks on with concern in 'Master Harold and the Boys' at the Aurora Theatre.\" width=\"680\" height=\"382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747.jpg 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747-400x225.jpg 400w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003cfigcaption class=\"wp-caption-text\">Harold (Andrew Humann) gets some bad news while Sam (L. Peter Callender) looks on with concern in ‘Master Harold and the Boys’ at the Aurora Theatre. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fugard uses the structure of the \u003cem>bildungsroman —\u003c/em> a young adult’s journey to maturity and entrance into the real world — to get at the origins and ongoing brutality of apartheid. When Harold acts the master around Sam and Willie we wince at his pretension and the society that would allow him to get away with it. He thwacks Willie with a ruler and asks, “How the hell am I supposed to concentrate with the two of you acting like bloody children?” Or the way he constantly chides Sam (clearly the true father in his life) to not “get clever” every time he gets tense about his own intellectual shortcomings.\u003c/p>\n\u003cp>Harold’s journey into adulthood is obviously more fraught because of South Africa — the world he’s coming into is corrupt all the way to the center of its rancid, beating heart. Yet, curiously, that deadens and flattens our response to the injustices in front of us. The play’s ability to produce liberal gasps of censure is one of its principle weaknesses. Unlike Fugard’s earlier plays, like \u003cem>Blood Knot\u003c/em> (1961), and \u003cem>Boseman and Lena\u003c/em> (1969), which find new, complex ways to capture the twisted lives of South Africans of every color and hue, \u003cem>Master Harold\u003c/em> feels just too canned and easy. Even Aurora’s beautifully acted and directed production can’t make up for the drama’s shortcomings, though it does take us back to the moment when a play like this felt necessary.\u003c/p>\n\u003cp>\u003cstrong>Grace Jones is a big, ferocious flower\u003c/strong>\u003c/p>\n\u003cp>It is entirely possible that you could have visited New York in 1982, gone and seen \u003cem>Master Harold\u003c/em> on Broadway, and then found your way to a Grace Jones concert. It would have made for a rather contradictory sense of the dramatic possibilities of blackness — an early-to-mid-80’s primer on just how far America was willing to think about race.\u003c/p>\n\u003cp>Whereas Fugard was summing up and shutting down, Jones was a big, ferocious flower just beginning to bloom. Whether the pop star and fashion icon ever fully blossomed is one of the unanswered yet fascinating questions of \u003cem>The Grace Jones Project\u003c/em>. Watch the series of videos playing in a loop at MOAD and you begin to understand how dynamic and apt the word “Project” is for Jones, and maybe for us as well.\u003c/p>\n\u003cp>She is never anything less than fully present. And yet there’s something missing beneath Jones’ dazzling mystique; as if points A and Z were bright stars, but the rest of the alphabet had gone missing. In the video for her hit, “Pull up the Bumper,” she floats above and merges with the traffic of New York, fusing with the city in ways that are both mystical and mechanical. It’s impossible to tell whether she’s human, ghost, or automaton.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Grace Jones - Slave to the Rhythm (official video)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/Z0XLzIswI2s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Here’s a black woman who seems to have slipped beyond race and gender while fully embracing it — a persona so vibrantly present she could be a logo. And yet at the same time Jones is completely mysterious and elusive. The video for “Slave to the Rhythm” catches Jones at her most uncanny, and its last image of a feigned suicide is comic and terrifying. Jones’ embrace of the world feels utopian — an impossibility that we’re somehow witnessing — and so it isn’t surprising that it might tend towards self-destruction.\u003c/p>\n\u003cp>And depressingly that’s where the most fascinating pieces in \u003cem>The Grace Jones Project\u003c/em> land. In a show that celebrates Jones as a cultural force, it’s clear that following in her path is hazardous or the work of a saint. Harold Offeh’s minute-long video, \u003cem>Arabesque, After Grace Jones\u003c/em> (1989), recreates Jones’ crazy pose from the cover of \u003cem>Island Life\u003c/em>. His comic take on his own physical limitations only highlights how astounding Jones could be, even in stillness. She is always beyond our abilities.\u003c/p>\n\u003cfigure id=\"attachment_11758043\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758043\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-800x445.jpg\" alt=\"Harold Offeh, Arabesque, Covers: Arabesque, 'After Grace Jones,' 1978 (still), 2008-2009. Video.\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385.jpg 1004w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harold Offeh, Arabesque, Covers: Arabesque, ‘After Grace Jones,’ 1978 (still), 2008-2009. Video. \u003ccite>(Courtesy of Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wangechi Mutu’s short video, \u003cem>Eat Cake\u003c/em>, is perhaps the most disturbing piece in the MOAD show. A young woman in pseudo Victorian dress scrunches down over a chocolate cake and crudely eats it. It’s no more than eight seconds, looped, and possesses the anxious disgust of a horror movie. Like Jones, Mutu’s concerns are a product of race and gender, but her mind seems to have transcended them to take on the vastness of the world. She’s doing her own thing, and whatever that thing is it’s freeing — if not the sure path to annihilation.\u003c/p>\n\u003cp>And in the end that’s what Fugard and Jones were after: a way to overcome the incredible limitations of the world and find a way to freedom. It is a project. One that eludes Fugard’s best intentions in \u003cem>Master Harold\u003c/em>, and proves elusive and daunting for the many artists of \u003cem>The Grace Jones Project\u003c/em> who dare to follow in Jones’ liberating steps.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Master Harold and the Boys\u003c/em> plays through Saturday, Jul. 23 at the Aurora Theatre in Berkeley. For tickets and information please click \u003ca href=\"http://www.auroratheatre.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Grace Jones Project\u003c/em> runs through Sunday, Sep. 18 at the Museum of the African Diaspora in San Francisco. For tickets and information please click \u003ca href=\"http://www.moadsf.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "'The Grace Jones Project' at MOAD and Aurora Theatre's production of 'Master Harold and the Boys' suggest that the pop icon and the playwright might have a lot to talk about if ever they were to meet",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I don’t know if the world-renowned South African playwright Athol Fugard has ever met the Jamaican-born, New York-raised pop icon Grace Jones. If not, they should meet. Fugard, whose 1982 hit \u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=119\" target=\"_blank\" rel=\"noopener\">\u003cem>Master Harold and the Boys\u003c/em>\u003c/a> is receiving a well-acted revival at the Aurora Theatre Company in Berkeley, might have an interesting conversation with Jones, the slippery subject of \u003ca href=\"http://www.moadsf.org/exhibition/the-grace-jones-project/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Grace Jones Project\u003c/em>\u003c/a>, a fascinating little exhibition at the Museum of the African Diaspora (MOAD) in San Francisco.