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"slug": "santa-cruz-art-show-redefines-open-studios-by-putting-artists-on-display",
"title": "Santa Cruz Art Show Redefines \"Open Studios\" by Putting Artists on Display",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>This summer, the \u003ca href=\"https://santacruzmah.org/\" target=\"_blank\" rel=\"noopener\">Santa Cruz Museum of Art & History\u003c/a> ventures into new territory — by putting the artists themselves on display. In so doing, the show \u003ca href=\"https://santacruzmah.org/2016/art-works/\" target=\"_blank\" rel=\"noopener\">Art Works\u003c/a> gives a whole new meaning to the concept of “open studios.”\u003c/p>\n\u003cp>The first thing that strikes you when you walk into the museum’s Solari Gallery is an open, wood-framed artist studio within the gallery, where \u003ca href=\"https://www.facebook.com/huamengy\" target=\"_blank\" rel=\"noopener\">Hua Meng Yu\u003c/a>, who prefers to go by her artist moniker “Miss Tanq,” is giving Bob Russo of Soquel a Yi Jing reading.\u003c/p>\n\u003cp>“Bob, I’d like you to think of an area of your life that you would like some more clarity on,” Miss Tanq says to Russo. Russo “asks the cards” to provide him with some sense of direction for his personal goals and focus. He has an eight-year-old daughter, he says, and Miss Tanq understands that to mean his home life is especially important to him right now.\u003c/p>\n\u003cp>Based on this interaction, the artist picks out one of her handmade masks, puts it on Russo, and snaps a photograph of him. Called “Grandmother,” it’s the face of an old Chinese woman ringed with faux white fur. The mask suits Russo perfectly.\u003c/p>\n\u003cfigure id=\"attachment_11679678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679678\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-800x600.jpg\" alt='Bob Russo of Soquel wears the \"Grandmother\" mask after his Yi Jing reading about the importance of family in his life.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob Russo of Soquel wears the “Grandmother” mask after his Yi Jing reading revealed the importance of family in his life. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The mask comes to life only when somebody puts it on,” Miss Tanq says. “It is actually made to be embodied.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This entire encounter is not the kind of thing you expect to find at an art museum. And that’s the idea.\u003c/p>\n\u003cp>“I think people expect to find an institution dedicated to art objects,” says curator Wes Modes. “I think they expect to find things on the wall. We want to pull the walls off of that experience. So that you can look inside, see the artist behind that to see the art process that happens. And then step into that process and take part in making art.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/269065290″ 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>All of the artists in this exhibition have come up with different ways to provide audience members with deep insights into their process, using everything from Yi Jing to music.\u003c/p>\n\u003cp>\u003ca href=\"http://nanciamaka.squarespace.com/\" target=\"_blank\" rel=\"noopener\">Nanci Amaka\u003c/a> is a conceptual artist born and raised in Nigeria, who makes print and textile sculptures in response to conversations about trauma and memory. There are several stations in Amaka’s open studio at the exhibition. For those people comfortable with the idea, the artist creates bright orange prints of their scars while they tell her the story behind the scars.\u003c/p>\n\u003cfigure id=\"attachment_11679601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679601\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-800x600.jpg\" alt=\"Nanci Amaka paints over Whitney Campbell's scar involving an ill advised sip from a glass milk bottle when he was two. She presses a piece of paper over it, and voilà- a print. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nanci Amaka paints over Whitney Campbell’s scar involving an accident with a glass milk bottle when he was two. She presses a piece of paper over it, and voilà — a print. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, other visitors to Amaka’s studio might prefer to sit in solitary fashion at a desk and write down stories about their scars. Then the artist tucks the texts into soft, fabric sculptures that she hangs up in the gallery.\u003c/p>\n\u003cp>Amaka explains she intends to change the way people think about the experiences that created the scars. “These things are about moments in our lives that were traumatic and owning them,” Amaka says.\u003c/p>\n\u003cfigure id=\"attachment_11679602\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679602\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-450x600.jpg\" alt='\"These things are about moments in our lives that were traumatic,\" says Nanci Amaka. By retelling the story, she says, people can reclaim the narrative. Instead of feeling like victims of their experience, they can \"own\" the scar.' width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-960x1280.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">“These things are about moments in our lives that were traumatic,” says artist Nanci Amaka. By retelling the story, she says, people can reclaim the narrative. Instead of feeling like victims of their experience, they can “own” the scar. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You might think scars are yucky. But Amaka says many people feel\u003cbr>\nproud of them. “They love them!” the artist says. 63-year-old Lucy Kemnitzer of Santa Cruz cetrainly feels that way about her scars. She’s gone to the hospital many times over the years, and sees each surgery scar as evidence of a victory over everything from childbirth to breast cancer.\u003c/p>\n\u003cp>“From the cesarean scar that saved me and my son up to the most recent one, which is a lumpectomy scar, all of the scars I got either saved my life or they’re enhancing my life,” Kemnitzer says, pointing to a map she drew of her body.\u003c/p>\n\u003cp>The exhibition is also constantly changing, as none of the artists in Art Works are there the whole time. You never know what you’ll be asked to do when you walk in. The only certain thing: it’s not enough to observe from a distance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Art Works continues through Sunday, Sep. 25. More information \u003cstrong>\u003ca href=\"https://santacruzmah.org/2016/art-works/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>This summer, the \u003ca href=\"https://santacruzmah.org/\" target=\"_blank\" rel=\"noopener\">Santa Cruz Museum of Art & History\u003c/a> ventures into new territory — by putting the artists themselves on display. In so doing, the show \u003ca href=\"https://santacruzmah.org/2016/art-works/\" target=\"_blank\" rel=\"noopener\">Art Works\u003c/a> gives a whole new meaning to the concept of “open studios.”\u003c/p>\n\u003cp>The first thing that strikes you when you walk into the museum’s Solari Gallery is an open, wood-framed artist studio within the gallery, where \u003ca href=\"https://www.facebook.com/huamengy\" target=\"_blank\" rel=\"noopener\">Hua Meng Yu\u003c/a>, who prefers to go by her artist moniker “Miss Tanq,” is giving Bob Russo of Soquel a Yi Jing reading.\u003c/p>\n\u003cp>“Bob, I’d like you to think of an area of your life that you would like some more clarity on,” Miss Tanq says to Russo. Russo “asks the cards” to provide him with some sense of direction for his personal goals and focus. He has an eight-year-old daughter, he says, and Miss Tanq understands that to mean his home life is especially important to him right now.\u003c/p>\n\u003cp>Based on this interaction, the artist picks out one of her handmade masks, puts it on Russo, and snaps a photograph of him. Called “Grandmother,” it’s the face of an old Chinese woman ringed with faux white fur. The mask suits Russo perfectly.\u003c/p>\n\u003cfigure id=\"attachment_11679678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679678\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-800x600.jpg\" alt='Bob Russo of Soquel wears the \"Grandmother\" mask after his Yi Jing reading about the importance of family in his life.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob Russo of Soquel wears the “Grandmother” mask after his Yi Jing reading revealed the importance of family in his life. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The mask comes to life only when somebody puts it on,” Miss Tanq says. “It is actually made to be embodied.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This entire encounter is not the kind of thing you expect to find at an art museum. And that’s the idea.\u003c/p>\n\u003cp>“I think people expect to find an institution dedicated to art objects,” says curator Wes Modes. “I think they expect to find things on the wall. We want to pull the walls off of that experience. So that you can look inside, see the artist behind that to see the art process that happens. And then step into that process and take part in making art.”\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/269065290″&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/269065290″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>All of the artists in this exhibition have come up with different ways to provide audience members with deep insights into their process, using everything from Yi Jing to music.\u003c/p>\n\u003cp>\u003ca href=\"http://nanciamaka.squarespace.com/\" target=\"_blank\" rel=\"noopener\">Nanci Amaka\u003c/a> is a conceptual artist born and raised in Nigeria, who makes print and textile sculptures in response to conversations about trauma and memory. There are several stations in Amaka’s open studio at the exhibition. For those people comfortable with the idea, the artist creates bright orange prints of their scars while they tell her the story behind the scars.\u003c/p>\n\u003cfigure id=\"attachment_11679601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679601\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-800x600.jpg\" alt=\"Nanci Amaka paints over Whitney Campbell's scar involving an ill advised sip from a glass milk bottle when he was two. She presses a piece of paper over it, and voilà- a print. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nanci Amaka paints over Whitney Campbell’s scar involving an accident with a glass milk bottle when he was two. She presses a piece of paper over it, and voilà — a print. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, other visitors to Amaka’s studio might prefer to sit in solitary fashion at a desk and write down stories about their scars. Then the artist tucks the texts into soft, fabric sculptures that she hangs up in the gallery.\u003c/p>\n\u003cp>Amaka explains she intends to change the way people think about the experiences that created the scars. “These things are about moments in our lives that were traumatic and owning them,” Amaka says.\u003c/p>\n\u003cfigure id=\"attachment_11679602\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679602\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-450x600.jpg\" alt='\"These things are about moments in our lives that were traumatic,\" says Nanci Amaka. By retelling the story, she says, people can reclaim the narrative. Instead of feeling like victims of their experience, they can \"own\" the scar.' width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-960x1280.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">“These things are about moments in our lives that were traumatic,” says artist Nanci Amaka. By retelling the story, she says, people can reclaim the narrative. Instead of feeling like victims of their experience, they can “own” the scar. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You might think scars are yucky. But Amaka says many people feel\u003cbr>\nproud of them. “They love them!” the artist says. 63-year-old Lucy Kemnitzer of Santa Cruz cetrainly feels that way about her scars. She’s gone to the hospital many times over the years, and sees each surgery scar as evidence of a victory over everything from childbirth to breast cancer.\u003c/p>\n\u003cp>“From the cesarean scar that saved me and my son up to the most recent one, which is a lumpectomy scar, all of the scars I got either saved my life or they’re enhancing my life,” Kemnitzer says, pointing to a map she drew of her body.\u003c/p>\n\u003cp>The exhibition is also constantly changing, as none of the artists in Art Works are there the whole time. You never know what you’ll be asked to do when you walk in. The only certain thing: it’s not enough to observe from a distance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Art Works continues through Sunday, Sep. 25. More information \u003cstrong>\u003ca href=\"https://santacruzmah.org/2016/art-works/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-guide-2018/\">\u003cimg loading=\"lazy\" decoding=\"async\" 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\" class=\"alignright size-full wp-image-11638282\" 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> Camping is growing in popularity. According to National Park Service data, every kind of camping (tent, backcountry, RV, campsites operated by concessionaires) got a boost in the past few years with overnight stays hitting 11.1 million in 2017, up almost \u003ca href=\"https://irma.nps.gov/Stats/SSRSReports/National%20Reports/Fiscal%20Year%20Visitation%20Report%20(1979%20-%20Last%20Calendar%20Year)\" rel=\"noopener\" target=\"_blank\">10 percent from the year before\u003c/a>. \u003c/p>\n\u003cp>Of course, seasoned campers — aware of the \u003ca href=\"http://www.parks.ca.gov/?page_id=1051\" target=\"_blank\" rel=\"noopener\">key dates\u003c/a> to reserve sites — had their Labor Day weekend booked in March, but for those not totally in-the-know who still want to enjoy the outdoors this summer, there is hope. Here are some first-come first-served sites around the Bay, meaning all you have to do is show up. Just remember when you do: please \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-oregon-frat-trashes-lake-shasta-20160525-snap-story.html\" target=\"_blank\" rel=\"noopener\">respect the land\u003c/a>. (\u003ci>\u003cb>Editor’s Note:\u003c/b> This article has been updated to be accurate in 2018.\u003c/i>)\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11620825\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11620825\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_5893-400x300.jpg\" alt=\"Lake Sonoma\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5893-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5893-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5893-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5893-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5893-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5893-960x720.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Lake Sonoma \u003ccite>(Ron Poznansky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Lake Sonoma\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.spn.usace.army.mil/Missions/Recreation/LakeSonoma/CampingatLakeSonoma.aspx\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>If you want to camp at this reservoir, which boasts 50 miles of shoreline with countless inlets to explore, there are several options. The Army Corps of Engineers has 15 different campgrounds with 115 sites that are accessible by trail or boat — most of them need to be \u003ca href=\"http://www.recreation.gov/camping/boatin-sites-lake-sonoma/r/campgroundDetails.do?contractCode=NRSO&parkId=73091\" target=\"_blank\" rel=\"noopener\">reserved\u003c/a>, but one campsite per campground is always left open for walk-ins. Family sites cost $20 and group sites (which can accommodate up to 50 people) cost $80 per evening. Even if these are booked, however, the rangers want to work with you. If nearby \u003ca href=\"http://www.recreation.gov/camping/liberty-glen-lake-sonoma/r/campgroundDetails.do?contractCode=NRSO&parkId=73251\" target=\"_blank\" rel=\"noopener\">Liberty Glen\u003c/a> has open spots, something can generally be arranged at the campground kiosk. The sites cost $25 per evening. An independently-operating campground at the \u003ca href=\"http://www.lakesonoma.com/m_17.asp\" target=\"_blank\" rel=\"noopener\">Lake Sonoma Marina\u003c/a> also offers 16 sites and accepts walk-ins. Sites at the Marina cost $20 per evening plus $10 per car for two nights. Activities at Lake Sonoma include hiking, fishing, water skiing, boating and \u003ca href=\"http://www.spn.usace.army.mil/Missions/Recreation/LakeSonoma/Hunting.aspx\" target=\"_blank\" rel=\"noopener\">pig hunting\u003c/a>.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11619892\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11619892\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/willowcreekcamping-400x267.jpg\" alt=\"Willow Creek Environmental Campground\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/willowcreekcamping-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/willowcreekcamping-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/willowcreekcamping-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/willowcreekcamping-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/willowcreekcamping.jpg 1024w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Willow Creek Environmental Campground\u003c/figcaption>\u003c/figure>\n\u003ch3>Willow Creek Environmental Campground\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.parks.ca.gov/?page_id=451\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Hate having to drive back home after a day out on the Russian River? Thankfully there is a solution: since two years ago, Willow Creek Environmental Campground has had 11 first-come, first-served primitive campsites available to make your river adventure include a weekend stay in the beautiful outdoors. Located in the Sonoma Coast State Park near Jenner, these sites have picnic tables, fire rings and pit toilets. While most of the sites are located off a gravel road, three are more secluded and have a path to the river. There is no running water, but trash and recycling cans are on site, meaning you won’t have to pack your waste. In addition to swimming, fishing and hiking, a drive to the beach and lots of opportunities for wine tasting are close by. No dogs are allowed and fees are $35 a night.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11620694\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11620694\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Pantoll-Campground-Justin-Wilson-400x266.jpg\" alt=\"Pantoll Campground\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Pantoll-Campground-Justin-Wilson-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Pantoll-Campground-Justin-Wilson-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Pantoll-Campground-Justin-Wilson-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Pantoll-Campground-Justin-Wilson-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Pantoll-Campground-Justin-Wilson.jpg 1024w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Pantoll Campground \u003ccite>(Justin Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Mount Tamalpais State Park\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.parks.ca.gov/?page_id=471\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>There are two different walk-in campgrounds available on Mount Tamalpais: Pantoll, which has 16 sites, and Bootjack, that has 15. The sites are close to each other, but it you’re using them as intended — meaning, for crashing after a long day out — then they have everything you need. Amenities include running water, toilets, fire rings and picnic tables. Those who’ve ventured up the mountain know there’s no shortage of activities to take part in (geocaching, biking) and trails to wander (Matt Davis, Old Mine). To find out more about guided hikes, call the ranger station or pick up a copy of Barry Spitz’ \u003ca href=\"http://store.parksconservancy.org/product-p/b-72.htm\" target=\"_blank\" rel=\"noopener\">\u003cem>Mount Tamalpais Trails\u003c/em>\u003c/a> and have at it on your own. Of course, Mount Tam features way more than just outdoor activities. Guests have plenty of \u003ca href=\"http://www.friendsofmttam.org/railroad/gravity-car-barn\" target=\"_blank\" rel=\"noopener\">curiosities\u003c/a> to explore or may want to align their trip with a \u003ca href=\"https://mountainplay.org/\" target=\"_blank\" rel=\"noopener\">Mountain Play\u003c/a> to experience theater with an unforgettable view.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11620696\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11620696\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Andrew-Molera-California-Parks-400x266.jpg\" alt=\"Andrew Molera State Park\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Andrew-Molera-California-Parks-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Andrew-Molera-California-Parks.