\u003c/p>\n\u003cp>Both Fugard and Jones were striking figures in early-to-mid-1980’s America. They played a crucial role in the cultural ferment that bloomed in opposition to the ascending conservative movement and Ronald Reagan’s presidency. They were messengers from other worlds — specifically, apartheid South Africa and the burgeoning underground club scene of New York. And they proved difficult to assimilate.\u003c/p>\n\u003cp>In 2016, the Aurora Theatre Company and MOAD return to the 80’s and make strong cases for the continuing relevance of these artists. As one might imagine, their attempts are tricky, complex, and full of pitfalls.\u003c/p>\n\u003cp>\u003cstrong>Athol Fugard sums up and shuts down\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Master Harold\u003c/em> is very much a play of culmination. Fugard had been writing complex, vexed, experimental pieces about South Africa for over two decades. By the late 70’s Anti-Apartheid rallies had begun to multiply on American campuses and would continue to grow throughout the 80’s; Nelson Mandela was well on his way to folk hero status (and as we now know much more), and Fugard’s work was being critically lauded around the world for its artistry, daring, and political commitment. And so the time felt right for change, which must have put tremendous pressure on Fugard to do his part to keep the movement going.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You can feel it in the careful imagery of \u003cem>Master Harold\u003c/em>. The play ends with two black workers, Sam and Willie, waltzing in an empty restaurant. They have been humiliated and come close to attacking young Harold, who is white, 16, and suffering from a world of problems. In a just society, this boy shouldn’t have any power over these men. But in 1950’s South Africa, he can command them, even confidently spit in their faces without fear.\u003c/p>\n\u003cfigure id=\"attachment_11758038\" class=\"wp-caption alignnone\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11758038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747.jpg\" alt=\"Harold (Andrew Humann) gets some bad news while Sam (L. Peter Callender) looks on with concern in 'Master Harold and the Boys' at the Aurora Theatre.\" width=\"680\" height=\"382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747.jpg 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747-400x225.jpg 400w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003cfigcaption class=\"wp-caption-text\">Harold (Andrew Humann) gets some bad news while Sam (L. Peter Callender) looks on with concern in ‘Master Harold and the Boys’ at the Aurora Theatre. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fugard uses the structure of the \u003cem>bildungsroman —\u003c/em> a young adult’s journey to maturity and entrance into the real world — to get at the origins and ongoing brutality of apartheid. When Harold acts the master around Sam and Willie we wince at his pretension and the society that would allow him to get away with it. He thwacks Willie with a ruler and asks, “How the hell am I supposed to concentrate with the two of you acting like bloody children?” Or the way he constantly chides Sam (clearly the true father in his life) to not “get clever” every time he gets tense about his own intellectual shortcomings.\u003c/p>\n\u003cp>Harold’s journey into adulthood is obviously more fraught because of South Africa — the world he’s coming into is corrupt all the way to the center of its rancid, beating heart. Yet, curiously, that deadens and flattens our response to the injustices in front of us. The play’s ability to produce liberal gasps of censure is one of its principle weaknesses. Unlike Fugard’s earlier plays, like \u003cem>Blood Knot\u003c/em> (1961), and \u003cem>Boseman and Lena\u003c/em> (1969), which find new, complex ways to capture the twisted lives of South Africans of every color and hue, \u003cem>Master Harold\u003c/em> feels just too canned and easy. Even Aurora’s beautifully acted and directed production can’t make up for the drama’s shortcomings, though it does take us back to the moment when a play like this felt necessary.\u003c/p>\n\u003cp>\u003cstrong>Grace Jones is a big, ferocious flower\u003c/strong>\u003c/p>\n\u003cp>It is entirely possible that you could have visited New York in 1982, gone and seen \u003cem>Master Harold\u003c/em> on Broadway, and then found your way to a Grace Jones concert. It would have made for a rather contradictory sense of the dramatic possibilities of blackness — an early-to-mid-80’s primer on just how far America was willing to think about race.\u003c/p>\n\u003cp>Whereas Fugard was summing up and shutting down, Jones was a big, ferocious flower just beginning to bloom. Whether the pop star and fashion icon ever fully blossomed is one of the unanswered yet fascinating questions of \u003cem>The Grace Jones Project\u003c/em>. Watch the series of videos playing in a loop at MOAD and you begin to understand how dynamic and apt the word “Project” is for Jones, and maybe for us as well.\u003c/p>\n\u003cp>She is never anything less than fully present. And yet there’s something missing beneath Jones’ dazzling mystique; as if points A and Z were bright stars, but the rest of the alphabet had gone missing. In the video for her hit, “Pull up the Bumper,” she floats above and merges with the traffic of New York, fusing with the city in ways that are both mystical and mechanical. It’s impossible to tell whether she’s human, ghost, or automaton.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Grace Jones - Slave to the Rhythm (official video)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/Z0XLzIswI2s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Here’s a black woman who seems to have slipped beyond race and gender while fully embracing it — a persona so vibrantly present she could be a logo. And yet at the same time Jones is completely mysterious and elusive. The video for “Slave to the Rhythm” catches Jones at her most uncanny, and its last image of a feigned suicide is comic and terrifying. Jones’ embrace of the world feels utopian — an impossibility that we’re somehow witnessing — and so it isn’t surprising that it might tend towards self-destruction.\u003c/p>\n\u003cp>And depressingly that’s where the most fascinating pieces in \u003cem>The Grace Jones Project\u003c/em> land. In a show that celebrates Jones as a cultural force, it’s clear that following in her path is hazardous or the work of a saint. Harold Offeh’s minute-long video, \u003cem>Arabesque, After Grace Jones\u003c/em> (1989), recreates Jones’ crazy pose from the cover of \u003cem>Island Life\u003c/em>. His comic take on his own physical limitations only highlights how astounding Jones could be, even in stillness. She is always beyond our abilities.\u003c/p>\n\u003cfigure id=\"attachment_11758043\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758043\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-800x445.jpg\" alt=\"Harold Offeh, Arabesque, Covers: Arabesque, 'After Grace Jones,' 1978 (still), 2008-2009. Video.\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385.jpg 1004w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harold Offeh, Arabesque, Covers: Arabesque, ‘After Grace Jones,’ 1978 (still), 2008-2009. Video. \u003ccite>(Courtesy of Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wangechi Mutu’s short video, \u003cem>Eat Cake\u003c/em>, is perhaps the most disturbing piece in the MOAD show. A young woman in pseudo Victorian dress scrunches down over a chocolate cake and crudely eats it. It’s no more than eight seconds, looped, and possesses the anxious disgust of a horror movie. Like Jones, Mutu’s concerns are a product of race and gender, but her mind seems to have transcended them to take on the vastness of the world. She’s doing her own thing, and whatever that thing is it’s freeing — if not the sure path to annihilation.\u003c/p>\n\u003cp>And in the end that’s what Fugard and Jones were after: a way to overcome the incredible limitations of the world and find a way to freedom. It is a project. One that eludes Fugard’s best intentions in \u003cem>Master Harold\u003c/em>, and proves elusive and daunting for the many artists of \u003cem>The Grace Jones Project\u003c/em> who dare to follow in Jones’ liberating steps.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Master Harold and the Boys\u003c/em> plays through Saturday, Jul. 23 at the Aurora Theatre in Berkeley. For tickets and information please click \u003ca href=\"http://www.auroratheatre.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Grace Jones Project\u003c/em> runs through Sunday, Sep. 18 at the Museum of the African Diaspora in San Francisco. For tickets and information please click \u003ca href=\"http://www.moadsf.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "artful-dodger-jump-joyfully-into-july-art-happenings",
"title": "Artful Dodger: Dive Joyfully into July Art Happenings",
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"content": "\u003cp>It’s not all barbecues and miniature American flags this month. There’s some serious art on the horizon — at Minnesota Street Project alone, there’s \u003ca href=\"http://minnesotastreetproject.com/events/special-event/performance-julia-adam-dance\" target=\"_blank\" rel=\"noopener\">a dance performance\u003c/a>, San Francisco’s first full-fledged \u003ca href=\"http://sfartbookfair.com/\" target=\"_blank\" rel=\"noopener\">art book fair\u003c/a> and six exhibition openings all take place over the course of July’s 31 days. So put on whatever shoes help you withstand hours of standing on stylishly poured concrete floors and visit some art.\u003c/p>\n\u003cfigure id=\"attachment_11755815\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11755815\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Pecis640.jpg\" alt=\"Installation view of HIlary Pecis' 'El Verano.'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Pecis640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Pecis640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of HIlary Pecis’ ‘El Verano.’ \u003ccite>(Photo: Alan Gonzalez; Courtesy of Guerrero Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://guerrerogallery.com/\" target=\"_blank\" rel=\"noopener\">Hilary Pecis, \u003ci>El Verano\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Guerrero Gallery, San Francisco\u003cbr>\nThrough July 10\u003c/h5>\n\u003cp>Transient since they lost their Mission district location in 2013 (opposite the now-shuttered Steven Wolf Fine Arts), Guerrero Gallery just opened a brand new, jaw-droppingly enormous space in Bayview. The inaugural shows went up on June 19, so hurry over to the corner of Custer and Quint before July 10 to feel a jolt of genuine excitement about what’s still possible in the Bay Area arts scene. Don’t be confused by what at first appears to be only a lush gardening design showroom. Step through Living Green’s gravel courtyard and cross the threshold into the new Guerrero Gallery — complete with white walls, white floor and oh-so-lofty ceiling. \u003ci>El Verano\u003c/i>, Hilary Pecis’ excellent solo exhibition of small-scale painted still lifes, makes the space feel even larger, while the inaugural group show in back hints at some of the work we might get to see filling the gallery in the months (and years) to come.\u003c/p>\n\u003cfigure id=\"attachment_11755813\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11755813\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Kallmyer640.jpg\" alt=\"Chris Kallmyer, 'A Paradise Choir,' coming soon to a Sol Le Witt wall drawing near you.\" width=\"640\" height=\"414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kallmyer640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kallmyer640-400x259.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chris Kallmyer, ‘A Paradise Choir,’ coming soon to a Sol LeWitt wall drawing near you. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sfmoma.org/event/series/kallmyer-paradise-choir/\" target=\"_blank\" rel=\"noopener\">Chris Kallmyer, \u003ci>A Paradise Choir\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>SFMOMA, San Francisco\u003cbr>\nSaturdays and Sundays, July 2-24\u003c/h5>\n\u003cp>LA-based artist Chris Kallmyer invites SFMOMA visitors to join his project \u003ci>Paradise Choir\u003c/i> on weekends in July. Don a snazzy white choir robe and gray stole (the fabric that drapes around one’s neck for a bit of flair) and participate in various workshops, sonic tours, site-specific performances and something called “shallow listening,” which is “specifically designed for those interested in doing less work, quickly.” I have three words: sign me up. The month of robe-related activities culminates on \u003ca href=\"https://www.sfmoma.org/event/free-family-day-kallmyer/\" target=\"_blank\" rel=\"noopener\">Free Family Day\u003c/a>, Sunday, July 24, when up to two adults accompanying a visitor aged 18 or under all get free admission into the museum. These tickets are first-come, first-served and cannot be purchased in advance. So find yourself a minor and enjoy listening to or producing some experimental — and possibly heavenly — sounds.\u003c/p>\n\u003cfigure id=\"attachment_11755814\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11755814\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Kamiya640.jpg\" alt=\"Gary Kamiya, author of 'Cool Gray City of Love.'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kamiya640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kamiya640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Gary Kamiya, author of ‘Cool Gray City of Love.’ \u003ccite>(Courtesy of the Book Club of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.bccbooks.org/programs/\" target=\"_blank\" rel=\"noopener\">The Hidden Waters of San Francisco: An Illustrated Talk by Gary Kamiya\u003c/a>\u003c/h3>\n\u003ch5>The Book Club of California, San Francisco\u003cbr>\nMonday, July 11, 5-7pm\u003c/h5>\n\u003cp>Feeling the heat of summer? Want to travel back in time to a moment when the area now called San Francisco flowed with running waters (some of which can still be found, if you know where to look)? It’s time to pay a visit the \u003ca href=\"http://www.bccbooks.org/\" target=\"_blank\" rel=\"noopener\">Book Club of California\u003c/a>, a place that — if you haven’t had the pleasure of visiting before — will steal your heart irrevocably. I can’t tell if it’s the plush seating, the friendly bartender or the club’s unabashed support of all things bookish, but visiting this cosy second-floor Sutter Street spot always brings me great joy. On July 11, \u003ci>SF Chronicle\u003c/i> columnist, \u003cem>San Francisco\u003c/em> magazine editor, and author (\u003ci>Cool Gray City of Love: 49 Views of San Francisco\u003c/i>) Gary Kamiya gives an illustrated lecture on San Francisco’s lost (and remaining) waters.\u003c/p>\n\u003cfigure id=\"attachment_11755816\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11755816\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Ruscha640.png\" alt=\"Ed Ruscha, 'A Particular Kind of Heaven,' 1983.\" width=\"640\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Ruscha640.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Ruscha640-400x262.