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Andrew-Molera-California-Parks-768x510.jpg 768w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Molera State Park\u003c/figcaption>\u003c/figure>\n\u003ch3>Andrew Molera State Park\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.parks.ca.gov/?page_id=582\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>\u003cb>UPDATE:\u003c/b> \u003ci>Due to flooding, this camp is closed \u003ca href=\"http://www.parks.ca.gov/?page_id=29852\" rel=\"noopener\" target=\"_blank\">until further notice.\u003c/a>\u003c/i> River camping? Beach camping? Or camping in the forest? At Andrew Molera State Park, you can have it all and it’s all within walking distance. Conveniently located where the Big Sur River meets the Pacific Ocean, 24 walk-in sites are available here with activities that include boating, hiking, kayaking, horseback riding and surfing. Every campsite comes equipped with a fire pit, half-grill and picnic table, and to make a picnic truly complete, you can find the \u003ca href=\"http://www.bigsurbakery.com/\" target=\"_blank\" rel=\"noopener\">Big Sur Bakery\u003c/a> five miles away. There is also running water and bathrooms, but no showers. Considering the features and amenities, sites fill up quickly so if you can cut out of work Friday and get there early in the morning, the better your chances of nabbing a spot. Sites cost $25 a night and accommodate up to four people.\n\u003c/p>\u003c/div>\n\u003cp>For those looking for ways to reserve campsites ahead of time, there’s \u003ca href=\"http://www.recreation.gov\" target=\"_blank\" rel=\"noopener\">Recreation.gov\u003c/a> and \u003ca href=\"http://www.reserveamerica.com\" target=\"_blank\" rel=\"noopener\">Reserve America\u003c/a>, as well as a ton of private campsites to choose from that still have availability. Founded by Corte Madera-native Alyssa Ravasio, \u003ca href=\"http://www.hipcamp.com\" target=\"_blank\" rel=\"noopener\">Hipcamp\u003c/a> offers campsites at all National, State, Regional and Army Corps of Engineer sites and also grants users access to private land, nature preserves and more. Some of the spots near the Bay Area that you can book this summer include \u003ca href=\"https://www.hipcamp.com/california/wildtender-ranch\" target=\"_blank\" rel=\"noopener\">WildTender Ranch\u003c/a> near Pescadero, or the \u003ca href=\"https://www.hipcamp.com/california/soul-food-farm\" target=\"_blank\" rel=\"noopener\">Soul Food Farm\u003c/a> in Vacaville. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-guide-2018/\">\u003cimg loading=\"lazy\" decoding=\"async\" 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\" class=\"alignright size-full wp-image-11638282\" 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> Camping is growing in popularity. According to National Park Service data, every kind of camping (tent, backcountry, RV, campsites operated by concessionaires) got a boost in the past few years with overnight stays hitting 11.1 million in 2017, up almost \u003ca href=\"https://irma.nps.gov/Stats/SSRSReports/National%20Reports/Fiscal%20Year%20Visitation%20Report%20(1979%20-%20Last%20Calendar%20Year)\" rel=\"noopener\" target=\"_blank\">10 percent from the year before\u003c/a>. \u003c/p>\n\u003cp>Of course, seasoned campers — aware of the \u003ca href=\"http://www.parks.ca.gov/?page_id=1051\" target=\"_blank\" rel=\"noopener\">key dates\u003c/a> to reserve sites — had their Labor Day weekend booked in March, but for those not totally in-the-know who still want to enjoy the outdoors this summer, there is hope. Here are some first-come first-served sites around the Bay, meaning all you have to do is show up. Just remember when you do: please \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-oregon-frat-trashes-lake-shasta-20160525-snap-story.html\" target=\"_blank\" rel=\"noopener\">respect the land\u003c/a>. (\u003ci>\u003cb>Editor’s Note:\u003c/b> This article has been updated to be accurate in 2018.\u003c/i>)\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11620825\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11620825\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_5893-400x300.jpg\" alt=\"Lake Sonoma\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5893-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5893-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5893-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5893-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5893-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5893-960x720.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Lake Sonoma \u003ccite>(Ron Poznansky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Lake Sonoma\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.spn.usace.army.mil/Missions/Recreation/LakeSonoma/CampingatLakeSonoma.aspx\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>If you want to camp at this reservoir, which boasts 50 miles of shoreline with countless inlets to explore, there are several options. The Army Corps of Engineers has 15 different campgrounds with 115 sites that are accessible by trail or boat — most of them need to be \u003ca href=\"http://www.recreation.gov/camping/boatin-sites-lake-sonoma/r/campgroundDetails.do?contractCode=NRSO&parkId=73091\" target=\"_blank\" rel=\"noopener\">reserved\u003c/a>, but one campsite per campground is always left open for walk-ins. Family sites cost $20 and group sites (which can accommodate up to 50 people) cost $80 per evening. Even if these are booked, however, the rangers want to work with you. If nearby \u003ca href=\"http://www.recreation.gov/camping/liberty-glen-lake-sonoma/r/campgroundDetails.do?contractCode=NRSO&parkId=73251\" target=\"_blank\" rel=\"noopener\">Liberty Glen\u003c/a> has open spots, something can generally be arranged at the campground kiosk. The sites cost $25 per evening. An independently-operating campground at the \u003ca href=\"http://www.lakesonoma.com/m_17.asp\" target=\"_blank\" rel=\"noopener\">Lake Sonoma Marina\u003c/a> also offers 16 sites and accepts walk-ins. Sites at the Marina cost $20 per evening plus $10 per car for two nights. Activities at Lake Sonoma include hiking, fishing, water skiing, boating and \u003ca href=\"http://www.spn.usace.army.mil/Missions/Recreation/LakeSonoma/Hunting.aspx\" target=\"_blank\" rel=\"noopener\">pig hunting\u003c/a>.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11619892\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11619892\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/willowcreekcamping-400x267.jpg\" alt=\"Willow Creek Environmental Campground\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/willowcreekcamping-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/willowcreekcamping-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/willowcreekcamping-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/willowcreekcamping-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/willowcreekcamping.jpg 1024w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Willow Creek Environmental Campground\u003c/figcaption>\u003c/figure>\n\u003ch3>Willow Creek Environmental Campground\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.parks.ca.gov/?page_id=451\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Hate having to drive back home after a day out on the Russian River? Thankfully there is a solution: since two years ago, Willow Creek Environmental Campground has had 11 first-come, first-served primitive campsites available to make your river adventure include a weekend stay in the beautiful outdoors. Located in the Sonoma Coast State Park near Jenner, these sites have picnic tables, fire rings and pit toilets. While most of the sites are located off a gravel road, three are more secluded and have a path to the river. There is no running water, but trash and recycling cans are on site, meaning you won’t have to pack your waste. In addition to swimming, fishing and hiking, a drive to the beach and lots of opportunities for wine tasting are close by. No dogs are allowed and fees are $35 a night.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11620694\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11620694\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Pantoll-Campground-Justin-Wilson-400x266.jpg\" alt=\"Pantoll Campground\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Pantoll-Campground-Justin-Wilson-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Pantoll-Campground-Justin-Wilson-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Pantoll-Campground-Justin-Wilson-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Pantoll-Campground-Justin-Wilson-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Pantoll-Campground-Justin-Wilson.jpg 1024w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Pantoll Campground \u003ccite>(Justin Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Mount Tamalpais State Park\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.parks.ca.gov/?page_id=471\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>There are two different walk-in campgrounds available on Mount Tamalpais: Pantoll, which has 16 sites, and Bootjack, that has 15. The sites are close to each other, but it you’re using them as intended — meaning, for crashing after a long day out — then they have everything you need. Amenities include running water, toilets, fire rings and picnic tables. Those who’ve ventured up the mountain know there’s no shortage of activities to take part in (geocaching, biking) and trails to wander (Matt Davis, Old Mine). To find out more about guided hikes, call the ranger station or pick up a copy of Barry Spitz’ \u003ca href=\"http://store.parksconservancy.org/product-p/b-72.htm\" target=\"_blank\" rel=\"noopener\">\u003cem>Mount Tamalpais Trails\u003c/em>\u003c/a> and have at it on your own. Of course, Mount Tam features way more than just outdoor activities. Guests have plenty of \u003ca href=\"http://www.friendsofmttam.org/railroad/gravity-car-barn\" target=\"_blank\" rel=\"noopener\">curiosities\u003c/a> to explore or may want to align their trip with a \u003ca href=\"https://mountainplay.org/\" target=\"_blank\" rel=\"noopener\">Mountain Play\u003c/a> to experience theater with an unforgettable view.\n\u003c/p>\u003c/div>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11620696\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11620696\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Andrew-Molera-California-Parks-400x266.jpg\" alt=\"Andrew Molera State Park\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Andrew-Molera-California-Parks-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Andrew-Molera-California-Parks.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Andrew-Molera-California-Parks-768x510.jpg 768w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Molera State Park\u003c/figcaption>\u003c/figure>\n\u003ch3>Andrew Molera State Park\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.parks.ca.gov/?page_id=582\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>\u003cb>UPDATE:\u003c/b> \u003ci>Due to flooding, this camp is closed \u003ca href=\"http://www.parks.ca.gov/?page_id=29852\" rel=\"noopener\" target=\"_blank\">until further notice.\u003c/a>\u003c/i> River camping? Beach camping? Or camping in the forest? At Andrew Molera State Park, you can have it all and it’s all within walking distance. Conveniently located where the Big Sur River meets the Pacific Ocean, 24 walk-in sites are available here with activities that include boating, hiking, kayaking, horseback riding and surfing. Every campsite comes equipped with a fire pit, half-grill and picnic table, and to make a picnic truly complete, you can find the \u003ca href=\"http://www.bigsurbakery.com/\" target=\"_blank\" rel=\"noopener\">Big Sur Bakery\u003c/a> five miles away. There is also running water and bathrooms, but no showers. Considering the features and amenities, sites fill up quickly so if you can cut out of work Friday and get there early in the morning, the better your chances of nabbing a spot. Sites cost $25 a night and accommodate up to four people.\n\u003c/p>\u003c/div>\n\u003cp>For those looking for ways to reserve campsites ahead of time, there’s \u003ca href=\"http://www.recreation.gov\" target=\"_blank\" rel=\"noopener\">Recreation.gov\u003c/a> and \u003ca href=\"http://www.reserveamerica.com\" target=\"_blank\" rel=\"noopener\">Reserve America\u003c/a>, as well as a ton of private campsites to choose from that still have availability. Founded by Corte Madera-native Alyssa Ravasio, \u003ca href=\"http://www.hipcamp.com\" target=\"_blank\" rel=\"noopener\">Hipcamp\u003c/a> offers campsites at all National, State, Regional and Army Corps of Engineer sites and also grants users access to private land, nature preserves and more. Some of the spots near the Bay Area that you can book this summer include \u003ca href=\"https://www.hipcamp.com/california/wildtender-ranch\" target=\"_blank\" rel=\"noopener\">WildTender Ranch\u003c/a> near Pescadero, or the \u003ca href=\"https://www.hipcamp.com/california/soul-food-farm\" target=\"_blank\" rel=\"noopener\">Soul Food Farm\u003c/a> in Vacaville. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Chain Reaction’ Proves There’s at Least 21 Artists Left in San Francisco",
"headTitle": "‘Chain Reaction’ Proves There’s at Least 21 Artists Left in San Francisco | KQED",
"content": "\u003cp>The second exhibition at the San Francisco Arts Commission’s newly reopened main gallery space, housed inside the War Memorial Veterans Building, expands on \u003ca href=\"http://ww2.kqed.org/arts/2016/01/21/asunder-no-more-sfac-gallery-expands-and-reopens-in-civic-center/\" target=\"_blank\" rel=\"noopener\">its inaugural showing\u003c/a> of just 10 Bay Area artists with \u003ci>Chain Reaction 12\u003c/i>, a group show of 21 photographers, sculptors, video artists, painters and uncategorizable makers.\u003c/p>\n\u003cp>If that sounds like a lot of artists, it is. But in the airy new gallery, objects’ proximity to each other fosters a sense of camaraderie rather than crowding. The conceit of the \u003ci>Chain Reaction\u003c/i> series is a chain letter of sorts. Seven initial entities, ranging from arts professionals to nonprofit galleries, selected one artist each. Those artists then each selected another fellow artist, and those fellows selected a final set of seven.\u003c/p>\n\u003cfigure id=\"attachment_11666719\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/27369998106_928f8c3613_z.jpg\" alt=\"Craig Calderwood, 'Nicki with Gherkins,' 2016.\" width=\"457\" height=\"640\" class=\"size-full wp-image-11666719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/27369998106_928f8c3613_z.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/27369998106_928f8c3613_z-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/27369998106_928f8c3613_z-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Craig Calderwood, ‘Nicki with Gherkins,’ 2016. \u003ccite>(Courtesy of Black and White Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The seven “chains” create intriguing visual connections across generational and material lines, plotting a network of friends, inspirations and mentorships throughout San Francisco’s many art scenes. The arrangement of the exhibition, organized by SFAC associate curator Jackie Im and independent curator Alice Wu, positions particular chains next to or near one another for certain connections to become more apparent. \u003c/p>\n\u003cp>Transgressing gender binaries and celebrating decorative opulence, the exhibition begins with \u003ca href=\"https://craigcalderwood.com/\" target=\"_blank\" rel=\"noopener\">Craig Calderwood\u003c/a>’s bedazzled puffy paint portrait of artist \u003ca href=\"http://www.nickigreen.org/\" target=\"_blank\" rel=\"noopener\">Nicki Green\u003c/a>. (Get up close, you won’t regret it.) Then, Green’s own glazed urns, adorned with wreaths of chanterelle mushrooms and delicate illustrations, stand in front. The third member of their chain, \u003ca href=\"https://julzhalemary.com/\" target=\"_blank\" rel=\"noopener\">Julz Hale Mary\u003c/a>, smiles out of a photograph around the corner, wearing a wedding dress covered with the repeated phrase “he promised he would change,” hands clasped around calla lilies. \u003c/p>\n\u003cfigure id=\"attachment_11666962\" class=\"wp-caption alignright\" style=\"max-width: 463px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Smith640.jpg\" alt=\"Wayne Smith, 'Nascent,' 2013.\" width=\"463\" height=\"640\" class=\"size-full wp-image-11666962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Smith640.jpg 463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Smith640-400x553.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Smith640-434x600.jpg 434w\" sizes=\"(max-width: 463px) 100vw, 463px\">\u003cfigcaption class=\"wp-caption-text\">Wayne Smith, ‘Nascent,’ 2013. \u003ccite>(Courtesy of Gallery 16)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chain started by \u003ca href=\"http://projects2ndfloor.blogspot.com/\" target=\"_blank\" rel=\"noopener\">2nd floor projects\u003c/a>’ Margaret Tedesco yields the most cohesive visual grouping, with two cut fabric collages from Anne McGuire, a painting by \u003ca href=\"http://brunofazzolari.com/\" target=\"_blank\" rel=\"noopener\">Bruno Fazzolari\u003c/a> that bursts colorfully from the center of the linen canvas, and \u003ca href=\"http://www.gallery16.com/wayne-smith\" target=\"_blank\" rel=\"noopener\">Wayne Smith\u003c/a>’s \u003ci>Nascent\u003c/i>, a saturated print resembling a striped sunset reflected over water. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the fact that the 21 artists of \u003ci>Chain Reaction 12\u003c/i> share only addresses within San Francisco city limits (the show’s one prerequisite), certain visual elements emerge across groupings, including the curious domed shape seen in Smith’s print, \u003ca href=\"http://wetmybangs.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Justine Rivas\u003c/a>’ painting \u003ci>Sure no Problem. Take Care of Yourself\u003c/i>, and \u003ca href=\"http://www.neverendingstruggle.com/\" target=\"_blank\" rel=\"noopener\">Francesco Igory Deiana\u003c/a>’s graphite on cardstock work \u003ci>Untitled (Haptic 06)\u003c/i>.\u003c/p>\n\u003cp>The range of subject matter, tone and media within the exhibition is sometimes disorienting, but these are juxtapositions one likely wouldn’t encounter in a more traditionally curated show. On opposite ends of the humor spectrum, \u003ca href=\"http://jonnherschend.com/\" target=\"_blank\" rel=\"noopener\">Jonn Herschend\u003c/a>’s music video for a Danish train station’s “official song” is gleefully silly, while Omar Mismar’s 11-hour video (subtitled \u003ci>An unfinished monument\u003c/i>) is an abstract and somber memorial to civilians killed by Israeli bombing in Gaza.\u003c/p>\n\u003cfigure id=\"attachment_11666717\" class=\"wp-caption alignright\" style=\"max-width: 553px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/27125207210_2abd536986_z.jpg\" alt=\"Bruno Fazzolari, 'DAT ROSA (BFP 2018),' 2015.\" width=\"553\" height=\"640\" class=\"size-full wp-image-11666717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/27125207210_2abd536986_z.jpg 553w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/27125207210_2abd536986_z-400x463.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/27125207210_2abd536986_z-518x600.jpg 518w\" sizes=\"(max-width: 553px) 100vw, 553px\">\u003cfigcaption class=\"wp-caption-text\">Bruno Fazzolari, ‘DAT ROSA (BFP 2018),’ 2015. \u003ccite>(Courtesy of Anglim Gilbert Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If any summations can be drawn out of \u003ci>Chain Reaction 12\u003c/i>, one is that art still exists in San Francisco, a city increasingly in danger of containing no artists at all. While there’s something affirming in this, there’s also an awful lot of 2D work in the show (Nicki Green, \u003ca href=\"http://www.maycwilson.com/\" target=\"_blank\" rel=\"noopener\">May Wilson\u003c/a>, \u003ca href=\"http://bintaayofemi.com/\" target=\"_blank\" rel=\"noopener\">Binta Ayofemi\u003c/a> and \u003ca href=\"http://www.taranehhemami.com/\" target=\"_blank\" rel=\"noopener\">Taraneh Hemami\u003c/a> provide the only sculptures), possibly symptomatic of the city’s space crunch. \u003c/p>\n\u003cp>At the same time, just a block away at 155 Grove Street, the SFAC’s Window Gallery contains an homage to artists who have left San Francisco, an installation by \u003ca href=\"http://ww2.kqed.org/arts/2015/06/18/chinese-born-artist-ma-li-makes-treasure-from-trash/\" target=\"_blank\" rel=\"noopener\">Ma Li\u003c/a>. In \u003ci>\u003ca href=\"http://www.sfartscommission.org/gallery/2016/wish-you-could-have-seen-this-by-ma-li/\" target=\"_blank\" rel=\"noopener\">Wish You Could Have Seen This\u003c/a>\u003c/i>, people who once contributed to San Francisco’s culture broadcast their messages back to Civic Center via Morse code. At night, images of the work they’re making elsewhere is projected in the window gallery. \u003c/p>\n\u003cp>While both \u003ci>Chain Reaction 12\u003c/i> and \u003ci>Wish You Could Have Seen This\u003c/i> make tangible the networks that artists create to support and inspire one another, only one of them is optimistic about the future of visual culture in this city. Choose your viewing order wisely. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Chain Reaction 12\u003c/b> is on view at the San Francisco Arts Commisison Gallery through Oct. 15 and \u003ci>Wish You Could Have Seen This\u003c/i> is on view at 155 Grove Street through Sept. 2. For more information visit \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">sfartscommission.org\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "A group show at the San Francisco Arts Commission Gallery uses participants' own networks to represent a wide range of the city's visual artists. ",
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"headline": "‘Chain Reaction’ Proves There’s at Least 21 Artists Left in San Francisco",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The second exhibition at the San Francisco Arts Commission’s newly reopened main gallery space, housed inside the War Memorial Veterans Building, expands on \u003ca href=\"http://ww2.kqed.org/arts/2016/01/21/asunder-no-more-sfac-gallery-expands-and-reopens-in-civic-center/\" target=\"_blank\" rel=\"noopener\">its inaugural showing\u003c/a> of just 10 Bay Area artists with \u003ci>Chain Reaction 12\u003c/i>, a group show of 21 photographers, sculptors, video artists, painters and uncategorizable makers.\u003c/p>\n\u003cp>If that sounds like a lot of artists, it is. But in the airy new gallery, objects’ proximity to each other fosters a sense of camaraderie rather than crowding. The conceit of the \u003ci>Chain Reaction\u003c/i> series is a chain letter of sorts. Seven initial entities, ranging from arts professionals to nonprofit galleries, selected one artist each. Those artists then each selected another fellow artist, and those fellows selected a final set of seven.\u003c/p>\n\u003cfigure id=\"attachment_11666719\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/27369998106_928f8c3613_z.jpg\" alt=\"Craig Calderwood, 'Nicki with Gherkins,' 2016.\" width=\"457\" height=\"640\" class=\"size-full wp-image-11666719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/27369998106_928f8c3613_z.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/27369998106_928f8c3613_z-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/27369998106_928f8c3613_z-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Craig Calderwood, ‘Nicki with Gherkins,’ 2016. \u003ccite>(Courtesy of Black and White Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The seven “chains” create intriguing visual connections across generational and material lines, plotting a network of friends, inspirations and mentorships throughout San Francisco’s many art scenes. The arrangement of the exhibition, organized by SFAC associate curator Jackie Im and independent curator Alice Wu, positions particular chains next to or near one another for certain connections to become more apparent. \u003c/p>\n\u003cp>Transgressing gender binaries and celebrating decorative opulence, the exhibition begins with \u003ca href=\"https://craigcalderwood.com/\" target=\"_blank\" rel=\"noopener\">Craig Calderwood\u003c/a>’s bedazzled puffy paint portrait of artist \u003ca href=\"http://www.nickigreen.org/\" target=\"_blank\" rel=\"noopener\">Nicki Green\u003c/a>. (Get up close, you won’t regret it.) Then, Green’s own glazed urns, adorned with wreaths of chanterelle mushrooms and delicate illustrations, stand in front. The third member of their chain, \u003ca href=\"https://julzhalemary.com/\" target=\"_blank\" rel=\"noopener\">Julz Hale Mary\u003c/a>, smiles out of a photograph around the corner, wearing a wedding dress covered with the repeated phrase “he promised he would change,” hands clasped around calla lilies. \u003c/p>\n\u003cfigure id=\"attachment_11666962\" class=\"wp-caption alignright\" style=\"max-width: 463px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Smith640.jpg\" alt=\"Wayne Smith, 'Nascent,' 2013.\" width=\"463\" height=\"640\" class=\"size-full wp-image-11666962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Smith640.jpg 463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Smith640-400x553.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Smith640-434x600.jpg 434w\" sizes=\"(max-width: 463px) 100vw, 463px\">\u003cfigcaption class=\"wp-caption-text\">Wayne Smith, ‘Nascent,’ 2013. \u003ccite>(Courtesy of Gallery 16)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chain started by \u003ca href=\"http://projects2ndfloor.blogspot.com/\" target=\"_blank\" rel=\"noopener\">2nd floor projects\u003c/a>’ Margaret Tedesco yields the most cohesive visual grouping, with two cut fabric collages from Anne McGuire, a painting by \u003ca href=\"http://brunofazzolari.com/\" target=\"_blank\" rel=\"noopener\">Bruno Fazzolari\u003c/a> that bursts colorfully from the center of the linen canvas, and \u003ca href=\"http://www.gallery16.com/wayne-smith\" target=\"_blank\" rel=\"noopener\">Wayne Smith\u003c/a>’s \u003ci>Nascent\u003c/i>, a saturated print resembling a striped sunset reflected over water. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the fact that the 21 artists of \u003ci>Chain Reaction 12\u003c/i> share only addresses within San Francisco city limits (the show’s one prerequisite), certain visual elements emerge across groupings, including the curious domed shape seen in Smith’s print, \u003ca href=\"http://wetmybangs.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Justine Rivas\u003c/a>’ painting \u003ci>Sure no Problem. Take Care of Yourself\u003c/i>, and \u003ca href=\"http://www.neverendingstruggle.com/\" target=\"_blank\" rel=\"noopener\">Francesco Igory Deiana\u003c/a>’s graphite on cardstock work \u003ci>Untitled (Haptic 06)\u003c/i>.\u003c/p>\n\u003cp>The range of subject matter, tone and media within the exhibition is sometimes disorienting, but these are juxtapositions one likely wouldn’t encounter in a more traditionally curated show. On opposite ends of the humor spectrum, \u003ca href=\"http://jonnherschend.com/\" target=\"_blank\" rel=\"noopener\">Jonn Herschend\u003c/a>’s music video for a Danish train station’s “official song” is gleefully silly, while Omar Mismar’s 11-hour video (subtitled \u003ci>An unfinished monument\u003c/i>) is an abstract and somber memorial to civilians killed by Israeli bombing in Gaza.\u003c/p>\n\u003cfigure id=\"attachment_11666717\" class=\"wp-caption alignright\" style=\"max-width: 553px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/27125207210_2abd536986_z.jpg\" alt=\"Bruno Fazzolari, 'DAT ROSA (BFP 2018),' 2015.\" width=\"553\" height=\"640\" class=\"size-full wp-image-11666717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/27125207210_2abd536986_z.jpg 553w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/27125207210_2abd536986_z-400x463.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/27125207210_2abd536986_z-518x600.jpg 518w\" sizes=\"(max-width: 553px) 100vw, 553px\">\u003cfigcaption class=\"wp-caption-text\">Bruno Fazzolari, ‘DAT ROSA (BFP 2018),’ 2015. \u003ccite>(Courtesy of Anglim Gilbert Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If any summations can be drawn out of \u003ci>Chain Reaction 12\u003c/i>, one is that art still exists in San Francisco, a city increasingly in danger of containing no artists at all. While there’s something affirming in this, there’s also an awful lot of 2D work in the show (Nicki Green, \u003ca href=\"http://www.maycwilson.com/\" target=\"_blank\" rel=\"noopener\">May Wilson\u003c/a>, \u003ca href=\"http://bintaayofemi.com/\" target=\"_blank\" rel=\"noopener\">Binta Ayofemi\u003c/a> and \u003ca href=\"http://www.taranehhemami.com/\" target=\"_blank\" rel=\"noopener\">Taraneh Hemami\u003c/a> provide the only sculptures), possibly symptomatic of the city’s space crunch. \u003c/p>\n\u003cp>At the same time, just a block away at 155 Grove Street, the SFAC’s Window Gallery contains an homage to artists who have left San Francisco, an installation by \u003ca href=\"http://ww2.kqed.org/arts/2015/06/18/chinese-born-artist-ma-li-makes-treasure-from-trash/\" target=\"_blank\" rel=\"noopener\">Ma Li\u003c/a>. In \u003ci>\u003ca href=\"http://www.sfartscommission.org/gallery/2016/wish-you-could-have-seen-this-by-ma-li/\" target=\"_blank\" rel=\"noopener\">Wish You Could Have Seen This\u003c/a>\u003c/i>, people who once contributed to San Francisco’s culture broadcast their messages back to Civic Center via Morse code. At night, images of the work they’re making elsewhere is projected in the window gallery. \u003c/p>\n\u003cp>While both \u003ci>Chain Reaction 12\u003c/i> and \u003ci>Wish You Could Have Seen This\u003c/i> make tangible the networks that artists create to support and inspire one another, only one of them is optimistic about the future of visual culture in this city. Choose your viewing order wisely. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Chain Reaction 12\u003c/b> is on view at the San Francisco Arts Commisison Gallery through Oct. 15 and \u003ci>Wish You Could Have Seen This\u003c/i> is on view at 155 Grove Street through Sept. 2. For more information visit \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">sfartscommission.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco has a new landmark — a statue almost 100-feet-tall — and the public won’t be seeing it until next year.\u003c/p>\n\u003cp>The 92-foot-tall “Venus” was unveiled to the media Friday behind construction site fences. Now the tallest sculpture in the city, “Venus” is the centerpiece of a large public art collection that will live in the piazza of Trinity Place, a massive 1,900-unit apartment complex being built on 8th Street, between Market and Mission. It’s expected to be completed by March of 2017. \u003c/p>\n\u003cfigure id=\"attachment_11671539\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-450x600.jpg\" alt='\"Venus\" and artist Lawrence Argent ' width=\"450\" height=\"600\" class=\"size-medium wp-image-11671539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank.jpg 810w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">“Venus” and artist Lawrence Argent \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The statue is to be the centerpiece of “C’era Una Volta” (“Once Upon a Time” in Italian), a one-acre public art park described as Trinity Properties founder — and once San Francisco’s biggest landlord — Angelo Sangiacomo’s “lasting gift to his beloved city.” Sangiacomo, who died \u003ca href=\"http://www.sfgate.com/bayarea/article/Angelo-Sangiacomo-one-of-S-F-s-biggest-6684910.php\" target=\"_blank\" rel=\"noopener\">last December at the age of 91\u003c/a>, envisioned a collection of large pieces that reference the aesthetics of canonical works, according to Venus’s creator, \u003ca href=\"http://lawrenceargent.com/\" target=\"_blank\" rel=\"noopener\">artist Lawrence Argent\u003c/a>. For example, “Venus” is Argent’s take on the famous ancient Greek statue commonly referred to as “Venus de Milo.” \u003c/p>\n\u003cp>“Angelo had an innate understanding of materials and the complexities of art,” Argent said. \u003c/p>\n\u003cp>The statue was unveiled on June 10, Sangiacomo’s birthday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The sculpture is comprised of several hand-molded stainless steel panels that were brought here in 16 shipping containers from China. It took almost a month to put together the swirling steel statue, which Argent says he intended to look like it was coming out of the ground, “like a genie from a bottle.”\u003c/p>\n\u003cp>Argent, an Australian artist, has designed several \u003ca href=\"http://lawrenceargent.com/bio/\" target=\"_blank\" rel=\"noopener\">public art installations\u003c/a>, including a 56-foot-long steel piece called “Leap” that is hanging in Terminal B of the Sacramento International Airport.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Correction:\u003c/b> This story, \u003ca href=\"https://twitter.com/artattrinitysf\" target=\"_blank\" rel=\"noopener\">like many others\u003c/a>, reported that the statue was almost as tall as the Statue of Liberty. The Statue of Liberty is 151 feet tall from its feet to the top of the torch, but it \u003ca href=\"http://www.libertyellisfoundation.org/statue-facts\" target=\"_blank\" rel=\"noopener\">is only 111 feet tall from its feet to the top of its head\u003c/a>. Still, it is not accurate to say the statue is almost as tall as the Statue of Liberty and we apologize.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11671710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_1950-800x600.jpg\" alt='Another view of \"Venus\"' width=\"800\" height=\"600\" class=\"size-medium wp-image-11671710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another view of “Venus” \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco has a new landmark — a statue almost 100-feet-tall — and the public won’t be seeing it until next year.\u003c/p>\n\u003cp>The 92-foot-tall “Venus” was unveiled to the media Friday behind construction site fences. Now the tallest sculpture in the city, “Venus” is the centerpiece of a large public art collection that will live in the piazza of Trinity Place, a massive 1,900-unit apartment complex being built on 8th Street, between Market and Mission. It’s expected to be completed by March of 2017. \u003c/p>\n\u003cfigure id=\"attachment_11671539\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-450x600.jpg\" alt='\"Venus\" and artist Lawrence Argent ' width=\"450\" height=\"600\" class=\"size-medium wp-image-11671539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank.jpg 810w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">“Venus” and artist Lawrence Argent \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The statue is to be the centerpiece of “C’era Una Volta” (“Once Upon a Time” in Italian), a one-acre public art park described as Trinity Properties founder — and once San Francisco’s biggest landlord — Angelo Sangiacomo’s “lasting gift to his beloved city.” Sangiacomo, who died \u003ca href=\"http://www.sfgate.com/bayarea/article/Angelo-Sangiacomo-one-of-S-F-s-biggest-6684910.php\" target=\"_blank\" rel=\"noopener\">last December at the age of 91\u003c/a>, envisioned a collection of large pieces that reference the aesthetics of canonical works, according to Venus’s creator, \u003ca href=\"http://lawrenceargent.com/\" target=\"_blank\" rel=\"noopener\">artist Lawrence Argent\u003c/a>. For example, “Venus” is Argent’s take on the famous ancient Greek statue commonly referred to as “Venus de Milo.” \u003c/p>\n\u003cp>“Angelo had an innate understanding of materials and the complexities of art,” Argent said. \u003c/p>\n\u003cp>The statue was unveiled on June 10, Sangiacomo’s birthday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The sculpture is comprised of several hand-molded stainless steel panels that were brought here in 16 shipping containers from China. It took almost a month to put together the swirling steel statue, which Argent says he intended to look like it was coming out of the ground, “like a genie from a bottle.”\u003c/p>\n\u003cp>Argent, an Australian artist, has designed several \u003ca href=\"http://lawrenceargent.com/bio/\" target=\"_blank\" rel=\"noopener\">public art installations\u003c/a>, including a 56-foot-long steel piece called “Leap” that is hanging in Terminal B of the Sacramento International Airport.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Correction:\u003c/b> This story, \u003ca href=\"https://twitter.com/artattrinitysf\" target=\"_blank\" rel=\"noopener\">like many others\u003c/a>, reported that the statue was almost as tall as the Statue of Liberty. The Statue of Liberty is 151 feet tall from its feet to the top of the torch, but it \u003ca href=\"http://www.libertyellisfoundation.org/statue-facts\" target=\"_blank\" rel=\"noopener\">is only 111 feet tall from its feet to the top of its head\u003c/a>. Still, it is not accurate to say the statue is almost as tall as the Statue of Liberty and we apologize.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11671710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_1950-800x600.jpg\" alt='Another view of \"Venus\"' width=\"800\" height=\"600\" class=\"size-medium wp-image-11671710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another view of “Venus” \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Maybe art’s fair in love and war.\u003c/p>\n\u003cp>While the San Jose Sharks and the Pittsburgh Penguins compete in the Stanley Cup Finals this week, museums from each city are wagering pieces from their collection that their hockey team will come out on top.\u003c/p>\n\u003cp>It all started on May 27, when the Carnegie Museum of Art in Pittsburgh challenged the San Jose Museum of Art to a friendly bet on Twitter.\u003c/p>\n\u003cp>https://twitter.com/cmoa/status/736170673500889088\u003c/p>\n\u003cp>\u003ca href=\"http://www.sfchronicle.com/art/article/San-Jose-Pittsburgh-art-museums-face-off-in-7960587.php?t=801d8223337d4f3860&cmpid=twitter-premium#photo-10179912\" target=\"_blank\" rel=\"noopener\">If the Sharks win\u003c/a>, the CMOA will loan \u003ca href=\"http://www.cmoa.org/CollectionDetail.aspx?item=1003309&retPrompt=Back+to+Results&retUrl=CollectionSearch.aspx%3Fsrch%3DMel%2BBochner\">“Measurement: Plant (Palm),”\u003c/a> a 1969 conceptual work by Pittsburgh-born artist Mel Bochner. If the Penguins win, SJMA will have to relinquish \u003ca href=\"http://collection.sjmusart.org/Obj871?sid=3276&x=351127\" target=\"_blank\" rel=\"noopener\">“Mom Posing by Green Wall and Dad Watching T.V.,”\u003c/a> a 1984 photograph from the “Pictures from Home” series by California artist Larry Sultan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/cmoa/status/739516147125485569\u003c/p>\n\u003cp>It’s a bit of an uneven playing field: not only does the CMOA’s collection of 30,000 pieces far exceed the SJMA’s 2,500, but the Penguins are currently leading the Sharks 3-1 in the series.\u003c/p>\n\u003cp>This is just the latest artistic fun around a sports event. The Seattle Seahawks and the New England Patriots inspired a similar bet during the 2015 Super Bowl, wagering a pair of seascape paintings. When the Patriots took home the Vince Lombardi Trophy, the Clark Art Institute in Williamstown, Mass., took home the 1870 Albert Bierstadt painting “Puget Sound on the Pacific Coast,” which it won for three months from the Seattle Art Museum.\u003c/p>\n\u003cp>And more than just photographs — and, yes, the Stanley Cup — are at stake. Sen. Bob Casey, D-Pa., put up a bottle of Pittsburgh’s own Wigle Whiskey against a bottle of California chardonnay from Sen. Dianne Feinstein, D-Calif., and \u003ca href=\"http://www.boston.com/news/local-news/2014/05/02/the-long-dumb-history-of-mayors-making-sports-bets\" target=\"_blank\" rel=\"noopener\">per tradition\u003c/a>, Mayors Bill Peduto of Pittsburgh and Sam Liccardo of San Jose wagered on their cities as well.\u003c/p>\n\u003cp>https://twitter.com/SenBobCasey/status/736232316851396609\u003c/p>\n\u003cp>In addition to a gift basket of city-appropriate goods (a Primanti Bros. sandwich vs. La Victoria Taqueria orange sauce), the losing mayor will make a donation to the winning mayor’s charity of choice.\u003c/p>\n\u003cp>And while the losing mayor will donate a captain’s jersey to charity as well, he’ll need to take a photograph in it first — to prove his concession. At least neither will have to shovel snow, like the former mayor of Pittsburgh, Luke Ravenstahl, had to do for a Greenfield, Pa., church after the Steelers lost to the Green Bay Packers in the \u003ca href=\"http://multimedia.post-gazette.com/?ClipId=5592984&topVideoCatNo=default&autoStart=true\" target=\"_blank\" rel=\"noopener\">2011 Super Bowl\u003c/a>.\u003c/p>\n\u003cp>The Stanley Cup Finals continue Thursday night at Consol Energy Arena in Pittsburgh. Smack talk, however, has already begun, delivered in the way museums know best: artfully.\u003c/p>\n\u003cp>https://twitter.com/sjmusart/status/739971518642323456\u003c/p>\n\u003cp>https://twitter.com/cmoa/status/739976246491250688\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabe Rosenberg is a digital news intern.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Stanley+Cup+Inspires+Artwork+Bet%2C+Highbrow+Trash+Talk+Between+2+Museums&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe art’s fair in love and war.\u003c/p>\n\u003cp>While the San Jose Sharks and the Pittsburgh Penguins compete in the Stanley Cup Finals this week, museums from each city are wagering pieces from their collection that their hockey team will come out on top.\u003c/p>\n\u003cp>It all started on May 27, when the Carnegie Museum of Art in Pittsburgh challenged the San Jose Museum of Art to a friendly bet on Twitter.