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ed Ruscha, ‘A Particular Kind of Heaven,’ 1983. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://deyoung.famsf.org/exhibitions/ed-ruscha-and-great-american-west\" target=\"_blank\" rel=\"noopener\">\u003ci>Ed Ruscha and the Great American West\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>de Young, San Francisco\u003cbr>\nJuly 16 – Oct. 9, 2016\u003c/h5>\n\u003cp>Ed Ruscha once printed business cards reading “ED-WERD REW-SHAY, YOUNG ARTIST” for those struggling to correctly pronounce the native Oklahoman’s surname. The de Young gathers just shy of 100 works by the now-78-year-old artist, an exhibition in nine sections that tracks his relationship to symbols of “the West,” including gas stations, billboards and endless, endless stretches of road. Often pairing pithy, evocative language with epic background imagery, Ruscha’s dry wit cemented a certain kind of California attitude in my young art-viewing mind. This is one of those rare art exhibitions I would gladly pay $20 to see.\u003c/p>\n\u003cfigure id=\"attachment_11755812\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11755812\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/HeavyBreathing400.png\" alt=\"Critical discourse and bodily exertion combine forces. \" width=\"400\" height=\"266\">\u003cfigcaption class=\"wp-caption-text\">Critical discourse and bodily exertion combine forces. \u003ccite>(Courtesy of Heavy Breathing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://bampfa.org/event/heavy-breathing-2-unseen-influence-jacqueline-kiyomi-gordon\" target=\"_blank\" rel=\"noopener\">Heavy Breathing: Unseen Influence with Jacqueline Kiyomi Gordon\u003c/a>\u003c/h3>\n\u003ch5>BAMPFA, Berkeley\u003cbr>\nSunday, July 17, 5:30-7pm\u003c/h5>\n\u003cp>\u003ca href=\"http://www.heavyheavybreathing.com/\" target=\"_blank\" rel=\"noopener\">Heavy Breathing\u003c/a>, a summer-long series of artist-led workshops that pair critical thought with physical exertion, is back for a second season. This time, instead of roving locations around the Bay Area, Heavy Breathing takes place at the new Berkeley Art Museum and Pacific Film Archive. Sound installation artist \u003ca href=\"http://jacquelinegordon.net/\" target=\"_blank\" rel=\"noopener\">Jacqueline Kyomi Gordon\u003c/a> and dancer Margit Galanter lead exercises informed by Feldenkaris (a somatic educational system) and listening meditations — all meant to alter the ways in which participants perceive artworks in relation to the museum’s architecture. Join in to find out what a somatic educational system is, or just to see \u003ca href=\"http://bampfa.org/program/berkeley-eye\" target=\"_blank\" rel=\"noopener\">\u003ci>Berkeley Eye\u003c/i>\u003c/a> (opening July 13) through different — wait for it — eyes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Artful Dodger: Dive Joyfully into July Art Happenings | KQED",
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"headline": "Artful Dodger: Dive Joyfully into July Art Happenings",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not all barbecues and miniature American flags this month. There’s some serious art on the horizon — at Minnesota Street Project alone, there’s \u003ca href=\"http://minnesotastreetproject.com/events/special-event/performance-julia-adam-dance\" target=\"_blank\" rel=\"noopener\">a dance performance\u003c/a>, San Francisco’s first full-fledged \u003ca href=\"http://sfartbookfair.com/\" target=\"_blank\" rel=\"noopener\">art book fair\u003c/a> and six exhibition openings all take place over the course of July’s 31 days. So put on whatever shoes help you withstand hours of standing on stylishly poured concrete floors and visit some art.\u003c/p>\n\u003cfigure id=\"attachment_11755815\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11755815\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Pecis640.jpg\" alt=\"Installation view of HIlary Pecis' 'El Verano.'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Pecis640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Pecis640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of HIlary Pecis’ ‘El Verano.’ \u003ccite>(Photo: Alan Gonzalez; Courtesy of Guerrero Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://guerrerogallery.com/\" target=\"_blank\" rel=\"noopener\">Hilary Pecis, \u003ci>El Verano\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Guerrero Gallery, San Francisco\u003cbr>\nThrough July 10\u003c/h5>\n\u003cp>Transient since they lost their Mission district location in 2013 (opposite the now-shuttered Steven Wolf Fine Arts), Guerrero Gallery just opened a brand new, jaw-droppingly enormous space in Bayview. The inaugural shows went up on June 19, so hurry over to the corner of Custer and Quint before July 10 to feel a jolt of genuine excitement about what’s still possible in the Bay Area arts scene. Don’t be confused by what at first appears to be only a lush gardening design showroom. Step through Living Green’s gravel courtyard and cross the threshold into the new Guerrero Gallery — complete with white walls, white floor and oh-so-lofty ceiling. \u003ci>El Verano\u003c/i>, Hilary Pecis’ excellent solo exhibition of small-scale painted still lifes, makes the space feel even larger, while the inaugural group show in back hints at some of the work we might get to see filling the gallery in the months (and years) to come.\u003c/p>\n\u003cfigure id=\"attachment_11755813\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11755813\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Kallmyer640.jpg\" alt=\"Chris Kallmyer, 'A Paradise Choir,' coming soon to a Sol Le Witt wall drawing near you.\" width=\"640\" height=\"414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kallmyer640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kallmyer640-400x259.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chris Kallmyer, ‘A Paradise Choir,’ coming soon to a Sol LeWitt wall drawing near you. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.sfmoma.org/event/series/kallmyer-paradise-choir/\" target=\"_blank\" rel=\"noopener\">Chris Kallmyer, \u003ci>A Paradise Choir\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>SFMOMA, San Francisco\u003cbr>\nSaturdays and Sundays, July 2-24\u003c/h5>\n\u003cp>LA-based artist Chris Kallmyer invites SFMOMA visitors to join his project \u003ci>Paradise Choir\u003c/i> on weekends in July. Don a snazzy white choir robe and gray stole (the fabric that drapes around one’s neck for a bit of flair) and participate in various workshops, sonic tours, site-specific performances and something called “shallow listening,” which is “specifically designed for those interested in doing less work, quickly.” I have three words: sign me up. The month of robe-related activities culminates on \u003ca href=\"https://www.sfmoma.org/event/free-family-day-kallmyer/\" target=\"_blank\" rel=\"noopener\">Free Family Day\u003c/a>, Sunday, July 24, when up to two adults accompanying a visitor aged 18 or under all get free admission into the museum. These tickets are first-come, first-served and cannot be purchased in advance. So find yourself a minor and enjoy listening to or producing some experimental — and possibly heavenly — sounds.\u003c/p>\n\u003cfigure id=\"attachment_11755814\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11755814\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Kamiya640.jpg\" alt=\"Gary Kamiya, author of 'Cool Gray City of Love.'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kamiya640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Kamiya640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Gary Kamiya, author of ‘Cool Gray City of Love.’ \u003ccite>(Courtesy of the Book Club of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.bccbooks.org/programs/\" target=\"_blank\" rel=\"noopener\">The Hidden Waters of San Francisco: An Illustrated Talk by Gary Kamiya\u003c/a>\u003c/h3>\n\u003ch5>The Book Club of California, San Francisco\u003cbr>\nMonday, July 11, 5-7pm\u003c/h5>\n\u003cp>Feeling the heat of summer? Want to travel back in time to a moment when the area now called San Francisco flowed with running waters (some of which can still be found, if you know where to look)? It’s time to pay a visit the \u003ca href=\"http://www.bccbooks.org/\" target=\"_blank\" rel=\"noopener\">Book Club of California\u003c/a>, a place that — if you haven’t had the pleasure of visiting before — will steal your heart irrevocably. I can’t tell if it’s the plush seating, the friendly bartender or the club’s unabashed support of all things bookish, but visiting this cosy second-floor Sutter Street spot always brings me great joy. On July 11, \u003ci>SF Chronicle\u003c/i> columnist, \u003cem>San Francisco\u003c/em> magazine editor, and author (\u003ci>Cool Gray City of Love: 49 Views of San Francisco\u003c/i>) Gary Kamiya gives an illustrated lecture on San Francisco’s lost (and remaining) waters.\u003c/p>\n\u003cfigure id=\"attachment_11755816\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11755816\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Ruscha640.png\" alt=\"Ed Ruscha, 'A Particular Kind of Heaven,' 1983.\" width=\"640\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Ruscha640.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Ruscha640-400x262.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ed Ruscha, ‘A Particular Kind of Heaven,’ 1983. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://deyoung.famsf.org/exhibitions/ed-ruscha-and-great-american-west\" target=\"_blank\" rel=\"noopener\">\u003ci>Ed Ruscha and the Great American West\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>de Young, San Francisco\u003cbr>\nJuly 16 – Oct. 9, 2016\u003c/h5>\n\u003cp>Ed Ruscha once printed business cards reading “ED-WERD REW-SHAY, YOUNG ARTIST” for those struggling to correctly pronounce the native Oklahoman’s surname. The de Young gathers just shy of 100 works by the now-78-year-old artist, an exhibition in nine sections that tracks his relationship to symbols of “the West,” including gas stations, billboards and endless, endless stretches of road. Often pairing pithy, evocative language with epic background imagery, Ruscha’s dry wit cemented a certain kind of California attitude in my young art-viewing mind. This is one of those rare art exhibitions I would gladly pay $20 to see.\u003c/p>\n\u003cfigure id=\"attachment_11755812\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11755812\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/HeavyBreathing400.png\" alt=\"Critical discourse and bodily exertion combine forces. \" width=\"400\" height=\"266\">\u003cfigcaption class=\"wp-caption-text\">Critical discourse and bodily exertion combine forces. \u003ccite>(Courtesy of Heavy Breathing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://bampfa.org/event/heavy-breathing-2-unseen-influence-jacqueline-kiyomi-gordon\" target=\"_blank\" rel=\"noopener\">Heavy Breathing: Unseen Influence with Jacqueline Kiyomi Gordon\u003c/a>\u003c/h3>\n\u003ch5>BAMPFA, Berkeley\u003cbr>\nSunday, July 17, 5:30-7pm\u003c/h5>\n\u003cp>\u003ca href=\"http://www.heavyheavybreathing.com/\" target=\"_blank\" rel=\"noopener\">Heavy Breathing\u003c/a>, a summer-long series of artist-led workshops that pair critical thought with physical exertion, is back for a second season. This time, instead of roving locations around the Bay Area, Heavy Breathing takes place at the new Berkeley Art Museum and Pacific Film Archive. Sound installation artist \u003ca href=\"http://jacquelinegordon.net/\" target=\"_blank\" rel=\"noopener\">Jacqueline Kyomi Gordon\u003c/a> and dancer Margit Galanter lead exercises informed by Feldenkaris (a somatic educational system) and listening meditations — all meant to alter the ways in which participants perceive artworks in relation to the museum’s architecture. Join in to find out what a somatic educational system is, or just to see \u003ca href=\"http://bampfa.org/program/berkeley-eye\" target=\"_blank\" rel=\"noopener\">\u003ci>Berkeley Eye\u003c/i>\u003c/a> (opening July 13) through different — wait for it — eyes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Five Works From Art History That Illuminate the Fourth of July",
"headTitle": "Five Works From Art History That Illuminate the Fourth of July | KQED",
"content": "\u003cp>PBS LearningMedia has \u003ca href=\"http://ca.pbslearningmedia.org/search/?q=bridgeman\" target=\"_blank\" rel=\"noopener\">thousands of images\u003c/a> from the Bridgeman Art Library, one of the largest archives of historical art images in the world. These resources spark interest in works of art and can strengthen cross-curricular learning. In honor of Independence Day, take a quick look at Bridgeman Art Library paintings that illuminate fireworks displays. Collect images to use with students to ignite a discussion about how different cultures use fireworks displays for celebrations. Register for a free \u003ca href=\"http://ca.pbslearningmedia.org\">PBS LearningMedia\u003c/a> account for full access to thousands more media resources.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ca.pbslearningmedia.org/resource/xir154135fre/fireworks-xir154135-fre/\" target=\"_blank\" rel=\"noopener\">Fireworks\u003c/a>\u003c/strong>\u003cbr>\nThomas, Antoine Jean-Baptiste (1791-1834); French. Medium: colour engraving. Date: 19th Century. Provenance: Museo di Roma, Rome, Italy / Giraudon.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13797\" src=\"http://ww2.kqed.org/education/wp-content/uploads/sites/38/2014/07/fireworksjb.jpg\" alt=\"Fireworks (colour engraving)\" width=\"600\" height=\"459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworksjb.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworksjb-400x306.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ca.pbslearningmedia.org/resource/xyc281159eng/a-fireworks-display-xyc281159-eng/\" target=\"_blank\" rel=\"noopener\">A Fireworks Display\u003c/a>\u003c/strong>\u003cbr>\nCarmichael, John Wilson (1800-68). English. Medium: watercolour on paper. Date: 19th Century.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13798\" src=\"http://ww2.kqed.org/education/wp-content/uploads/sites/38/2014/07/fireworks-display.jpg\" alt=\"A Fireworks Display (w/c on paper)\" width=\"600\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworks-display.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworks-display-400x289.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cbr>\n\u003cstrong>\u003ca href=\"http://ca.pbslearningmedia.org/resource/xir387336fre/fire-detail-of-fireworks-c1640-41-xir387336-fre/\" target=\"_blank\" rel=\"noopener\">\u003cbr>\nFire, detail of fireworks, c.1640-41\u003c/a>\u003c/strong>\u003cbr>\nDeruet, Claude (1588-1662); French. Medium: oil on canvas. Date: 17th Century.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13802\" src=\"http://ww2.kqed.org/education/wp-content/uploads/sites/38/2014/07/details.jpg\" alt=\"Fire, detail of fireworks, c.1640-41 (oil on canvas) (detail of 387335)\" width=\"582\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/details.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/details-400x412.