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It’s a bit of an uneven playing field: not only does the CMOA’s collection of 30,000 pieces far exceed the SJMA’s 2,500, but the Penguins are currently leading the Sharks 3-1 in the series.\u003c/p>\n\u003cp>This is just the latest artistic fun around a sports event. The Seattle Seahawks and the New England Patriots inspired a similar bet during the 2015 Super Bowl, wagering a pair of seascape paintings. When the Patriots took home the Vince Lombardi Trophy, the Clark Art Institute in Williamstown, Mass., took home the 1870 Albert Bierstadt painting “Puget Sound on the Pacific Coast,” which it won for three months from the Seattle Art Museum.\u003c/p>\n\u003cp>And more than just photographs — and, yes, the Stanley Cup — are at stake. Sen. Bob Casey, D-Pa., put up a bottle of Pittsburgh’s own Wigle Whiskey against a bottle of California chardonnay from Sen. Dianne Feinstein, D-Calif., and \u003ca href=\"http://www.boston.com/news/local-news/2014/05/02/the-long-dumb-history-of-mayors-making-sports-bets\" target=\"_blank\" rel=\"noopener\">per tradition\u003c/a>, Mayors Bill Peduto of Pittsburgh and Sam Liccardo of San Jose wagered on their cities as well.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In addition to a gift basket of city-appropriate goods (a Primanti Bros. sandwich vs. La Victoria Taqueria orange sauce), the losing mayor will make a donation to the winning mayor’s charity of choice.\u003c/p>\n\u003cp>And while the losing mayor will donate a captain’s jersey to charity as well, he’ll need to take a photograph in it first — to prove his concession. At least neither will have to shovel snow, like the former mayor of Pittsburgh, Luke Ravenstahl, had to do for a Greenfield, Pa., church after the Steelers lost to the Green Bay Packers in the \u003ca href=\"http://multimedia.post-gazette.com/?ClipId=5592984&topVideoCatNo=default&autoStart=true\" target=\"_blank\" rel=\"noopener\">2011 Super Bowl\u003c/a>.\u003c/p>\n\u003cp>The Stanley Cup Finals continue Thursday night at Consol Energy Arena in Pittsburgh. Smack talk, however, has already begun, delivered in the way museums know best: artfully.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabe Rosenberg is a digital news intern.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Stanley+Cup+Inspires+Artwork+Bet%2C+Highbrow+Trash+Talk+Between+2+Museums&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Earlier this week, \u003ca href=\"http://www.rollingstone.com/music/news/axl-rose-issues-takedown-notice-over-fat-axl-photo-20160606\">it emerged\u003c/a> that Axl Rose had issued Google with several DMCA (Digital Millennium Copyright Act) takedown notices over a particularly unflattering image of himself wearing a big red bandana, billowing white shirt and a facial expression that can only be described as constipated. The photo, originally taken at a Canadian concert, has since been the object of amusement for an abundance of meme-makers, and Axl -- to say the least -- is not terribly pleased about it. If you don’t know what we’re talking about, just pop “Fat Axl meme” into a Google Image search and wait for the food puns to start rolling in.\u003c/p>\n\u003cp>Are the memes mean? Of course they are. Are they fatist? You betcha. Are they another example of internet bullying? That one is debatable. There are a multitude of people who believe that, if one chooses to be in the spotlight and readily accepts all of the benefits that come from fame, one must take the bad with the good.\u003c/p>\n\u003cp>According to a 2013 report from \u003ca href=\"http://www.celebritynetworth.com/articles/entertainment-articles/richest-rock-lead-singers-world/\">CelebrityNetWorth.com\u003c/a>, Axl Rose, that year, was worth $150 million. With the key players from the original Guns N’ Roses line up back together and starting a tour later this month, that sum is set to increase even further. Which makes it all the more difficult to feel sorry for Monsieur Rose, especially given his historically well-documented penchant for tantrums and bad behavior.\u003c/p>\n\u003cp>In addition, the great irony of all this legal action is that people who’d never even seen the “Fat Axl” memes are now having their attention pointedly drawn to them, and people who had forgotten about them are now returning to have another giggle at the expense of a very rich, very famous, rather easily annoyed person. A legal action to get some unfortunate pictures taken down from the internet is, in 2016 terms, the ultimate in self-indulgence and ego-mania. If half the world didn’t already think Axl Rose was a bit of a whiny baby, it certainly does now.\u003c/p>\n\u003cp>Of course, Axl Rose isn’t the first star to attempt to destroy photos of himself he doesn’t like, and he won’t be the last. Actor and 30 Seconds to Mars frontman Jared Leto, went to \u003ca href=\"http://www.thrashhits.com/2013/10/jared-letos-wrongs-010-erasing-the-memory-of-jordan-catalano-in-favour-of-selfies/#more-41635\">extraordinary lengths\u003c/a> to wipe some old photos of himself from our consciousness back in 2013. One of the pictures he was upset about featured him posing shirtless, shaggy chin-length ‘90s hair tousled around his face, with arms embracing a bunch of lilies as if they were a newborn infant. We’d direct you to that image, but, astoundingly, Leto succeeded in wiping it off the face of the earth. (Which, if you ever did see that photo, is rather devastating, because of how incredibly hilarious it was.) Rest assured, if you have a copy of that picture and you try to put it online, Jared Leto will come after you for copyright infringement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the pre-internet age of course, none of this was an issue for The Famous People. Humans didn’t sit at home, chopping up magazines, writing funny things on them and pasting the altered images up around town. We, the general public, mostly saw what the stars and their publicists wanted us to see. Occasionally, something uncomplimentary would show up in a tabloid or gossip magazine, but we had to go to a newsstand every Wednesday and pay money to see it.\u003c/p>\n\u003cp>I'm sure Axl and Jared -- as dudes that were already famous before the internet was a thing -- look back on those days fondly. Sure, they had a much easier time of it in the ‘80s and ‘90s -- but those days are as over as \u003ca href=\"https://www.youtube.com/watch?v=qCIKg3YREHY\">Jordan Catalano’s Ramones covers band\u003c/a>.\u003c/p>\n\u003cp>In the internet age, it is virtually impossible to view any musician trying to keep control of their image as anything other than petty and self-involved. Three years ago, when Beyonce’s publicist reached out to \u003ca href=\"https://www.buzzfeed.com/buzzfeedceleb/the-unflattering-photos-beyonces-publicist-doesnt-want-you-t?utm_term=.ewO6Nkzl7#.ptjOkl3WA\">Buzzfeed\u003c/a> about some “unflattering” Superbowl photos, “respectfully” asking for the images to be taken down, Buzzfeed not only didn’t comply, it posted an excerpt from the publicist’s email and re-posted the photos, this time with the headline: “The ‘Unflattering’ Photos Beyoncé’s Publicist Doesn’t Want You To See.” And, in a real reflection of how little anyone appreciates image management these days, not even the always-protective Beyhive got upset.\u003c/p>\n\u003cp>The truth is, with 24 hour news cycles, endless gossip websites to choose from and a plethora of paparazzi photos entering our eyeline on a daily basis, access to the lives of musicians on an entirely new level has become standard practice within the realms of media consumption. Thanks to Google, everyone can see their musical heroes, from any angle, whenever the hell they want and feel almost zero guilt about how any online criticisms and mockery might make that famous person feel.\u003c/p>\n\u003cp>Whether it’s morally right or wrong, when celebrities (musical or otherwise) go to great legal lengths to try and prevent this (relatively new) online process, it outright fails to make the meme-makers feel bad and only serves to make the star look ridiculous.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Axl Rose should be more concerned about how this legal action makes him look in the eyes of his fans than about whether one photo could possibly sully his (already not immaculate) image. In this new age of mass, mass media, one picture can’t and won’t destroy the public's view of you -- but looking like you care too much about it might.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this week, \u003ca href=\"http://www.rollingstone.com/music/news/axl-rose-issues-takedown-notice-over-fat-axl-photo-20160606\">it emerged\u003c/a> that Axl Rose had issued Google with several DMCA (Digital Millennium Copyright Act) takedown notices over a particularly unflattering image of himself wearing a big red bandana, billowing white shirt and a facial expression that can only be described as constipated. The photo, originally taken at a Canadian concert, has since been the object of amusement for an abundance of meme-makers, and Axl -- to say the least -- is not terribly pleased about it. If you don’t know what we’re talking about, just pop “Fat Axl meme” into a Google Image search and wait for the food puns to start rolling in.\u003c/p>\n\u003cp>Are the memes mean? Of course they are. Are they fatist? You betcha. Are they another example of internet bullying? That one is debatable. There are a multitude of people who believe that, if one chooses to be in the spotlight and readily accepts all of the benefits that come from fame, one must take the bad with the good.\u003c/p>\n\u003cp>According to a 2013 report from \u003ca href=\"http://www.celebritynetworth.com/articles/entertainment-articles/richest-rock-lead-singers-world/\">CelebrityNetWorth.com\u003c/a>, Axl Rose, that year, was worth $150 million. With the key players from the original Guns N’ Roses line up back together and starting a tour later this month, that sum is set to increase even further. Which makes it all the more difficult to feel sorry for Monsieur Rose, especially given his historically well-documented penchant for tantrums and bad behavior.\u003c/p>\n\u003cp>In addition, the great irony of all this legal action is that people who’d never even seen the “Fat Axl” memes are now having their attention pointedly drawn to them, and people who had forgotten about them are now returning to have another giggle at the expense of a very rich, very famous, rather easily annoyed person. A legal action to get some unfortunate pictures taken down from the internet is, in 2016 terms, the ultimate in self-indulgence and ego-mania. If half the world didn’t already think Axl Rose was a bit of a whiny baby, it certainly does now.\u003c/p>\n\u003cp>Of course, Axl Rose isn’t the first star to attempt to destroy photos of himself he doesn’t like, and he won’t be the last. Actor and 30 Seconds to Mars frontman Jared Leto, went to \u003ca href=\"http://www.thrashhits.com/2013/10/jared-letos-wrongs-010-erasing-the-memory-of-jordan-catalano-in-favour-of-selfies/#more-41635\">extraordinary lengths\u003c/a> to wipe some old photos of himself from our consciousness back in 2013. One of the pictures he was upset about featured him posing shirtless, shaggy chin-length ‘90s hair tousled around his face, with arms embracing a bunch of lilies as if they were a newborn infant. We’d direct you to that image, but, astoundingly, Leto succeeded in wiping it off the face of the earth. (Which, if you ever did see that photo, is rather devastating, because of how incredibly hilarious it was.) Rest assured, if you have a copy of that picture and you try to put it online, Jared Leto will come after you for copyright infringement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the pre-internet age of course, none of this was an issue for The Famous People. Humans didn’t sit at home, chopping up magazines, writing funny things on them and pasting the altered images up around town. We, the general public, mostly saw what the stars and their publicists wanted us to see. Occasionally, something uncomplimentary would show up in a tabloid or gossip magazine, but we had to go to a newsstand every Wednesday and pay money to see it.\u003c/p>\n\u003cp>I'm sure Axl and Jared -- as dudes that were already famous before the internet was a thing -- look back on those days fondly. Sure, they had a much easier time of it in the ‘80s and ‘90s -- but those days are as over as \u003ca href=\"https://www.youtube.com/watch?v=qCIKg3YREHY\">Jordan Catalano’s Ramones covers band\u003c/a>.\u003c/p>\n\u003cp>In the internet age, it is virtually impossible to view any musician trying to keep control of their image as anything other than petty and self-involved. Three years ago, when Beyonce’s publicist reached out to \u003ca href=\"https://www.buzzfeed.com/buzzfeedceleb/the-unflattering-photos-beyonces-publicist-doesnt-want-you-t?utm_term=.ewO6Nkzl7#.ptjOkl3WA\">Buzzfeed\u003c/a> about some “unflattering” Superbowl photos, “respectfully” asking for the images to be taken down, Buzzfeed not only didn’t comply, it posted an excerpt from the publicist’s email and re-posted the photos, this time with the headline: “The ‘Unflattering’ Photos Beyoncé’s Publicist Doesn’t Want You To See.” And, in a real reflection of how little anyone appreciates image management these days, not even the always-protective Beyhive got upset.\u003c/p>\n\u003cp>The truth is, with 24 hour news cycles, endless gossip websites to choose from and a plethora of paparazzi photos entering our eyeline on a daily basis, access to the lives of musicians on an entirely new level has become standard practice within the realms of media consumption. Thanks to Google, everyone can see their musical heroes, from any angle, whenever the hell they want and feel almost zero guilt about how any online criticisms and mockery might make that famous person feel.\u003c/p>\n\u003cp>Whether it’s morally right or wrong, when celebrities (musical or otherwise) go to great legal lengths to try and prevent this (relatively new) online process, it outright fails to make the meme-makers feel bad and only serves to make the star look ridiculous.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Axl Rose should be more concerned about how this legal action makes him look in the eyes of his fans than about whether one photo could possibly sully his (already not immaculate) image. In this new age of mass, mass media, one picture can’t and won’t destroy the public's view of you -- but looking like you care too much about it might.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio//2016/06/TDL20160610.mp3\u003c/p>\n\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=8bMHr6eGR3c\u003c/p>\n\u003cp>\u003cstrong>June 10:\u003c/strong>\u003ca href=\"http://www.elipaperboyreed.com/\" target=\"_blank\" rel=\"noopener\"> Eli “Paperboy” Reed\u003c/a> is from Brookline, Massachusetts, but his music was shaped more by his time in Chicago, playing organ at a South Side Church for \u003ca href=\"https://www.youtube.com/watch?v=HPcKJSw92a0\" target=\"_blank\" rel=\"noopener\">Chess Records hit-maker Mitty Collier\u003c/a>. He’s one of the most talented among a group of young performers helping to keep old-fashioned soul (with a hint of Roy Orbison) and the swinging, brass-heavy bands of that genre alive. Details on his DNA Lounge show are \u003ca href=\"https://www.dnalounge.com/calendar/2016/06-10d.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yGOvqJ3G8gA\u003c/p>\n\u003cp>Frameline is the self-declared “king of queer film festivals,” and it’s earned that title as it celebrates its 40th anniversary. It’s not so rare now to find LGBTQ characters featured on film and TV, but Frameline is still breaking new ground, with LGBTQ filmmakers behind the camera, and characters who aren’t just the sidekick. Frameline opens with \u003ca href=\"https://www.facebook.com/kikithefilm/\" target=\"_blank\" rel=\"noopener\">\u003cem>Kiki\u003c/em>,\u003c/a> from directors Sara Jordeno and Twiggy Pucci Garçon, about dance and politics among LGBTQ youth of color in New York; and the festival closes with a film wrapping up the plot lines from the HBO series \u003cem>Looking, \u003c/em>set in San Francisco.\u003cem> \u003c/em>Gay marriage is a theme, but don’t look here for spoilers. Co-writer and co-creator Michael Lannan wouldn’t spill in our talk with him. Details for Frameline’s run at theaters in San Francisco, Berkeley, and Oakland are \u003ca href=\"https://ticketing.frameline.org/festival/index.aspx\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZB8Va0tDgIQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>June 12\u003c/strong>: The singers of the \u003ca href=\"http://sfgirlschorus.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Girls Chorus \u003c/a>have more active careers than many adults. Credit for that goes to the adventurous music programmed by Artistic Director Lisa Bielawa and the fine conducting from music director Valérie Sainte-Agathe. The chorus is wrapping up its season with \u003cem>Luminous Premieres\u003c/em>, a concert featuring new work by Aaron Jay Kernis, Gabriel Kahane, Theo Bleckmann, and Bielawa‘s “My Outstretched Hand.” Details\u003ca href=\"http://sfgirlschorus.org/events/luminous-premieres/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lYd6-3pqs68\u003c/p>\n\u003cp>\u003cstrong>June 10-18\u003c/strong>: \u003ca href=\"https://www.facebook.com/missionctrlcomedy/\" target=\"_blank\" rel=\"noopener\">Mission CTRL \u003c/a>is a very funny “startup” sketch comedy troupe, that specializes in mocking life in the Bay Area and Silicon Valley. They’re staging their most ambitious production yet with \u003cem>Duck Lake\u003c/em>, billed as “the world’s first ballet-horror-comedy” (think \u003cem>Black Swan \u003c/em>meets Hitchcock’s\u003cem> The Birds \u003c/em>meets \u003cem>Wet Hot American Summer). \u003c/em>Details for their shows at \u003ca href=\"http://www.pianofight.com/\" target=\"_blank\" rel=\"noopener\">PianoFight\u003c/a> in SF’s Tenderloin are \u003ca href=\"https://www.facebook.com/missionctrlcomedy/posts/996187767143486\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11638675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638675\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-800x532.jpg\" alt=\"New Punctuation (2013) by Jann Nunn. Hand-cut archival microprint paper, nylon, cast plastic, dimensions variable.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Punctuation (2013) by Jann Nunn. Hand-cut archival microprint paper, nylon, cast plastic, dimensions variable. \u003ccite>(Photo: Courtesy of Jann Nunn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Sept. 18\u003c/strong>: The \u003ca href=\"http://sjica.org/\" target=\"_blank\" rel=\"noopener\">San Jose Institute for Contemporary Art\u003c/a> always has something amazing going on. This tiny gallery run by Executive Director Cathy Kimball is opening three new shows featuring works on, with and about paper. They’re full of surprises. And did mention admission is free, so it’s a Do List \u003cstrong>Cheap Thrill.\u003c/strong> Our colleague Rachael Myrow has a nice preview \u003ca href=\"http://ww2.kqed.org/arts/2016/06/02/paper-stars-at-san-joses-institute-of-contemporary-art/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And more details for the shows are\u003ca href=\"http://sjica.org/exhibitions_and_programs.html\" target=\"_blank\" rel=\"noopener\"> here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_MwbDLXSAjg\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 11 – 12\u003c/strong>: Huichica is like the Goldilocks and the Three Bears of Bay Area music festivals, not too big, not too small, just the right size. Since 2010 it’s perfected its indie band mix, with Bay Area greats like Kelly Stoltz and Sun Hop Fat (Ethiopian funk and jazz), plus national stars like Fruit Bats (above), Dengue Fever, Vetiver, Radio Fliers and more. Plus expect lots of food and wine from Gundlach Bundschu; that’s the winery that co-sponsors the event and a summer concert series. Details of the weekend fest just outside the town of Sonoma are \u003ca href=\"http://huichica.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8bMHr6eGR3c'\n title='//www.youtube.com/embed/8bMHr6eGR3c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 10:\u003c/strong>\u003ca href=\"http://www.elipaperboyreed.com/\" target=\"_blank\" rel=\"noopener\"> Eli “Paperboy” Reed\u003c/a> is from Brookline, Massachusetts, but his music was shaped more by his time in Chicago, playing organ at a South Side Church for \u003ca href=\"https://www.youtube.com/watch?v=HPcKJSw92a0\" target=\"_blank\" rel=\"noopener\">Chess Records hit-maker Mitty Collier\u003c/a>. He’s one of the most talented among a group of young performers helping to keep old-fashioned soul (with a hint of Roy Orbison) and the swinging, brass-heavy bands of that genre alive. Details on his DNA Lounge show are \u003ca href=\"https://www.dnalounge.com/calendar/2016/06-10d.