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/details-32x32.jpg 32w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cbr>\n\u003ca href=\"http://ca.pbslearningmedia.org/resource/xir240951fre/view-of-a-firework-display-in-the-jardin-xir240951-fre/\" target=\"_blank\" rel=\"noopener\">\u003cbr>\n\u003cstrong>View of a firework display in the Jardin du Luxembourg, 28th November 1807\u003c/strong>\u003c/a>\u003cbr>\nFrench School, (19th century); French. Medium: coloured engraving. Date: 19th Century. Vue d’un beau feu d’artifice tire au Luxembourg; celebrating the return of the Imperial guard; Provenance: Musee de la Ville de Paris, Musee Carnavalet, Paris, France / Giraudon.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13801\" src=\"http://ww2.kqed.org/education/wp-content/uploads/sites/38/2014/07/fireworks.jpg\" alt=\"View of a firework display in the Jardin du Luxembourg, 28th November 1807 (coloured engraving)\" width=\"600\" height=\"397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworks.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworks-400x265.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cbr>\n\u003cstrong>\u003ca href=\"http://ca.pbslearningmedia.org/resource/xcf314387eng/a-view-of-the-fire-workes-and-illuminations-at-his-grace-the-duke-of-richmonds-at-white-hall-and-on-the-river-thames-on-monday-15-may-1749-xcf314387-eng/\" target=\"_blank\" rel=\"noopener\">\u003cbr>\nA view of the Fire-workes and Illuminations at his Grace the Duke of Richmond’s at White-hall and on the River Thames, on Monday 15 May, 1749\u003c/a>\u003c/strong>\u003cbr>\nEnglish School, (18th century). Medium: hand-coloured engraving. Date: 18th Century. The event was part of the celebrations for the signing of the Treaty of Aix-la-Chapelle, 1748, which ended the War of the Austrian Succession.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13799\" src=\"http://ww2.kqed.org/education/wp-content/uploads/sites/38/2014/07/fireworksilluminations.jpg\" alt=\"A view of the Fire-workes and Illuminations at his Grace the Duke of Richmond's at White-hall and on the River Thames, on Monday 15 May, 1749 (hand-coloured engraving)\" width=\"600\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworksilluminations.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworksilluminations-400x297.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\n",
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"excerpt": "PBS LearningMedia has thousands of images from the Bridgeman Art Library, one of the largest archives of historical art images in the world. These resources spark interest in works of art and can strengthen cross-curricular learning.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>PBS LearningMedia has \u003ca href=\"http://ca.pbslearningmedia.org/search/?q=bridgeman\" target=\"_blank\" rel=\"noopener\">thousands of images\u003c/a> from the Bridgeman Art Library, one of the largest archives of historical art images in the world. These resources spark interest in works of art and can strengthen cross-curricular learning. In honor of Independence Day, take a quick look at Bridgeman Art Library paintings that illuminate fireworks displays. Collect images to use with students to ignite a discussion about how different cultures use fireworks displays for celebrations. Register for a free \u003ca href=\"http://ca.pbslearningmedia.org\">PBS LearningMedia\u003c/a> account for full access to thousands more media resources.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ca.pbslearningmedia.org/resource/xir154135fre/fireworks-xir154135-fre/\" target=\"_blank\" rel=\"noopener\">Fireworks\u003c/a>\u003c/strong>\u003cbr>\nThomas, Antoine Jean-Baptiste (1791-1834); French. Medium: colour engraving. Date: 19th Century. Provenance: Museo di Roma, Rome, Italy / Giraudon.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13797\" src=\"http://ww2.kqed.org/education/wp-content/uploads/sites/38/2014/07/fireworksjb.jpg\" alt=\"Fireworks (colour engraving)\" width=\"600\" height=\"459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworksjb.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworksjb-400x306.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ca.pbslearningmedia.org/resource/xyc281159eng/a-fireworks-display-xyc281159-eng/\" target=\"_blank\" rel=\"noopener\">A Fireworks Display\u003c/a>\u003c/strong>\u003cbr>\nCarmichael, John Wilson (1800-68). English. Medium: watercolour on paper. Date: 19th Century.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13798\" src=\"http://ww2.kqed.org/education/wp-content/uploads/sites/38/2014/07/fireworks-display.jpg\" alt=\"A Fireworks Display (w/c on paper)\" width=\"600\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworks-display.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworks-display-400x289.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cbr>\n\u003cstrong>\u003ca href=\"http://ca.pbslearningmedia.org/resource/xir387336fre/fire-detail-of-fireworks-c1640-41-xir387336-fre/\" target=\"_blank\" rel=\"noopener\">\u003cbr>\nFire, detail of fireworks, c.1640-41\u003c/a>\u003c/strong>\u003cbr>\nDeruet, Claude (1588-1662); French. Medium: oil on canvas. Date: 17th Century.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13802\" src=\"http://ww2.kqed.org/education/wp-content/uploads/sites/38/2014/07/details.jpg\" alt=\"Fire, detail of fireworks, c.1640-41 (oil on canvas) (detail of 387335)\" width=\"582\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/details.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/details-400x412.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/details-32x32.jpg 32w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cbr>\n\u003ca href=\"http://ca.pbslearningmedia.org/resource/xir240951fre/view-of-a-firework-display-in-the-jardin-xir240951-fre/\" target=\"_blank\" rel=\"noopener\">\u003cbr>\n\u003cstrong>View of a firework display in the Jardin du Luxembourg, 28th November 1807\u003c/strong>\u003c/a>\u003cbr>\nFrench School, (19th century); French. Medium: coloured engraving. Date: 19th Century. Vue d’un beau feu d’artifice tire au Luxembourg; celebrating the return of the Imperial guard; Provenance: Musee de la Ville de Paris, Musee Carnavalet, Paris, France / Giraudon.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13801\" src=\"http://ww2.kqed.org/education/wp-content/uploads/sites/38/2014/07/fireworks.jpg\" alt=\"View of a firework display in the Jardin du Luxembourg, 28th November 1807 (coloured engraving)\" width=\"600\" height=\"397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworks.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworks-400x265.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cbr>\n\u003cstrong>\u003ca href=\"http://ca.pbslearningmedia.org/resource/xcf314387eng/a-view-of-the-fire-workes-and-illuminations-at-his-grace-the-duke-of-richmonds-at-white-hall-and-on-the-river-thames-on-monday-15-may-1749-xcf314387-eng/\" target=\"_blank\" rel=\"noopener\">\u003cbr>\nA view of the Fire-workes and Illuminations at his Grace the Duke of Richmond’s at White-hall and on the River Thames, on Monday 15 May, 1749\u003c/a>\u003c/strong>\u003cbr>\nEnglish School, (18th century). Medium: hand-coloured engraving. Date: 18th Century. The event was part of the celebrations for the signing of the Treaty of Aix-la-Chapelle, 1748, which ended the War of the Austrian Succession.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13799\" src=\"http://ww2.kqed.org/education/wp-content/uploads/sites/38/2014/07/fireworksilluminations.jpg\" alt=\"A view of the Fire-workes and Illuminations at his Grace the Duke of Richmond's at White-hall and on the River Thames, on Monday 15 May, 1749 (hand-coloured engraving)\" width=\"600\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworksilluminations.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/38/2014/07/fireworksilluminations-400x297.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "uc-davis-receives-4-more-thiebaud-paintings-for-its-new-museum",