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yGOvqJ3G8gA'\n title='//www.youtube.com/embed/yGOvqJ3G8gA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Frameline is the self-declared “king of queer film festivals,” and it’s earned that title as it celebrates its 40th anniversary. It’s not so rare now to find LGBTQ characters featured on film and TV, but Frameline is still breaking new ground, with LGBTQ filmmakers behind the camera, and characters who aren’t just the sidekick. Frameline opens with \u003ca href=\"https://www.facebook.com/kikithefilm/\" target=\"_blank\" rel=\"noopener\">\u003cem>Kiki\u003c/em>,\u003c/a> from directors Sara Jordeno and Twiggy Pucci Garçon, about dance and politics among LGBTQ youth of color in New York; and the festival closes with a film wrapping up the plot lines from the HBO series \u003cem>Looking, \u003c/em>set in San Francisco.\u003cem> \u003c/em>Gay marriage is a theme, but don’t look here for spoilers. Co-writer and co-creator Michael Lannan wouldn’t spill in our talk with him. Details for Frameline’s run at theaters in San Francisco, Berkeley, and Oakland are \u003ca href=\"https://ticketing.frameline.org/festival/index.aspx\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZB8Va0tDgIQ'\n title='//www.youtube.com/embed/ZB8Va0tDgIQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 12\u003c/strong>: The singers of the \u003ca href=\"http://sfgirlschorus.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Girls Chorus \u003c/a>have more active careers than many adults. Credit for that goes to the adventurous music programmed by Artistic Director Lisa Bielawa and the fine conducting from music director Valérie Sainte-Agathe. The chorus is wrapping up its season with \u003cem>Luminous Premieres\u003c/em>, a concert featuring new work by Aaron Jay Kernis, Gabriel Kahane, Theo Bleckmann, and Bielawa‘s “My Outstretched Hand.” Details\u003ca href=\"http://sfgirlschorus.org/events/luminous-premieres/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lYd6-3pqs68'\n title='//www.youtube.com/embed/lYd6-3pqs68'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 10-18\u003c/strong>: \u003ca href=\"https://www.facebook.com/missionctrlcomedy/\" target=\"_blank\" rel=\"noopener\">Mission CTRL \u003c/a>is a very funny “startup” sketch comedy troupe, that specializes in mocking life in the Bay Area and Silicon Valley. They’re staging their most ambitious production yet with \u003cem>Duck Lake\u003c/em>, billed as “the world’s first ballet-horror-comedy” (think \u003cem>Black Swan \u003c/em>meets Hitchcock’s\u003cem> The Birds \u003c/em>meets \u003cem>Wet Hot American Summer). \u003c/em>Details for their shows at \u003ca href=\"http://www.pianofight.com/\" target=\"_blank\" rel=\"noopener\">PianoFight\u003c/a> in SF’s Tenderloin are \u003ca href=\"https://www.facebook.com/missionctrlcomedy/posts/996187767143486\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11638675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11638675\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-800x532.jpg\" alt=\"New Punctuation (2013) by Jann Nunn. Hand-cut archival microprint paper, nylon, cast plastic, dimensions variable.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19640_NextNewPaper-Jann-Nunn-qut-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Punctuation (2013) by Jann Nunn. Hand-cut archival microprint paper, nylon, cast plastic, dimensions variable. \u003ccite>(Photo: Courtesy of Jann Nunn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Sept. 18\u003c/strong>: The \u003ca href=\"http://sjica.org/\" target=\"_blank\" rel=\"noopener\">San Jose Institute for Contemporary Art\u003c/a> always has something amazing going on. This tiny gallery run by Executive Director Cathy Kimball is opening three new shows featuring works on, with and about paper. They’re full of surprises. And did mention admission is free, so it’s a Do List \u003cstrong>Cheap Thrill.\u003c/strong> Our colleague Rachael Myrow has a nice preview \u003ca href=\"http://ww2.kqed.org/arts/2016/06/02/paper-stars-at-san-joses-institute-of-contemporary-art/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And more details for the shows are\u003ca href=\"http://sjica.org/exhibitions_and_programs.html\" target=\"_blank\" rel=\"noopener\"> here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_MwbDLXSAjg'\n title='//www.youtube.com/embed/_MwbDLXSAjg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 11 – 12\u003c/strong>: Huichica is like the Goldilocks and the Three Bears of Bay Area music festivals, not too big, not too small, just the right size. Since 2010 it’s perfected its indie band mix, with Bay Area greats like Kelly Stoltz and Sun Hop Fat (Ethiopian funk and jazz), plus national stars like Fruit Bats (above), Dengue Fever, Vetiver, Radio Fliers and more. Plus expect lots of food and wine from Gundlach Bundschu; that’s the winery that co-sponsors the event and a summer concert series. Details of the weekend fest just outside the town of Sonoma are \u003ca href=\"http://huichica.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The second floor of San Francisco’s \u003ca href=\"http://www.moadsf.org/\" target=\"_blank\" rel=\"noopener\">Museum of the African Diaspora\u003c/a> (MoAD) is lined with beautiful photos of Black men in suits. The men look like they’ve contemplated every detail of their well-fitting ensembles. The colors, accents and textures are all intentional. Urban landscapes from New York to Moscow serve as their backdrop. The crisp tailoring invokes the dapperness of the Harlem Renaissance.\u003c/p>\n\u003cfigure id=\"attachment_11662086\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11662086\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/7_1200.jpg\" alt=\"Kia Chenelle, 'The Waiting Man I,' 2013.\" width=\"1200\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/7_1200-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/7_1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/7_1200-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/7_1200-1180x796.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/7_1200-960x647.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kia Chenelle, ‘The Waiting Man I,’ 2013. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s a state of urgency, not just here in the U.S., but also around the world,” says Shantrelle P. Lewis, curator of \u003cem>\u003ca href=\"http://www.moadsf.org/exhibition/dandy-lion-rearticulating-black-masculine-identity/\" target=\"_blank\" rel=\"noopener\">Dandy Lion: (Re) Articulating Black Masculinity\u003c/a>\u003c/em>, on view at MoAD through September.\u003c/p>\n\u003cp>“There’s a necessity to express a multitude of stories that explain and also express our true selves, our culture, our aesthetics, our spirituality, and our cosmology,” says Lewis. “I feel like \u003cem>Dandy Lion\u003c/em> is a juxtaposition of a very narrow, pathological story about Black people and specifically about Black men.”\u003c/p>\n\u003cfigure id=\"attachment_11662083\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11662083\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/4_640.jpg\" alt=\"Sara Shamsavari, 'Terrence Lathan, London,' 2013.\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/4_640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/4_640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shamsavari, ‘Terrence Lathan, London,’ 2013. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The traveling exhibition is in its sixth year of showing across the country and internationally. The current iteration includes photos taken in South Africa by \u003ca href=\"https://www.instagram.com/harnesshamese/?hl=en\" target=\"_blank\" rel=\"noopener\">Harness Hamese\u003c/a>, a short film by \u003ca href=\"http://terencenance.com/\" target=\"_blank\" rel=\"noopener\">Terrance Nance\u003c/a>, and interviews filmed during London’s African Street Style Festival in which participants talk about redefining what it means to be Black men in urban environments.\u003c/p>\n\u003cp>While \u003cem>Dandy Lion\u003c/em> is often talked about as countering stereotypes by showing Black men in something other than baggy pants, Lewis is clear that this exhibit is not about respectability politics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Respectability is about doing something for the approval of white society, or dressing up for white society so we can be seen as equals to white people or we can be respected,” says Lewis, “but when you look at the aesthetics of people of African decent, dressing up has always been part of our culture and who we were. The spirit of dandyism as it relates to Black men at least, is something that is very spiritual and something that comes from a long tradition of pride within the Black community, like cultural pride, spiritual elevation.”\u003c/p>\n\u003cfigure id=\"attachment_11662084\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11662084\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/5_640.jpg\" alt=\"Sara Shamsavari, 'Cal "Caligraphist" Librea, London,' 2014.\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/5_640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/5_640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shamsavari, ‘Cal “Caligraphist” Librea, London,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lewis also tackles misconceptions about masculinity, sexuality and style. At the beginning of the project she focused on cis-gendered straight men but eventually included cis-gendered Black men with a variety of sexual identities.\u003c/p>\n\u003cp>“When people come to the exhibit they do not know who is gay or straight. And it doesn’t really matter. And that’s the point,” says Lewis.\u003c/p>\n\u003cp>When the exhibition opened in San Francisco, \u003ca href=\"http://www.moadsf.org/connect/vanguard/\" target=\"_blank\" rel=\"noopener\">MoAD Vanguard\u003c/a> (the museum’s young professionals membership group) hosted a conversation that examined the evolution of Black male identity and style.\u003c/p>\n\u003cp>“The panel really resonated with me, being a personal stylist, being Black, and not being a gay man in an industry that people assume is for gay men or women,” says Dario Smith, wardrobe consultant and co-founder of \u003ca href=\"http://thebellwetherproject.com/\" target=\"_blank\" rel=\"noopener\">The Bellwether Project\u003c/a>. “We discussed what it means to be well dressed, and not be looked at as feminine or like you have taken away your manhood because you thought about your outfit that day.”\u003c/p>\n\u003cfigure id=\"attachment_11662082\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11662082\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/3_1200.jpg\" alt=\"Hanif Abdur-Rahim, 'Ubiquitous SWAG,' 2010.\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hanif Abdur-Rahim, ‘Ubiquitous SWAG,’ 2010. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lewis is currently working on a \u003cem>Dandy Lion\u003c/em> book that will include photography from the current exhibition at MoAD.\u003c/p>\n\u003cp>“I want to look at vintage Black dandies like the men of our families. There are so many pictures of the men in my family being dressed up. They would never leave the house without a hat. It was part of their uniform, essentially,” says Lewis. “That’s the same stories for my friends from literally around the diaspora. There are so many examples of these men in our families that I want to pay tribute to them.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Dandy Lion: (Re)Articulating Black Masculine Identity\u003c/strong> is on view at MoAD in San Francisco through Sep. 18. For tickets and more information visit \u003ca href=\"http://Dandy%20Lion:%20(Re)Articulating%20Black%20Masculine%20Identity\" target=\"_blank\" rel=\"noopener\">moadsf.org\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A traveling exhibition of photographs taken around the world links finely-dressed Black men to a long tradition of pride within the Black diaspora.",
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"title": "Black Men in Suits Counter Popular Media Narratives in MoAD’s ‘Dandy Lion’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The second floor of San Francisco’s \u003ca href=\"http://www.moadsf.org/\" target=\"_blank\" rel=\"noopener\">Museum of the African Diaspora\u003c/a> (MoAD) is lined with beautiful photos of Black men in suits. The men look like they’ve contemplated every detail of their well-fitting ensembles. The colors, accents and textures are all intentional. Urban landscapes from New York to Moscow serve as their backdrop. The crisp tailoring invokes the dapperness of the Harlem Renaissance.\u003c/p>\n\u003cfigure id=\"attachment_11662086\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11662086\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/7_1200.jpg\" alt=\"Kia Chenelle, 'The Waiting Man I,' 2013.\" width=\"1200\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/7_1200-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/7_1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/7_1200-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/7_1200-1180x796.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/7_1200-960x647.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kia Chenelle, ‘The Waiting Man I,’ 2013. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s a state of urgency, not just here in the U.S., but also around the world,” says Shantrelle P. Lewis, curator of \u003cem>\u003ca href=\"http://www.moadsf.org/exhibition/dandy-lion-rearticulating-black-masculine-identity/\" target=\"_blank\" rel=\"noopener\">Dandy Lion: (Re) Articulating Black Masculinity\u003c/a>\u003c/em>, on view at MoAD through September.\u003c/p>\n\u003cp>“There’s a necessity to express a multitude of stories that explain and also express our true selves, our culture, our aesthetics, our spirituality, and our cosmology,” says Lewis. “I feel like \u003cem>Dandy Lion\u003c/em> is a juxtaposition of a very narrow, pathological story about Black people and specifically about Black men.”\u003c/p>\n\u003cfigure id=\"attachment_11662083\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11662083\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/4_640.jpg\" alt=\"Sara Shamsavari, 'Terrence Lathan, London,' 2013.\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/4_640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/4_640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shamsavari, ‘Terrence Lathan, London,’ 2013. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The traveling exhibition is in its sixth year of showing across the country and internationally. The current iteration includes photos taken in South Africa by \u003ca href=\"https://www.instagram.com/harnesshamese/?hl=en\" target=\"_blank\" rel=\"noopener\">Harness Hamese\u003c/a>, a short film by \u003ca href=\"http://terencenance.com/\" target=\"_blank\" rel=\"noopener\">Terrance Nance\u003c/a>, and interviews filmed during London’s African Street Style Festival in which participants talk about redefining what it means to be Black men in urban environments.\u003c/p>\n\u003cp>While \u003cem>Dandy Lion\u003c/em> is often talked about as countering stereotypes by showing Black men in something other than baggy pants, Lewis is clear that this exhibit is not about respectability politics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Respectability is about doing something for the approval of white society, or dressing up for white society so we can be seen as equals to white people or we can be respected,” says Lewis, “but when you look at the aesthetics of people of African decent, dressing up has always been part of our culture and who we were. The spirit of dandyism as it relates to Black men at least, is something that is very spiritual and something that comes from a long tradition of pride within the Black community, like cultural pride, spiritual elevation.”\u003c/p>\n\u003cfigure id=\"attachment_11662084\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11662084\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/5_640.jpg\" alt=\"Sara Shamsavari, 'Cal "Caligraphist" Librea, London,' 2014.\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/5_640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/5_640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Sara Shamsavari, ‘Cal “Caligraphist” Librea, London,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lewis also tackles misconceptions about masculinity, sexuality and style. At the beginning of the project she focused on cis-gendered straight men but eventually included cis-gendered Black men with a variety of sexual identities.\u003c/p>\n\u003cp>“When people come to the exhibit they do not know who is gay or straight. And it doesn’t really matter. And that’s the point,” says Lewis.\u003c/p>\n\u003cp>When the exhibition opened in San Francisco, \u003ca href=\"http://www.moadsf.org/connect/vanguard/\" target=\"_blank\" rel=\"noopener\">MoAD Vanguard\u003c/a> (the museum’s young professionals membership group) hosted a conversation that examined the evolution of Black male identity and style.\u003c/p>\n\u003cp>“The panel really resonated with me, being a personal stylist, being Black, and not being a gay man in an industry that people assume is for gay men or women,” says Dario Smith, wardrobe consultant and co-founder of \u003ca href=\"http://thebellwetherproject.com/\" target=\"_blank\" rel=\"noopener\">The Bellwether Project\u003c/a>. “We discussed what it means to be well dressed, and not be looked at as feminine or like you have taken away your manhood because you thought about your outfit that day.”\u003c/p>\n\u003cfigure id=\"attachment_11662082\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11662082\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/3_1200.jpg\" alt=\"Hanif Abdur-Rahim, 'Ubiquitous SWAG,' 2010.\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3_1200-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hanif Abdur-Rahim, ‘Ubiquitous SWAG,’ 2010. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lewis is currently working on a \u003cem>Dandy Lion\u003c/em> book that will include photography from the current exhibition at MoAD.\u003c/p>\n\u003cp>“I want to look at vintage Black dandies like the men of our families. There are so many pictures of the men in my family being dressed up. They would never leave the house without a hat. It was part of their uniform, essentially,” says Lewis. “That’s the same stories for my friends from literally around the diaspora. There are so many examples of these men in our families that I want to pay tribute to them.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Dandy Lion: (Re)Articulating Black Masculine Identity\u003c/strong> is on view at MoAD in San Francisco through Sep. 18. For tickets and more information visit \u003ca href=\"http://Dandy%20Lion:%20(Re)Articulating%20Black%20Masculine%20Identity\" target=\"_blank\" rel=\"noopener\">moadsf.org\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Historic Ruth Asawa Fountain Removed, Preserved in Santa Rosa",
"headTitle": "Historic Ruth Asawa Fountain Removed, Preserved in Santa Rosa | KQED",
"content": "\u003cp>To the cars passing by, it looks like just another fountain, one they’ve driven past hundreds of times before. \u003c/p>\n\u003cp>But here in Santa Rosa’s Courthouse Square, today filled with loud tractors and backhoes to begin a complete overhaul and reunification of the city’s center, a team of six men and women are on hand to ensure the fountain’s panels stay safe. The fountain is, after all, one of the living legacies of famed sculptor Ruth Asawa.\u003c/p>\n\u003cp>“This was a really beloved project,” says conservator Katharine Untch, watching as a crew carefully hammers away grout and sealant. “It was one of those projects where you get the whole community involved, so it was pretty significant, and the installation was closer to the end of her career and life, so it’s special.” \u003c/p>\n\u003cfigure id=\"attachment_11665486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4973-800x533.jpg\" alt=\"A worker helps remove a panel by artist Ruth Asawa from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A worker helps remove a panel by artist Ruth Asawa from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fountain panels were \u003ca href=\"http://www.pressdemocrat.com/news/2215536-181/lebaron-remembering-ruth-asawas-gift?ref=related\" target=\"_blank\" rel=\"noopener\">installed in 1987\u003c/a> as a joint project between Asawa and \u003ca href=\"http://www.pressdemocrat.com/news/2215536-181/lebaron-remembering-ruth-asawas-gift?ref=related\" target=\"_blank\" rel=\"noopener\">young students of nearby Luther Burbank Elementary School\u003c/a>. In various dough relief vignettes, the wrap-around frieze depicts the history of Sonoma County: Santa Rosa’s train station makes an appearance, as do Mexican settlers, logging trucks, characters from the ‘Peanuts’ comic strip, the Fountaingrove Round Barn, local Grange Halls and more. In what was surely a suggestion from one of the young students in the late 1980s, there’s even a skateboarder wearing a T-shirt that says “RAD.”\u003c/p>\n\u003cp>Santa Rosa’s arts coordinator Tara Thompson says the panels were a priority for the city from the beginning of the Courthouse Square reunification project, and that they’ll be kept in a storage facility in Oakland to be evaluated and preserved until the new square is complete. “The goal is that when the square is finished,” she says, referencing an estimated completion date of November, “there’ll be a new fountain structure that these will be reattached to in a very similar way.”\u003c/p>\n\u003cfigure id=\"attachment_11665488\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4951-800x533.jpg\" alt=\"A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who know Asawa only from her wire sculpture are often surprised to learn that she was known in San Francisco as “The Fountain Lady,” designing fountains in Union Square, Japantown, Bayside Plaza, Ghirardelli Square and many other public spaces. Santa Rosa’s fountain is perhaps most similar to \u003ca href=\"http://www.artandarchitecture-sf.com/redding-school-self-portrait.html\" target=\"_blank\" rel=\"noopener\">the Asawa fountain in Boeddeker Park\u003c/a>, in the Tenderloin, which was also designed in collaboration with young schoolchildren. Asawa died in 2013. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the biggest challenges in removing the panels safely was not knowing how they were attached. Untch went through files and folders in the \u003ca href=\"http://www.oac.cdlib.org/findaid/ark:/13030/c8s185rz/dsc/#ref626\" target=\"_blank\" rel=\"noopener\">Ruth Asawa collection at Stanford\u003c/a> to find historical photos of the original installation, which aided the planning immensely. “What made it interesting was that nobody really knew if it was put on with mortar, or adhesive, or what,” Untch says. “The archives were very helpful.” (As it turns out, the frieze was attached with simple bolts.)\u003c/p>\n\u003cfigure id=\"attachment_11665489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4969-800x533.jpg\" alt=\"A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Made of glass fiber reinforced concrete, the panels have survived nearly 30 years of weathering and earthquakes, but they’re still fragile. Bryan Cain, foreman for the removal by Atthowe Fine Art Services, points to a panel and explains the challenges.\u003c/p>\n\u003cp>“It’s heavy, first,” Cain says. “It has a concrete lip over the top, so you can’t get over it. You can’t get under it. You have to pull it out, but it’s also fragile. It wants to break, so you have to gently pry it out. You can’t just grab a side and yank on it.”\u003c/p>\n\u003cp>While jackhammers and tractors tear up concrete and brickwork in the square on either side of Cain, he stares at the detail in the fountain panels, testifying to the delicate beauty. “I love Ruth Asawa’s work,” he says, dressed in grubby jeans, an orange vest and a hard hat. “Of all the art around, I’d actually love to own hers. It’s so beautiful.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003cem>See a slideshow of some of the fountain’s detail:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"11669351,11669350,11669349,11669348,11669345,11669418,11669346,11669347\"]\u003c/p>\n\n",
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"excerpt": "As part of Santa Rosa's Courthouse Square reunification project, fountain panels by famed sculptor Ruth Asawa are preserved for future installation.",
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"description": "As part of Santa Rosa's Courthouse Square reunification project, fountain panels by famed sculptor Ruth Asawa are preserved for future installation.",
"title": "Historic Ruth Asawa Fountain Removed, Preserved in Santa Rosa | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To the cars passing by, it looks like just another fountain, one they’ve driven past hundreds of times before. \u003c/p>\n\u003cp>But here in Santa Rosa’s Courthouse Square, today filled with loud tractors and backhoes to begin a complete overhaul and reunification of the city’s center, a team of six men and women are on hand to ensure the fountain’s panels stay safe. The fountain is, after all, one of the living legacies of famed sculptor Ruth Asawa.\u003c/p>\n\u003cp>“This was a really beloved project,” says conservator Katharine Untch, watching as a crew carefully hammers away grout and sealant. “It was one of those projects where you get the whole community involved, so it was pretty significant, and the installation was closer to the end of her career and life, so it’s special.” \u003c/p>\n\u003cfigure id=\"attachment_11665486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4973-800x533.jpg\" alt=\"A worker helps remove a panel by artist Ruth Asawa from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A worker helps remove a panel by artist Ruth Asawa from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fountain panels were \u003ca href=\"http://www.pressdemocrat.com/news/2215536-181/lebaron-remembering-ruth-asawas-gift?ref=related\" target=\"_blank\" rel=\"noopener\">installed in 1987\u003c/a> as a joint project between Asawa and \u003ca href=\"http://www.pressdemocrat.com/news/2215536-181/lebaron-remembering-ruth-asawas-gift?ref=related\" target=\"_blank\" rel=\"noopener\">young students of nearby Luther Burbank Elementary School\u003c/a>. In various dough relief vignettes, the wrap-around frieze depicts the history of Sonoma County: Santa Rosa’s train station makes an appearance, as do Mexican settlers, logging trucks, characters from the ‘Peanuts’ comic strip, the Fountaingrove Round Barn, local Grange Halls and more. In what was surely a suggestion from one of the young students in the late 1980s, there’s even a skateboarder wearing a T-shirt that says “RAD.”\u003c/p>\n\u003cp>Santa Rosa’s arts coordinator Tara Thompson says the panels were a priority for the city from the beginning of the Courthouse Square reunification project, and that they’ll be kept in a storage facility in Oakland to be evaluated and preserved until the new square is complete. “The goal is that when the square is finished,” she says, referencing an estimated completion date of November, “there’ll be a new fountain structure that these will be reattached to in a very similar way.”\u003c/p>\n\u003cfigure id=\"attachment_11665488\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4951-800x533.jpg\" alt=\"A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who know Asawa only from her wire sculpture are often surprised to learn that she was known in San Francisco as “The Fountain Lady,” designing fountains in Union Square, Japantown, Bayside Plaza, Ghirardelli Square and many other public spaces. Santa Rosa’s fountain is perhaps most similar to \u003ca href=\"http://www.artandarchitecture-sf.com/redding-school-self-portrait.html\" target=\"_blank\" rel=\"noopener\">the Asawa fountain in Boeddeker Park\u003c/a>, in the Tenderloin, which was also designed in collaboration with young schoolchildren. Asawa died in 2013. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the biggest challenges in removing the panels safely was not knowing how they were attached. Untch went through files and folders in the \u003ca href=\"http://www.oac.cdlib.org/findaid/ark:/13030/c8s185rz/dsc/#ref626\" target=\"_blank\" rel=\"noopener\">Ruth Asawa collection at Stanford\u003c/a> to find historical photos of the original installation, which aided the planning immensely. “What made it interesting was that nobody really knew if it was put on with mortar, or adhesive, or what,” Untch says. “The archives were very helpful.” (As it turns out, the frieze was attached with simple bolts.)\u003c/p>\n\u003cfigure id=\"attachment_11665489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4969-800x533.jpg\" alt=\"A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Made of glass fiber reinforced concrete, the panels have survived nearly 30 years of weathering and earthquakes, but they’re still fragile. Bryan Cain, foreman for the removal by Atthowe Fine Art Services, points to a panel and explains the challenges.\u003c/p>\n\u003cp>“It’s heavy, first,” Cain says. “It has a concrete lip over the top, so you can’t get over it. You can’t get under it. You have to pull it out, but it’s also fragile. It wants to break, so you have to gently pry it out. You can’t just grab a side and yank on it.”\u003c/p>\n\u003cp>While jackhammers and tractors tear up concrete and brickwork in the square on either side of Cain, he stares at the detail in the fountain panels, testifying to the delicate beauty. “I love Ruth Asawa’s work,” he says, dressed in grubby jeans, an orange vest and a hard hat. “Of all the art around, I’d actually love to own hers. It’s so beautiful.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003cem>See a slideshow of some of the fountain’s detail:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "bay-area-sculpture-right-now-welcome-to-joey-enos-land",
"title": "Bay Area Sculpture Right Now: Welcome to Joey Enos Land",
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"content": "\u003cp>As a kid growing up in Alameda, \u003ca href=\"http://www.joeyenos.com/\" target=\"_blank\" rel=\"noopener\">Joey Enos\u003c/a> was obsessed with all things Disney. “I wrote letters to Michael Eisner as a kid, begging him for a job,” he says, slightly embarrassed, standing in his Oakland studio just off of Telegraph Avenue. \u003c/p>\n\u003cp>Sometimes, the budding artist sent more than letters: “I drew a picture of me at a drafting table, then I cut out a picture of Disney’s head, and I drew his hand on my shoulder, like he was proud of me,” Enos says. The Disney CEO mailed back a package thick with information on the studio’s productions, a dream come true for Enos, who thought everyone must be writing Eisner to line up future employment.\u003c/p>\n\u003cfigure id=\"attachment_11658537\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658537\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/StudioEntrance.jpg\" alt=\"The former carriage house that houses Enos' studio (door ajar) downstairs and his home upstairs.\" width=\"1200\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance-400x184.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance-768x353.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance-1180x542.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance-960x441.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The former carriage house containing Enos’ studio (door ajar) and his home. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When not pitching his talents to animation bigwigs, Enos spent his childhood and teen years visiting Oakland’s \u003ca href=\"http://fairyland.org/\" target=\"_blank\" rel=\"noopener\">Children’s Fairyland\u003c/a>, working on hot rods and drawing. He studied at both the School of the Art Institute of Chicago and the San Francisco Art Institute, getting his MFA from UC Berkeley in 2015. His influences tend toward a certain kind of fantastic world-making: Disney and Warner Bros. animation, theme parks, roadside attractions and the \u003ca href=\"http://chicagoimagists.com/\" target=\"_blank\" rel=\"noopener\">Chicago Imagists\u003c/a>.\u003c/p>\n\u003cp>Enos makes his sculptures with simple materials — carved foam and layers of paint — to resemble column-like combinations of weathered planks, giant spikes, riveted sheets of metal and discarded tires. His art has an overexaggerated quality, like the clapboard architecture seen in Looney Tunes cartoons from the golden age of animation.\u003c/p>\n\u003cfigure id=\"attachment_11658539\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658539\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/TapesSHapes.jpg\" alt=\"VHS tapes and foam sculptures in Enos' studio.\" width=\"1200\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes-1180x881.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes-960x717.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">VHS tapes and foam sculptures in Enos’ studio. \u003ccite>(Photo: Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His outdoor sculptures are covered in a hardy Polyurea coating to protect their lightweight foam insides. Three recently weathered nearly a year at Paradise Ridge Winery outside of Santa Rosa, for the group exhibition \u003ci>\u003ca href=\"http://celebratesculpture.com/conversations-in-sculpture/\" target=\"_blank\" rel=\"noopener\">Conversations in Sculpture\u003c/a>\u003c/i>. Those red, blue and yellow pieces, now returned, line the vegetable-turned-wildflower garden outside Enos’ home, towering over the neighbor’s fence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I always joked that I’m color blind,” Enos says. “I just think that I have low-class taste in color.” Most of his works in the studio are covered in vibrant hues of turquoise, fuchsia, gold and pink, a palette straight out of Children’s Fairyland. But instead of an old woman’s shoe, the colors coat ramshackle, slightly demented constructions from his own imagination.\u003c/p>\n\u003cfigure id=\"attachment_11658536\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11658536 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Outside.jpg\" alt=\"Three outdoor sculptures recently returned from a show near Santa Rosa.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Three outdoor sculptures recently returned from a show near Santa Rosa. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Airbrushing adds faux highlights and shadows to the sculptures, an effect Enos says comes from both hot-rod paint finishes and the close study — these days — of \u003ca href=\"https://youtu.be/Hplf6IeWiZg\" target=\"_blank\" rel=\"noopener\">nail art effects\u003c/a>. Flocking, all the rage on fingernails these days, might be his next material experiment in the studio.\u003c/p>\n\u003cp>Repurposing parts of old sculptures in his new work, Enos’ trompe l’oeil wooden boards accumulate layers of paint, expandable foam and glue. The foam starts to act like the real material it mimics, documenting its history of use and Enos’ own part in manipulating it. One piece he shows us clearly sports a boot print.\u003c/p>\n\u003cfigure id=\"attachment_11658540\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658540\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/WoodNails.jpg\" alt=\"Painted foam sculpture in Enos' studio.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Painted foam sculpture in Enos’ studio. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laying bare his process is also about owning his own methods. “I could never make something as perfect as somebody else,” he says, “but the particulars of me making it fucked up, no one else can do. No one can make it dirty as much as I can.”\u003c/p>\n\u003cp>Despite this assertion, Enos’ sculptures look purposeful rather than provisional. Together, the visual language of his foam slices, cheerful colors and catawampus combinations start to look like props for a Joey Enos-produced children’s television show. Or, better yet, models for a Joey Enos-fabricated theme park.\u003c/p>\n\u003cfigure id=\"attachment_11658534\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/FoamHands.jpg\" alt=\"A stack of materials and a painted foam sculpture repurposed from previous works.\" width=\"1200\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands-1180x881.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands-960x717.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A stack of materials and a painted foam sculpture repurposed from previous works. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, as if he wasn’t busy enough preparing for a solo show opening July 9 at Healdsburg’s \u003ca href=\"http://gallery.hammerfriar.com/\" target=\"_blank\" rel=\"noopener\">Hammerfriar Gallery\u003c/a>, Enos just published his \u003ca href=\"https://evilleeye.com/history/origins-first-three-part-series-history-emeryville-mudflat-sculptures/\" target=\"_blank\" rel=\"noopener\">first article\u003c/a> in a three-part series on the history of the Emeryville Mudflats sculptures.\u003c/p>\n\u003cp>Enos has every reason to be attracted to the Emeryville Mudflats, which in the 1960s was a mere wasteland of space by the side of the freeway approaching the Bay Bridge. After an initial ad hoc sculpture popped up (accounts differ as to who was responsible for the first installation, though Enos likes \u003ca href=\"http://www.davidzwirner.com/artists/john-mccracken/\" target=\"_blank\" rel=\"noopener\">John McCracken\u003c/a> for it), the Mudflats became a venue for anonymous public art.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" link=\"none\" ids=\"11658699,11658697,11658631,11658695,11658602,11658640,11658675,11658694,11658696,11658698,11658700,11658701,11658702,11658705\"]\u003c/p>\n\u003cp>The lawless space for free expression lasted for about 30 years. Enos’ mother actually announced her pregnancy to his father \u003ci>at\u003c/i> the Mudflats. “It was really kicking in the ’70s,” Enos says of the Mudflats’ visiting sculptors. “Technically, they were trespassing, but no one bothered them. Emeryville loved it, because it made them look classy.” \u003c/p>\n\u003cp>Something else speaks to Enos about the Mudflats: it proved anybody could make public art, or augment it and make it their own. Even if academically-trained artists kicked it off, ordinary people and folk artists were the ones who kept the space alive — until Caltrans spent millions airlifting all the wood from the site in the ’90s.\u003c/p>\n\u003cfigure id=\"attachment_11658542\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658542\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MudflatCover.jpg\" alt=\"The worktable in Enos' studio, William Jackson's 'Mudflat Art.'\" width=\"1200\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover-400x184.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover-768x353.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover-1180x542.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover-960x441.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The worktable in Enos’ studio, William Jackson’s ‘Mudflat Art.’ \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m really into this idea that people showed up in California and they had this beautiful Italian-esque landscape around them and they were like, ‘You know what this needs? A giant artichoke! You know what this needs? A giant igloo in the desert!’” Enos says. “Making your own world, by any means necessary, is really interesting to me.”\u003c/p>\n\u003cfigure id=\"attachment_11658538\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/StudioView.jpg\" alt=\"Inside Enos' studio.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inside Enos’ studio. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few days after our visit at Enos’ studio, he emails me to say, “I had a revelation.”\u003c/p>\n\u003cp>“I was driving to the beach in Alameda,” he writes, “past classic Victorians, Edwardian architecture, down a Midwestern Americana ‘Main Street,’ past Mission-style homes and into a designed Southern California landscape of sand and palm trees.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And it hit me… I grew up in a theme park!”\u003c/p>\n\n",