"title": "UC Davis Receives 4 More Thiebaud Paintings from a Former Professor",
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"content": "\u003cp>UC Davis is becoming \u003cem>\u003cstrong>the\u003c/strong> \u003c/em>place to see the work of American painter Wayne Thiebaud, who donated four more of his works to the school’s new museum earlier this week.\u003c/p>\n\u003cp>Thiebaud, a 95-year-old artist who is best known for his brightly-colored paintings of California landscapes and delicious-looking food, has been the \u003ca href=\"https://www.ucdavis.edu/news/wayne-thiebaud-donates-major-works-art-new-uc-davis-museum\" target=\"_blank\" rel=\"noopener\">biggest contributor of works\u003c/a> to the university’s Jan Shrem and Maria Manetti Shrem Museum of Art, donating a total of 72 of his own pieces and 300 works from other artists to its collection.\u003c/p>\n\u003cfigure id=\"attachment_11754471\" class=\"wp-caption aligncenter\" style=\"max-width: 682px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11754471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-682x600.jpg\" alt='\"Three Treats\", c. 1975-76, oil on panel, gift of Betty Jean and Wayne Thiebaud' width=\"682\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-682x600.jpg 682w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-400x352.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-768x676.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-960x845.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP.jpg 1101w\" sizes=\"(max-width: 682px) 100vw, 682px\">\u003cfigcaption class=\"wp-caption-text\">“Three Treats”, c. 1975-76, oil on panel, gift of Betty Jean and Wayne Thiebaud \u003ccite>(Photo: Gregory Urquiaga/UC Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.ucdavis.edu/news/uc-davis-announces-grand-opening-jan-shrem-and-maria-manetti-shrem-museum-art\" target=\"_blank\" rel=\"noopener\">$30-million Manetti Shrem Museum\u003c/a> is expected to open this November and has been described as a celebration of the school’s 60-year-old art department, where Thiebaud taught for over 40 years before retiring in 1991, though he continued to teach until 2009.\u003c/p>\n\u003cp>Thiebaud’s announced the donations Monday, telling a crowd of reporters and university officials that the school was a great research institution, which also made it a great place to create art as it allowed for him to experiment.\u003c/p>\n\u003cp>“I didn’t have to concern myself with whether the paintings would sell or whether they would be useful or not,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among the paintings Thiebaud donated this week was “The Unfinished Portrait of Betty Jean,” which features his second wife, filmmaker Betty Jean Carr, who died in December of last year. The painting had never been shown in public before.\u003c/p>\n\u003cp>\u003ci>Watch a short video from UC Davis about Thiebaud’s donation below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/koL6ZBReuJA\u003c/p>\n\n",
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"excerpt": "The influential American painter taught at the school for decades and has provided hundreds of pieces to the new museum.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>UC Davis is becoming \u003cem>\u003cstrong>the\u003c/strong> \u003c/em>place to see the work of American painter Wayne Thiebaud, who donated four more of his works to the school’s new museum earlier this week.\u003c/p>\n\u003cp>Thiebaud, a 95-year-old artist who is best known for his brightly-colored paintings of California landscapes and delicious-looking food, has been the \u003ca href=\"https://www.ucdavis.edu/news/wayne-thiebaud-donates-major-works-art-new-uc-davis-museum\" target=\"_blank\" rel=\"noopener\">biggest contributor of works\u003c/a> to the university’s Jan Shrem and Maria Manetti Shrem Museum of Art, donating a total of 72 of his own pieces and 300 works from other artists to its collection.\u003c/p>\n\u003cfigure id=\"attachment_11754471\" class=\"wp-caption aligncenter\" style=\"max-width: 682px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11754471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-682x600.jpg\" alt='\"Three Treats\", c. 1975-76, oil on panel, gift of Betty Jean and Wayne Thiebaud' width=\"682\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-682x600.jpg 682w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-400x352.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-768x676.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP-960x845.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/thiebaud_three_treats-UNCROP.jpg 1101w\" sizes=\"(max-width: 682px) 100vw, 682px\">\u003cfigcaption class=\"wp-caption-text\">“Three Treats”, c. 1975-76, oil on panel, gift of Betty Jean and Wayne Thiebaud \u003ccite>(Photo: Gregory Urquiaga/UC Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.ucdavis.edu/news/uc-davis-announces-grand-opening-jan-shrem-and-maria-manetti-shrem-museum-art\" target=\"_blank\" rel=\"noopener\">$30-million Manetti Shrem Museum\u003c/a> is expected to open this November and has been described as a celebration of the school’s 60-year-old art department, where Thiebaud taught for over 40 years before retiring in 1991, though he continued to teach until 2009.\u003c/p>\n\u003cp>Thiebaud’s announced the donations Monday, telling a crowd of reporters and university officials that the school was a great research institution, which also made it a great place to create art as it allowed for him to experiment.\u003c/p>\n\u003cp>“I didn’t have to concern myself with whether the paintings would sell or whether they would be useful or not,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among the paintings Thiebaud donated this week was “The Unfinished Portrait of Betty Jean,” which features his second wife, filmmaker Betty Jean Carr, who died in December of last year. The painting had never been shown in public before.\u003c/p>\n\u003cp>\u003ci>Watch a short video from UC Davis about Thiebaud’s donation below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\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/koL6ZBReuJA'\n title='//www.youtube.com/embed/koL6ZBReuJA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Super Bowl City’s a thing of the past, but San Francisco has been \u003ca href=\"http://ww2.kqed.org/news/2016/02/02/tent-cities-compete-with-super-bowl-city-for-attention\" target=\"_blank\" rel=\"noopener\">clearing streets of homeless encampments\u003c/a> since the week-long event began. Yet, despite the city’s continuous efforts \u003ca href=\"http://ww2.kqed.org/news/2016/06/22/san-francisco-to-vote-on-housing-not-tents-homelessness-measure\" target=\"_blank\" rel=\"noopener\">to push the homeless out of sight,\u003c/a> they’re still there.\u003c/p>\n\u003cp>While local officials have their own ways of dealing it, San Francisco artist Annice Jacoby aimed to address the city’s homeless issue through her project \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">Undercover\u003c/a>, which started during February’s Super Bowl festivities. Jacoby and her team provided those living on the streets with blankets, seeking not only to provide warmth to those who needed it, but also to incite conversation and create visibility for a community that’s otherwise \u003ca href=\"http://ww2.kqed.org/news/2016/03/09/mayor-lee-blasts-talk-of-homeless-crisis-and-calls-for-critics-to-aid-citys-efforts\" target=\"_blank\" rel=\"noopener\">neglected\u003c/a>.