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"title": "Bay Area Sculpture Right Now: Welcome to Joey Enos Land | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a kid growing up in Alameda, \u003ca href=\"http://www.joeyenos.com/\" target=\"_blank\" rel=\"noopener\">Joey Enos\u003c/a> was obsessed with all things Disney. “I wrote letters to Michael Eisner as a kid, begging him for a job,” he says, slightly embarrassed, standing in his Oakland studio just off of Telegraph Avenue. \u003c/p>\n\u003cp>Sometimes, the budding artist sent more than letters: “I drew a picture of me at a drafting table, then I cut out a picture of Disney’s head, and I drew his hand on my shoulder, like he was proud of me,” Enos says. The Disney CEO mailed back a package thick with information on the studio’s productions, a dream come true for Enos, who thought everyone must be writing Eisner to line up future employment.\u003c/p>\n\u003cfigure id=\"attachment_11658537\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658537\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/StudioEntrance.jpg\" alt=\"The former carriage house that houses Enos' studio (door ajar) downstairs and his home upstairs.\" width=\"1200\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance-400x184.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance-768x353.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance-1180x542.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance-960x441.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The former carriage house containing Enos’ studio (door ajar) and his home. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When not pitching his talents to animation bigwigs, Enos spent his childhood and teen years visiting Oakland’s \u003ca href=\"http://fairyland.org/\" target=\"_blank\" rel=\"noopener\">Children’s Fairyland\u003c/a>, working on hot rods and drawing. He studied at both the School of the Art Institute of Chicago and the San Francisco Art Institute, getting his MFA from UC Berkeley in 2015. His influences tend toward a certain kind of fantastic world-making: Disney and Warner Bros. animation, theme parks, roadside attractions and the \u003ca href=\"http://chicagoimagists.com/\" target=\"_blank\" rel=\"noopener\">Chicago Imagists\u003c/a>.\u003c/p>\n\u003cp>Enos makes his sculptures with simple materials — carved foam and layers of paint — to resemble column-like combinations of weathered planks, giant spikes, riveted sheets of metal and discarded tires. His art has an overexaggerated quality, like the clapboard architecture seen in Looney Tunes cartoons from the golden age of animation.\u003c/p>\n\u003cfigure id=\"attachment_11658539\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658539\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/TapesSHapes.jpg\" alt=\"VHS tapes and foam sculptures in Enos' studio.\" width=\"1200\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes-1180x881.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes-960x717.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">VHS tapes and foam sculptures in Enos’ studio. \u003ccite>(Photo: Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His outdoor sculptures are covered in a hardy Polyurea coating to protect their lightweight foam insides. Three recently weathered nearly a year at Paradise Ridge Winery outside of Santa Rosa, for the group exhibition \u003ci>\u003ca href=\"http://celebratesculpture.com/conversations-in-sculpture/\" target=\"_blank\" rel=\"noopener\">Conversations in Sculpture\u003c/a>\u003c/i>. Those red, blue and yellow pieces, now returned, line the vegetable-turned-wildflower garden outside Enos’ home, towering over the neighbor’s fence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I always joked that I’m color blind,” Enos says. “I just think that I have low-class taste in color.” Most of his works in the studio are covered in vibrant hues of turquoise, fuchsia, gold and pink, a palette straight out of Children’s Fairyland. But instead of an old woman’s shoe, the colors coat ramshackle, slightly demented constructions from his own imagination.\u003c/p>\n\u003cfigure id=\"attachment_11658536\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11658536 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Outside.jpg\" alt=\"Three outdoor sculptures recently returned from a show near Santa Rosa.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Three outdoor sculptures recently returned from a show near Santa Rosa. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Airbrushing adds faux highlights and shadows to the sculptures, an effect Enos says comes from both hot-rod paint finishes and the close study — these days — of \u003ca href=\"https://youtu.be/Hplf6IeWiZg\" target=\"_blank\" rel=\"noopener\">nail art effects\u003c/a>. Flocking, all the rage on fingernails these days, might be his next material experiment in the studio.\u003c/p>\n\u003cp>Repurposing parts of old sculptures in his new work, Enos’ trompe l’oeil wooden boards accumulate layers of paint, expandable foam and glue. The foam starts to act like the real material it mimics, documenting its history of use and Enos’ own part in manipulating it. One piece he shows us clearly sports a boot print.\u003c/p>\n\u003cfigure id=\"attachment_11658540\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658540\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/WoodNails.jpg\" alt=\"Painted foam sculpture in Enos' studio.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Painted foam sculpture in Enos’ studio. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laying bare his process is also about owning his own methods. “I could never make something as perfect as somebody else,” he says, “but the particulars of me making it fucked up, no one else can do. No one can make it dirty as much as I can.”\u003c/p>\n\u003cp>Despite this assertion, Enos’ sculptures look purposeful rather than provisional. Together, the visual language of his foam slices, cheerful colors and catawampus combinations start to look like props for a Joey Enos-produced children’s television show. Or, better yet, models for a Joey Enos-fabricated theme park.\u003c/p>\n\u003cfigure id=\"attachment_11658534\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/FoamHands.jpg\" alt=\"A stack of materials and a painted foam sculpture repurposed from previous works.\" width=\"1200\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands-1180x881.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands-960x717.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A stack of materials and a painted foam sculpture repurposed from previous works. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, as if he wasn’t busy enough preparing for a solo show opening July 9 at Healdsburg’s \u003ca href=\"http://gallery.hammerfriar.com/\" target=\"_blank\" rel=\"noopener\">Hammerfriar Gallery\u003c/a>, Enos just published his \u003ca href=\"https://evilleeye.com/history/origins-first-three-part-series-history-emeryville-mudflat-sculptures/\" target=\"_blank\" rel=\"noopener\">first article\u003c/a> in a three-part series on the history of the Emeryville Mudflats sculptures.\u003c/p>\n\u003cp>Enos has every reason to be attracted to the Emeryville Mudflats, which in the 1960s was a mere wasteland of space by the side of the freeway approaching the Bay Bridge. After an initial ad hoc sculpture popped up (accounts differ as to who was responsible for the first installation, though Enos likes \u003ca href=\"http://www.davidzwirner.com/artists/john-mccracken/\" target=\"_blank\" rel=\"noopener\">John McCracken\u003c/a> for it), the Mudflats became a venue for anonymous public art.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lawless space for free expression lasted for about 30 years. Enos’ mother actually announced her pregnancy to his father \u003ci>at\u003c/i> the Mudflats. “It was really kicking in the ’70s,” Enos says of the Mudflats’ visiting sculptors. “Technically, they were trespassing, but no one bothered them. Emeryville loved it, because it made them look classy.” \u003c/p>\n\u003cp>Something else speaks to Enos about the Mudflats: it proved anybody could make public art, or augment it and make it their own. Even if academically-trained artists kicked it off, ordinary people and folk artists were the ones who kept the space alive — until Caltrans spent millions airlifting all the wood from the site in the ’90s.\u003c/p>\n\u003cfigure id=\"attachment_11658542\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658542\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MudflatCover.jpg\" alt=\"The worktable in Enos' studio, William Jackson's 'Mudflat Art.'\" width=\"1200\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover-400x184.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover-768x353.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover-1180x542.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover-960x441.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The worktable in Enos’ studio, William Jackson’s ‘Mudflat Art.’ \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m really into this idea that people showed up in California and they had this beautiful Italian-esque landscape around them and they were like, ‘You know what this needs? A giant artichoke! You know what this needs? A giant igloo in the desert!’” Enos says. “Making your own world, by any means necessary, is really interesting to me.”\u003c/p>\n\u003cfigure id=\"attachment_11658538\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/StudioView.jpg\" alt=\"Inside Enos' studio.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inside Enos’ studio. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few days after our visit at Enos’ studio, he emails me to say, “I had a revelation.”\u003c/p>\n\u003cp>“I was driving to the beach in Alameda,” he writes, “past classic Victorians, Edwardian architecture, down a Midwestern Americana ‘Main Street,’ past Mission-style homes and into a designed Southern California landscape of sand and palm trees.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And it hit me… I grew up in a theme park!”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Before the Selfie: A Brief History of Looking at Ourselves",
"title": "Before the Selfie: A Brief History of Looking at Ourselves",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003cem>\u003cstrong>FYI: This piece is drawn from the latest episode of The Cooler podcast, which you can listen to here!\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/268267481&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Is there anyone with access to a cameraphone and a WiFi connection who can honestly say they've never taken a photo of their own face? \u003cspan style=\"font-weight: 400\">In our brave digital age where selfies seem to constitute a staggering portion of all posts on social media (at the moment of writing, there are 301 million posts tagged \"#selfie\" on Instagram), it’s hard to imagine a time when people didn’t compulsively record what they looked like -- or at least care about it deeply. \u003c/span>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Mirrors: The Original Front-Facing Cameras\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_26241\" class=\"wp-caption aligncenter\" style=\"max-width: 536px\">\u003cimg class=\"size-full wp-image-26241\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/Screenshot-2016-06-08-at-9.40.34-PM.png\" alt=\"Detail from an Ancient Greek Attic red-figure lekythos depicting a Seated woman holding a mirror, c. 470–460 BC, National Archaeological Museum, Athens \" width=\"536\" height=\"316\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/Screenshot-2016-06-08-at-9.40.34-PM.png 536w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/Screenshot-2016-06-08-at-9.40.34-PM-400x236.png 400w\" sizes=\"(max-width: 536px) 100vw, 536px\">\u003cfigcaption class=\"wp-caption-text\">Detail from an Ancient Greek Attic red-figure lekythos depicting a seated woman holding a mirror, c. 470–460 BC, National Archaeological Museum, Athens\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Before it was possible to immortalize one's own images on screen or on canvas, people had to make do with mirrors, right? Not exactly, or at least not everyone. \u003c/span>\u003cspan style=\"font-weight: 400\">As inconceivable as it seems today, had you been born in the 12th century rather than the 20th, you probably wouldn’t have known exactly what your own face looked like unless you were wealthy. Mirrors -- those ever-present reflectors of our faces and ourselves, on our walls and in our pockets (and now, in our front-facing cameras) -- didn’t become mass-produced or remotely affordable until the Renaissance. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You know that feeling of undignified horror when you discover you’ve had a piece of spinach between your teeth or mascara coating your under-eyes all day because you had no access to a mirror? Well, try imagining that feeling being your reality every day for the rest of your short, indentured, antibiotic-free life.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The question of how lacking any concrete impression of one’s own features must have affected 99% of the population’s sense of identity -- not to mention self-worth and place in the world -- is a mammoth one for another time; let’s instead ask what your regular peasant \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">could\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> do about that spinach. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The earliest Average Joes were left to improvise with assessing their own reflections in dark pools of water or, if they were lucky, polished stones like obsidian (a naturally occurring volcanic glass). Polished precious metals also worked well, but were decidedly less wallet-friendly.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_26291\" class=\"wp-caption aligncenter\" style=\"max-width: 2190px\">\u003cimg class=\"size-full wp-image-26291\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/narcissus.jpg\" alt=\"Echo and Narcissus, 1903 by John William Waterhouse\" width=\"2190\" height=\"1274\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/narcissus.jpg 2190w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/narcissus-400x233.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/narcissus-800x465.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/narcissus-768x447.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/narcissus-1440x838.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/narcissus-1920x1117.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/narcissus-1180x686.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/narcissus-960x558.jpg 960w\" sizes=\"(max-width: 2190px) 100vw, 2190px\">\u003cfigcaption class=\"wp-caption-text\">What's a guy without a mirror to do? Echo and Narcissus, 1903 by John William Waterhouse\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Metal-coated glass mirrors are said to have been invented in modern-day Lebanon in the first century AD, and glass mirrors backed with gold leaf were apparently kicking around Ancient Rome. But even if you had one of these prized items, the low reflectivity of polished metal resulted in a frustratingly dark image, especially when used indoors. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In China, people began making mirrors with the use of silver-mercury amalgams as early as 500 AD, but it wasn’t until the early Renaissance that European manufacturers got their act together and discovered a superior method of coating glass with a tin-mercury amalgam. In the 16th century, the Italian city of Venice -- already famed as a hub of glass-making know-how -- became a center of mirror production and used this new technique to produce a near-perfect and undistorted reflection for the first time. (Think of it as the iPhone 6 of mirrors: shiny, coveted and super-spendy.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite these innovations -- which really only impacted the wealthy -- it wasn’t until centuries later, in 1835, that true mass manufacture of mirrors came about with the invention of the silvered-glass mirror, credited to a German chemist, that was swiftly adapted for the masses. Hello, greater availability of affordable mirrors! Goodbye, spinach!\u003c/span>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Rise of Self-Portraits\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_26298\" class=\"wp-caption alignnone\" style=\"max-width: 865px\">\u003cimg class=\"size-full wp-image-26298\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/titian.jpg\" alt=\"Titian's Venus With a Mirror, 1555.\" width=\"865\" height=\"538\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/titian.jpg 865w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/titian-400x249.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/titian-800x498.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/titian-768x478.jpg 768w\" sizes=\"(max-width: 865px) 100vw, 865px\">\u003cfigcaption class=\"wp-caption-text\">Titian's Venus With a Mirror, 1555.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">We don’t know when the very first bona fide self-portrait was created, but images of artists at work are encountered in Ancient Egyptian paintings and sculpture and also on Ancient Greek vases. Ancient Greek sculptor Phidias also apparently sneaked a number of selfies onto the “Battle of the Amazons” on the \u003ca href=\"https://en.wikipedia.org/wiki/Parthenon\">Parthenon\u003c/a>, which is an act of artistic license so brazen that it rivals \u003ca href=\"https://twitter.com/robwhisman/status/670868975291645953\">that guy who confessed to enlarging Missouri on the United States’ Wikipedia page every time he gets tipsy\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>The traditional self-portrait as we know it didn’t come around until relatively recently. The first painted selfies were super-practical. Artists would use themselves as models in historical, Biblical or mythical scenes, which presumably also had the pleasant effect of saving a few pennies on actual models. Artists also playfully sneaked themselves into paintings in a kind of pre-Enlightenment \u003ci>Where’s Waldo\u003c/i>: in the margins of illuminated manuscripts, or in a reflection on a knight’s armor, or in a crowd of onlookers.\u003c/p>\n\u003cfigure id=\"attachment_26293\" class=\"wp-caption alignnone\" style=\"max-width: 736px\">\u003cimg class=\"size-full wp-image-26293\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/Botticelli_-_Adoration_of_the_Magi_Zanobi_Altar_-_Uffizi.jpg\" alt=\"Crafty (or cheap?) old Botticelli, sneaking himself into his Adoration of the Magi (ca.1475), far left\" width=\"736\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/Botticelli_-_Adoration_of_the_Magi_Zanobi_Altar_-_Uffizi.jpg 736w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/Botticelli_-_Adoration_of_the_Magi_Zanobi_Altar_-_Uffizi-400x326.jpg 400w\" sizes=\"(max-width: 736px) 100vw, 736px\">\u003cfigcaption class=\"wp-caption-text\">Crafty (or cheap?) old Botticelli, sneaking himself into his Adoration of the Magi (ca.1475), far left\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">If we’re in the business of picking favorites here, then all hail the selfie king of the 15th century:\u003c/span> \u003cspan style=\"font-weight: 400\">German painter, printmaker and certified hottie \u003ca href=\"http://www.metmuseum.org/toah/hd/durr/hd_durr.htm\">Albrecht Dürer\u003c/a>. Something of an artistic superstar by contemporary standards, the hard-hustling Dürer was highly conscious of his public image and reputation, and is thought to have depicted his own image more often than any artist before him. (Think: your teenage cousin on \u003ca href=\"http://ww2.kqed.org/pop/2016/03/03/are-you-too-old-for-snapchat/\">a Snap streak\u003c/a>.) His \u003ca href=\"https://commons.wikimedia.org/wiki/Albrecht_D%C3%BCrer#/media/File:Self-portrait_at_13_by_Albrecht_D%C3%BCrer.jpg\">first selfie\u003c/a> was at at the tender age of 13 in 1484. Once of age, Dürer indulged in what official selfie experts now recognize as “thirst traps”: at 22, he painted \u003ca href=\"https://en.wikipedia.org/wiki/Portrait_of_the_Artist_Holding_a_Thistle\">a longing self-portrait\u003c/a> that was almost certainly intended for his new fiancée.\u003c/span>\u003c/p>\n\u003cp>In another specimen we’d today file under “#feelingmylook #blessed”, the \u003ca href=\"https://commons.wikimedia.org/wiki/Albrecht_D%C3%BCrer#/media/File:Selbstportr%C3%A4t,_by_Albrecht_D%C3%BCrer,_from_Prado_in_Google_Earth.jpg\">Madrid self-portrait (1498) \u003c/a>depicts Dürer, then at the top of his art game, as a dandy in fashionable Italian dress. And of course, let’s not forget his \u003ca href=\"https://commons.wikimedia.org/wiki/Albrecht_D%C3%BCrer#/media/File:Nude_self-portrait_by_Albrecht_D%C3%BCrer.jpg\">nude selfies\u003c/a> or his \u003ca href=\"https://commons.wikimedia.org/wiki/Albrecht_D%C3%BCrer#/media/File:D%C3%BCrer_-_Selbstbildnis_im_Pelzrock_-_Alte_Pinakothek.jpg\">last-ever self-portrait\u003c/a> depicting him as -- who else? -- Jesus.\u003c/p>\n\u003cfigure id=\"attachment_26296\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-26296 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/D%C3%BCrer_-_Selbstbildnis_im_Pelzrock_-_Alte_Pinakothek.jpg\" alt=\"Dürer_-_Selbstbildnis_im_Pelzrock_-_Alte_Pinakothek\" width=\"800\" height=\"1107\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/Dürer_-_Selbstbildnis_im_Pelzrock_-_Alte_Pinakothek.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/Dürer_-_Selbstbildnis_im_Pelzrock_-_Alte_Pinakothek-400x554.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/Dürer_-_Selbstbildnis_im_Pelzrock_-_Alte_Pinakothek-768x1063.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Albrecht Dürer's Self-portrait with Fur-trimmed Robe, ca 1500.No Messiah complex here, right?\u003c/figcaption>\u003c/figure>\n\u003cp>As self-portraiture became increasingly common in the art world over the ensuing centuries, it's not until the 19th century that a new reigning prolific selfie addict truly emerged: Vincent van Gogh, who drew and painted himself more than 43 times in just three years between 1886 and 1889.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Photographic Selfie Emerges\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even with a vague awareness of the invention and explosion of photography during the 19th century, it’s still always jolting to remember that the first photographic self-portrait was taken in \u003c/span>\u003cspan style=\"font-weight: 400\">1839\u003c/span>\u003cspan style=\"font-weight: 400\">. For context, that was a mere year after\u003ca href=\"http://mashable.com/2014/11/05/first-photograph-of-a-human/#9Tp9LS3IZkq2\"> the first photograph taken of a human\u003c/a> (by Louis Daguerre), and only a decade after \u003ca href=\"http://www.hrc.utexas.edu/exhibitions/permanent/firstphotograph/\">the first photograph taken in a camera, ever \u003c/a>-- which is to say, it didn’t take long for the human desire for self-capture to elbow its way into a shockingly new medium.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_26301\" class=\"wp-caption aligncenter\" style=\"max-width: 457px\">\u003cimg class=\"size-full wp-image-26301\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/457px-RobertCornelius.jpg\" alt=\"Self-Portrait by Robert Cornelius, 1839\" width=\"457\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/457px-RobertCornelius.jpg 457w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/457px-RobertCornelius-400x525.jpg 400w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Self-Portrait by Robert Cornelius, 1839\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The face of \u003ca href=\"http://mashable.com/2014/11/07/first-selfie/\">the first selfie\u003c/a> was \u003ca href=\"https://en.wikipedia.org/wiki/Robert_Cornelius\">Robert Cornelius\u003c/a> (1809-1983), a son of Dutch immigrants to Philadelphia who became a photography pioneer. He immortalized himself in daguerreotype -- one of the very first forms of photography, wherein a sheet of silver-plated copper was polished to a mirror finish, treated with fumes that made its surface light-sensitive and then exposed in a camera, making the resulting latent image on it visible by fuming it with mercury vapor. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If this all sounds incredibly time-consuming, it was, but this is what allowed Cornelius to make selfie history in the first place. In the time it took to expose the image, he was able to uncover the lens, run into the shot for over a minute and then replace the lens cap. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Think about \u003cem>that\u003c/em> the next time you get irritated when your iPhone camera takes a ninth of a second to focus!\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>For even more history of the selfie, from the origin of the word itself to the arrival of the front-facing camera, Kim Kardashian and “death by selfie\", listen to this episode of \u003cem>The Cooler\u003c/em>!\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/268267481&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "Our centuries-long fascination with looking at our own faces.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>FYI: This piece is drawn from the latest episode of The Cooler podcast, which you can listen to here!\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/268267481&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Is there anyone with access to a cameraphone and a WiFi connection who can honestly say they've never taken a photo of their own face? \u003cspan style=\"font-weight: 400\">In our brave digital age where selfies seem to constitute a staggering portion of all posts on social media (at the moment of writing, there are 301 million posts tagged \"#selfie\" on Instagram), it’s hard to imagine a time when people didn’t compulsively record what they looked like -- or at least care about it deeply. \u003c/span>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Mirrors: The Original Front-Facing Cameras\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_26241\" class=\"wp-caption aligncenter\" style=\"max-width: 536px\">\u003cimg class=\"size-full wp-image-26241\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/Screenshot-2016-06-08-at-9.40.34-PM.png\" alt=\"Detail from an Ancient Greek Attic red-figure lekythos depicting a Seated woman holding a mirror, c. 470–460 BC, National Archaeological Museum, Athens \" width=\"536\" height=\"316\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/Screenshot-2016-06-08-at-9.40.34-PM.png 536w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/Screenshot-2016-06-08-at-9.40.34-PM-400x236.png 400w\" sizes=\"(max-width: 536px) 100vw, 536px\">\u003cfigcaption class=\"wp-caption-text\">Detail from an Ancient Greek Attic red-figure lekythos depicting a seated woman holding a mirror, c. 470–460 BC, National Archaeological Museum, Athens\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Before it was possible to immortalize one's own images on screen or on canvas, people had to make do with mirrors, right? Not exactly, or at least not everyone. \u003c/span>\u003cspan style=\"font-weight: 400\">As inconceivable as it seems today, had you been born in the 12th century rather than the 20th, you probably wouldn’t have known exactly what your own face looked like unless you were wealthy. Mirrors -- those ever-present reflectors of our faces and ourselves, on our walls and in our pockets (and now, in our front-facing cameras) -- didn’t become mass-produced or remotely affordable until the Renaissance. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You know that feeling of undignified horror when you discover you’ve had a piece of spinach between your teeth or mascara coating your under-eyes all day because you had no access to a mirror? Well, try imagining that feeling being your reality every day for the rest of your short, indentured, antibiotic-free life.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The question of how lacking any concrete impression of one’s own features must have affected 99% of the population’s sense of identity -- not to mention self-worth and place in the world -- is a mammoth one for another time; let’s instead ask what your regular peasant \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">could\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> do about that spinach. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The earliest Average Joes were left to improvise with assessing their own reflections in dark pools of water or, if they were lucky, polished stones like obsidian (a naturally occurring volcanic glass). Polished precious metals also worked well, but were decidedly less wallet-friendly.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_26291\" class=\"wp-caption aligncenter\" style=\"max-width: 2190px\">\u003cimg class=\"size-full wp-image-26291\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/narcissus.jpg\" alt=\"Echo and Narcissus, 1903 by John William Waterhouse\" width=\"2190\" height=\"1274\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/narcissus.jpg 2190w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/narcissus-400x233.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/narcissus-800x465.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/narcissus-768x447.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/narcissus-1440x838.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/narcissus-1920x1117.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/narcissus-1180x686.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/narcissus-960x558.jpg 960w\" sizes=\"(max-width: 2190px) 100vw, 2190px\">\u003cfigcaption class=\"wp-caption-text\">What's a guy without a mirror to do? Echo and Narcissus, 1903 by John William Waterhouse\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Metal-coated glass mirrors are said to have been invented in modern-day Lebanon in the first century AD, and glass mirrors backed with gold leaf were apparently kicking around Ancient Rome. But even if you had one of these prized items, the low reflectivity of polished metal resulted in a frustratingly dark image, especially when used indoors. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In China, people began making mirrors with the use of silver-mercury amalgams as early as 500 AD, but it wasn’t until the early Renaissance that European manufacturers got their act together and discovered a superior method of coating glass with a tin-mercury amalgam. In the 16th century, the Italian city of Venice -- already famed as a hub of glass-making know-how -- became a center of mirror production and used this new technique to produce a near-perfect and undistorted reflection for the first time. (Think of it as the iPhone 6 of mirrors: shiny, coveted and super-spendy.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite these innovations -- which really only impacted the wealthy -- it wasn’t until centuries later, in 1835, that true mass manufacture of mirrors came about with the invention of the silvered-glass mirror, credited to a German chemist, that was swiftly adapted for the masses. Hello, greater availability of affordable mirrors! Goodbye, spinach!\u003c/span>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Rise of Self-Portraits\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_26298\" class=\"wp-caption alignnone\" style=\"max-width: 865px\">\u003cimg class=\"size-full wp-image-26298\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/titian.jpg\" alt=\"Titian's Venus With a Mirror, 1555.\" width=\"865\" height=\"538\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/titian.jpg 865w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/titian-400x249.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/titian-800x498.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/titian-768x478.jpg 768w\" sizes=\"(max-width: 865px) 100vw, 865px\">\u003cfigcaption class=\"wp-caption-text\">Titian's Venus With a Mirror, 1555.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">We don’t know when the very first bona fide self-portrait was created, but images of artists at work are encountered in Ancient Egyptian paintings and sculpture and also on Ancient Greek vases. Ancient Greek sculptor Phidias also apparently sneaked a number of selfies onto the “Battle of the Amazons” on the \u003ca href=\"https://en.wikipedia.org/wiki/Parthenon\">Parthenon\u003c/a>, which is an act of artistic license so brazen that it rivals \u003ca href=\"https://twitter.com/robwhisman/status/670868975291645953\">that guy who confessed to enlarging Missouri on the United States’ Wikipedia page every time he gets tipsy\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>The traditional self-portrait as we know it didn’t come around until relatively recently. The first painted selfies were super-practical. Artists would use themselves as models in historical, Biblical or mythical scenes, which presumably also had the pleasant effect of saving a few pennies on actual models. Artists also playfully sneaked themselves into paintings in a kind of pre-Enlightenment \u003ci>Where’s Waldo\u003c/i>: in the margins of illuminated manuscripts, or in a reflection on a knight’s armor, or in a crowd of onlookers.\u003c/p>\n\u003cfigure id=\"attachment_26293\" class=\"wp-caption alignnone\" style=\"max-width: 736px\">\u003cimg class=\"size-full wp-image-26293\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/Botticelli_-_Adoration_of_the_Magi_Zanobi_Altar_-_Uffizi.jpg\" alt=\"Crafty (or cheap?) old Botticelli, sneaking himself into his Adoration of the Magi (ca.1475), far left\" width=\"736\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/Botticelli_-_Adoration_of_the_Magi_Zanobi_Altar_-_Uffizi.jpg 736w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/Botticelli_-_Adoration_of_the_Magi_Zanobi_Altar_-_Uffizi-400x326.jpg 400w\" sizes=\"(max-width: 736px) 100vw, 736px\">\u003cfigcaption class=\"wp-caption-text\">Crafty (or cheap?) old Botticelli, sneaking himself into his Adoration of the Magi (ca.1475), far left\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">If we’re in the business of picking favorites here, then all hail the selfie king of the 15th century:\u003c/span> \u003cspan style=\"font-weight: 400\">German painter, printmaker and certified hottie \u003ca href=\"http://www.metmuseum.org/toah/hd/durr/hd_durr.htm\">Albrecht Dürer\u003c/a>. Something of an artistic superstar by contemporary standards, the hard-hustling Dürer was highly conscious of his public image and reputation, and is thought to have depicted his own image more often than any artist before him. (Think: your teenage cousin on \u003ca href=\"http://ww2.kqed.org/pop/2016/03/03/are-you-too-old-for-snapchat/\">a Snap streak\u003c/a>.) His \u003ca href=\"https://commons.wikimedia.org/wiki/Albrecht_D%C3%BCrer#/media/File:Self-portrait_at_13_by_Albrecht_D%C3%BCrer.jpg\">first selfie\u003c/a> was at at the tender age of 13 in 1484. Once of age, Dürer indulged in what official selfie experts now recognize as “thirst traps”: at 22, he painted \u003ca href=\"https://en.wikipedia.org/wiki/Portrait_of_the_Artist_Holding_a_Thistle\">a longing self-portrait\u003c/a> that was almost certainly intended for his new fiancée.\u003c/span>\u003c/p>\n\u003cp>In another specimen we’d today file under “#feelingmylook #blessed”, the \u003ca href=\"https://commons.wikimedia.org/wiki/Albrecht_D%C3%BCrer#/media/File:Selbstportr%C3%A4t,_by_Albrecht_D%C3%BCrer,_from_Prado_in_Google_Earth.jpg\">Madrid self-portrait (1498) \u003c/a>depicts Dürer, then at the top of his art game, as a dandy in fashionable Italian dress. And of course, let’s not forget his \u003ca href=\"https://commons.wikimedia.org/wiki/Albrecht_D%C3%BCrer#/media/File:Nude_self-portrait_by_Albrecht_D%C3%BCrer.jpg\">nude selfies\u003c/a> or his \u003ca href=\"https://commons.wikimedia.org/wiki/Albrecht_D%C3%BCrer#/media/File:D%C3%BCrer_-_Selbstbildnis_im_Pelzrock_-_Alte_Pinakothek.jpg\">last-ever self-portrait\u003c/a> depicting him as -- who else? -- Jesus.\u003c/p>\n\u003cfigure id=\"attachment_26296\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-26296 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/D%C3%BCrer_-_Selbstbildnis_im_Pelzrock_-_Alte_Pinakothek.jpg\" alt=\"Dürer_-_Selbstbildnis_im_Pelzrock_-_Alte_Pinakothek\" width=\"800\" height=\"1107\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/Dürer_-_Selbstbildnis_im_Pelzrock_-_Alte_Pinakothek.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/Dürer_-_Selbstbildnis_im_Pelzrock_-_Alte_Pinakothek-400x554.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/Dürer_-_Selbstbildnis_im_Pelzrock_-_Alte_Pinakothek-768x1063.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Albrecht Dürer's Self-portrait with Fur-trimmed Robe, ca 1500.No Messiah complex here, right?\u003c/figcaption>\u003c/figure>\n\u003cp>As self-portraiture became increasingly common in the art world over the ensuing centuries, it's not until the 19th century that a new reigning prolific selfie addict truly emerged: Vincent van Gogh, who drew and painted himself more than 43 times in just three years between 1886 and 1889.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Photographic Selfie Emerges\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even with a vague awareness of the invention and explosion of photography during the 19th century, it’s still always jolting to remember that the first photographic self-portrait was taken in \u003c/span>\u003cspan style=\"font-weight: 400\">1839\u003c/span>\u003cspan style=\"font-weight: 400\">. For context, that was a mere year after\u003ca href=\"http://mashable.com/2014/11/05/first-photograph-of-a-human/#9Tp9LS3IZkq2\"> the first photograph taken of a human\u003c/a> (by Louis Daguerre), and only a decade after \u003ca href=\"http://www.hrc.utexas.edu/exhibitions/permanent/firstphotograph/\">the first photograph taken in a camera, ever \u003c/a>-- which is to say, it didn’t take long for the human desire for self-capture to elbow its way into a shockingly new medium.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_26301\" class=\"wp-caption aligncenter\" style=\"max-width: 457px\">\u003cimg class=\"size-full wp-image-26301\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/457px-RobertCornelius.jpg\" alt=\"Self-Portrait by Robert Cornelius, 1839\" width=\"457\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/457px-RobertCornelius.jpg 457w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/457px-RobertCornelius-400x525.jpg 400w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Self-Portrait by Robert Cornelius, 1839\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The face of \u003ca href=\"http://mashable.com/2014/11/07/first-selfie/\">the first selfie\u003c/a> was \u003ca href=\"https://en.wikipedia.org/wiki/Robert_Cornelius\">Robert Cornelius\u003c/a> (1809-1983), a son of Dutch immigrants to Philadelphia who became a photography pioneer. He immortalized himself in daguerreotype -- one of the very first forms of photography, wherein a sheet of silver-plated copper was polished to a mirror finish, treated with fumes that made its surface light-sensitive and then exposed in a camera, making the resulting latent image on it visible by fuming it with mercury vapor. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If this all sounds incredibly time-consuming, it was, but this is what allowed Cornelius to make selfie history in the first place. In the time it took to expose the image, he was able to uncover the lens, run into the shot for over a minute and then replace the lens cap. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Think about \u003cem>that\u003c/em> the next time you get irritated when your iPhone camera takes a ninth of a second to focus!\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>For even more history of the selfie, from the origin of the word itself to the arrival of the front-facing camera, Kim Kardashian and “death by selfie\", listen to this episode of \u003cem>The Cooler\u003c/em>!\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Illma Gore, the San Francisco-raised artist who caused a \u003ca href=\"http://ww2.kqed.org/arts/2016/03/29/license-to-illma-naked-trump-portrait-gets-artist-banned-from-facebook-ebay/\" target=\"_blank\" rel=\"noopener\">stir earlier this year with her portrait\u003c/a> of Donald Trump with a “micro penis,” is featured in a video on the comedy website Funny Or Die released Wednesday.\u003c/p>\n\u003cp>In the video, titled “How to Draw Trump’s Penis,” Gore spoofs the creation of her infamous painting of the presumptive Republican presidential nominee that resulted in a firestorm of controversy after she posted it to Facebook in early February. Though the painting was shared over 260,000 times in less than a month, it also led to Gore being banned from Facebook and eBay, as well as daily death threats from Trump supporters. \u003c/p>\n\u003cp>The backlash reached its peak near the end of April of this year when \u003ca href=\"http://www.theguardian.com/us-news/2016/may/07/donald-trump-penis-painting-ilma-gore\" target=\"_blank\" rel=\"noopener\">Gore says she was randomly punched in the face\u003c/a> by a man who identified himself as a Trump supporter before driving off. \u003c/p>\n\u003cp>Though the attack was far from funny, Gore decided to come back at her critics this week with her hilarious video, which you can watch below (\u003cb>WARNING:\u003c/b> Video contains images not appropriate for children): \u003c/p>\n\u003cdiv style=\"text-align:left;font-size:x-small;margin-top:0;width:640px\">\u003c/div>\n\u003cp>Though Gore and her Trump portrait have received a lot of attention, he’s not the only presumptive presidential nominee to be portrayed naked in painting: artist \u003ca href=\"http://sarah-sole.com/index.php\" target=\"_blank\" rel=\"noopener\">Sarah Cole\u003c/a> has drawn attention for her \u003ca href=\"http://www.huffingtonpost.com/entry/sarah-sole-hillary-clinton-paintings_us_564130dfe4b0411d30724467\" target=\"_blank\" rel=\"noopener\">portrayal of Hillary Clinton naked\u003c/a>, \u003ca href=\"http://sarah-sole.com/images/Paintings/MyPrivateHillary_AcrylicOnCanvas_72x48_2015_Sarah_Sole.jpg\" target=\"_blank\" rel=\"noopener\">holding a wine bottle\u003c/a>. But in Cole’s case, she actually considers herself a fan of Clinton.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"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.",
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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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"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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"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.",
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"possible": {
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"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.",
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"pri-the-world": {
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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