\u003c/p>\n\u003cp>“Our goal is to use creativity to unite,” Jacoby says. “We’re making a visual statement, making a ceremony of care; it’s a mechanism to address this problem.”\u003c/p>\n\u003cp>Families, friends and other community members came together at knitting circles held in two Mission stores, \u003ca href=\"https://missionpraxis.com/\" target=\"_blank\" rel=\"noopener\">Praxis\u003c/a> and \u003ca href=\"http://www.alleycatbookshop.com/\" target=\"_blank\" rel=\"noopener\">Alley Cat Books.\u003c/a> Those who came out would put together blankets that doubled as ponchos and distribute them in the weeks leading up to the Super Bowl. \u003c/p>\n\u003cp>The project’s efforts gained national attention, with inquiries and notes of appreciation coming in from other states, according to Undercover’s \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>, which also provides \u003ca href=\"https://www.facebook.com/UndercoverSF/posts/1029187463790582\">patterns\u003c/a> for people hoping to make and distribute blankets themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The whole idea was for people to feel like they’re making a difference through making garments and connecting with people when they distribute them,” says Ivan Vera, program manager at Hospitality House, which helped print the Undercover blankets. “The goal is to get in touch with those who are homeless and share their humanity – they’re not invisible people; they’re just less fortunate.”\u003c/p>\n\u003cp>Jacoby has since gone on to speak about Undercover to different high schools along the Peninsula, hoping to engage students with the project, according to Txutxo Perez, one of the artists involved with the project.\u003c/p>\n\u003cp>“Some kids helped distribute during the first part of the project and got really into it and wanted to bring the experience back to their schools,” Perez says. \u003c/p>\n\u003cp>He says he believes bringing such experiences and information to the younger generation is a start, as they’ll be the ones making significant changes in the future. \u003c/p>\n\u003cp>While the larger blanket project was mostly focused on the Super Bowl, Undercover has served as inspiration for smaller efforts: Praxis distributed Undercover hats back in March, and Perez says an artist friend of his in Greece started her own project that focuses on recycling lifesaver vests from people displaced by war into backpacks for them to use on further travels. \u003c/p>\n\u003cp>Ultimately the goal of the project was to connect people — disenfranchised and not — and share each other’s humanity, and Vera says he believes Undercover did just that.\u003c/p>\n\u003cp>“I hope the project has taught others to listen to people, have compassion, start understanding how one becomes homeless – we don’t want to lose that part of ourselves that make us human.” \u003c/p>\n\u003cp>\u003ci>Watch our report on the Undercover project during the Super Bowl:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gcC6uCISQaw\u003c/p>\n\n",
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"excerpt": "A project that began to draw attention to San Francisco's homeless problem during the Super Bowl did more than make a statement.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Super Bowl City’s a thing of the past, but San Francisco has been \u003ca href=\"http://ww2.kqed.org/news/2016/02/02/tent-cities-compete-with-super-bowl-city-for-attention\" target=\"_blank\" rel=\"noopener\">clearing streets of homeless encampments\u003c/a> since the week-long event began. Yet, despite the city’s continuous efforts \u003ca href=\"http://ww2.kqed.org/news/2016/06/22/san-francisco-to-vote-on-housing-not-tents-homelessness-measure\" target=\"_blank\" rel=\"noopener\">to push the homeless out of sight,\u003c/a> they’re still there.\u003c/p>\n\u003cp>While local officials have their own ways of dealing it, San Francisco artist Annice Jacoby aimed to address the city’s homeless issue through her project \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">Undercover\u003c/a>, which started during February’s Super Bowl festivities. Jacoby and her team provided those living on the streets with blankets, seeking not only to provide warmth to those who needed it, but also to incite conversation and create visibility for a community that’s otherwise \u003ca href=\"http://ww2.kqed.org/news/2016/03/09/mayor-lee-blasts-talk-of-homeless-crisis-and-calls-for-critics-to-aid-citys-efforts\" target=\"_blank\" rel=\"noopener\">neglected\u003c/a>.\u003c/p>\n\u003cp>“Our goal is to use creativity to unite,” Jacoby says. “We’re making a visual statement, making a ceremony of care; it’s a mechanism to address this problem.”\u003c/p>\n\u003cp>Families, friends and other community members came together at knitting circles held in two Mission stores, \u003ca href=\"https://missionpraxis.com/\" target=\"_blank\" rel=\"noopener\">Praxis\u003c/a> and \u003ca href=\"http://www.alleycatbookshop.com/\" target=\"_blank\" rel=\"noopener\">Alley Cat Books.\u003c/a> Those who came out would put together blankets that doubled as ponchos and distribute them in the weeks leading up to the Super Bowl. \u003c/p>\n\u003cp>The project’s efforts gained national attention, with inquiries and notes of appreciation coming in from other states, according to Undercover’s \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>, which also provides \u003ca href=\"https://www.facebook.com/UndercoverSF/posts/1029187463790582\">patterns\u003c/a> for people hoping to make and distribute blankets themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The whole idea was for people to feel like they’re making a difference through making garments and connecting with people when they distribute them,” says Ivan Vera, program manager at Hospitality House, which helped print the Undercover blankets. “The goal is to get in touch with those who are homeless and share their humanity – they’re not invisible people; they’re just less fortunate.”\u003c/p>\n\u003cp>Jacoby has since gone on to speak about Undercover to different high schools along the Peninsula, hoping to engage students with the project, according to Txutxo Perez, one of the artists involved with the project.\u003c/p>\n\u003cp>“Some kids helped distribute during the first part of the project and got really into it and wanted to bring the experience back to their schools,” Perez says. \u003c/p>\n\u003cp>He says he believes bringing such experiences and information to the younger generation is a start, as they’ll be the ones making significant changes in the future. \u003c/p>\n\u003cp>While the larger blanket project was mostly focused on the Super Bowl, Undercover has served as inspiration for smaller efforts: Praxis distributed Undercover hats back in March, and Perez says an artist friend of his in Greece started her own project that focuses on recycling lifesaver vests from people displaced by war into backpacks for them to use on further travels. \u003c/p>\n\u003cp>Ultimately the goal of the project was to connect people — disenfranchised and not — and share each other’s humanity, and Vera says he believes Undercover did just that.\u003c/p>\n\u003cp>“I hope the project has taught others to listen to people, have compassion, start understanding how one becomes homeless – we don’t want to lose that part of ourselves that make us human.” \u003c/p>\n\u003cp>\u003ci>Watch our report on the Undercover project during the Super Bowl:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gcC6uCISQaw'\n title='//www.youtube.com/embed/gcC6uCISQaw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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