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"content": "\u003cp>\u003ca href=\"https://en.wikipedia.org/wiki/Charles_Gatewood\" target=\"_blank\" rel=\"noopener\">Charles Gatewood\u003c/a>, an \u003ca href=\"http://laughingsquid.com/charles-gatewood-1942-2016-legendary-underground-photographer-author-and-artist/\" target=\"_blank\" rel=\"noopener\">award-winning photographer\u003c/a> who shot both celebrities and counter culture figures, including the Hell’s Angels and erotic performance artists like Annie Sprinkle, died Thursday from injuries after he fell off his third-story balcony several weeks before. He was 73.\u003c/p>\n\u003cp>Born in Illinois in 1942 and raised mostly in Missouri, Gatewood began pursuing a career in photography \u003ca href=\"http://www.broadwayworld.com/bwwart/article/Remembering-Famed-Photographer-Charles-Gatewood-20160429#\" target=\"_blank\" rel=\"noopener\">while in his first year of graduate school\u003c/a> at the University of Missouri. While living in Stockholm, Sweden, attending school and traveling around Europe, Gatewood landed a job with AB Text & Bilder, a Swedish news wire, as a darkroom technician. The position provided him a press pass and equipment, which he used to photograph jazz concerts and other events.\u003c/p>\n\u003cfigure id=\"attachment_11537074\" class=\"wp-caption alignright\" style=\"max-width: 413px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Bob-Dylan-by-Gatewood-413x600.jpg\" alt=\"Dylan With Sunglasses and Cigarette\" width=\"413\" height=\"600\" class=\"size-medium wp-image-11537074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bob-Dylan-by-Gatewood-413x600.jpg 413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bob-Dylan-by-Gatewood-400x582.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bob-Dylan-by-Gatewood.jpg 584w\" sizes=\"(max-width: 413px) 100vw, 413px\">\u003cfigcaption class=\"wp-caption-text\">Dylan With Sunglasses and Cigarette \u003ccite>(Photo: Charles Gatewood)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1966, Gatewood had his first big break when he photographed Bob Dylan at a press conference. The photograph, titled “Dylan With Sunglasses and Cigarette” was picked up for syndication and published around the world. \u003c/p>\n\u003cp>“Taking the Bob Dylan photo gave me faith I could actually be a professional photographer,” \u003ca href=\"http://hifructose.com/2016/04/28/legendary-photographer-charles-gatewood-1942-2016/\" target=\"_blank\" rel=\"noopener\">Gatewood would later say\u003c/a>.\u003c/p>\n\u003cp>Gatewood went on to shoot several celebrities and other notable figures over the next 50 years, including Beat writers William S. Burroughs and Allen Ginsburg; musicians such as Ella Fitzgerald, Rod Stewart and David Bowie; and even legendary civil rights activists such as Martin Luther King Jr. His work would appear in publications such as the \u003cem>New York Times\u003c/em>, \u003cem>Time\u003c/em> and \u003cem>Rolling Stone\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But celebrities weren’t his only subjects — Gatewood was a dedicated documentarian of underground subcultures. He entrenched himself in subjects others would see as dark and off-limits, such as the debauchery of 1970s New Orleans during Mardi Gras and the sex positive communities in San Francisco, which helped bring those previously underground groups into the mainstream. He would later say that he wanted to “take photographs that kill.”\u003c/p>\n\u003cfigure id=\"attachment_11537082\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Page-Burroughs-by-Gatewood.jpg\" alt=\"Guitarist Jimmy Page and author William S. Burroughs\" width=\"640\" height=\"480\" class=\"size-full wp-image-11537082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Page-Burroughs-by-Gatewood.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Page-Burroughs-by-Gatewood-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Guitarist Jimmy Page and author William S. Burroughs \u003ccite>(Photo: Charles Gatewood)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gatewood moved to San Francisco in 1987, and would cover events such as the Folsom Street Fair and Burning Man. From 1998 to 2010, Gatewood would do most of his work for \u003ci>Skin and Ink\u003c/i> magazine, and later concentrated on photo collages that he created in his apartment.\u003c/p>\n\u003cp>After the fall from his third-floor balcony, Gatewood was hospitalized for several weeks. When he finally died on April 28, he was surrounded by friends.\u003c/p>\n\u003cp>“Well, Charles took the last train out at 12:30 this morning,” Last Gasp publisher Ron Turner, one of Gatewood’s last portrait subjects, wrote on \u003ca href=\"https://www.facebook.com/ronald.e.turner/posts/10154282528739155?pnref=story\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> after Gatewood died. “I marveled at Charles’ wakefulness yesterday evening. It was as if he was taking in as much as he could, like a child being ushered out of the amusement park as it was shutting down. I treasure the smile I got from him as I left.”\u003c/p>\n\u003cp>UC Berkeley’s Bancroft Library recently bought Gatewood’s massive photo archive and there are plans for a retrospective in 2017. A memorial was being organized as of Thursday, which is expected to be held at the Center for Sex and Culture in San Francisco.\u003c/p>\n\u003cp>\u003ci>Watch a perspective of Gatewood and his work below. \u003cstrong>Warning:\u003c/strong> some images are NSFW.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lhq9IgeG_Nk \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://en.wikipedia.org/wiki/Charles_Gatewood\" target=\"_blank\" rel=\"noopener\">Charles Gatewood\u003c/a>, an \u003ca href=\"http://laughingsquid.com/charles-gatewood-1942-2016-legendary-underground-photographer-author-and-artist/\" target=\"_blank\" rel=\"noopener\">award-winning photographer\u003c/a> who shot both celebrities and counter culture figures, including the Hell’s Angels and erotic performance artists like Annie Sprinkle, died Thursday from injuries after he fell off his third-story balcony several weeks before. He was 73.\u003c/p>\n\u003cp>Born in Illinois in 1942 and raised mostly in Missouri, Gatewood began pursuing a career in photography \u003ca href=\"http://www.broadwayworld.com/bwwart/article/Remembering-Famed-Photographer-Charles-Gatewood-20160429#\" target=\"_blank\" rel=\"noopener\">while in his first year of graduate school\u003c/a> at the University of Missouri. While living in Stockholm, Sweden, attending school and traveling around Europe, Gatewood landed a job with AB Text & Bilder, a Swedish news wire, as a darkroom technician. The position provided him a press pass and equipment, which he used to photograph jazz concerts and other events.\u003c/p>\n\u003cfigure id=\"attachment_11537074\" class=\"wp-caption alignright\" style=\"max-width: 413px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Bob-Dylan-by-Gatewood-413x600.jpg\" alt=\"Dylan With Sunglasses and Cigarette\" width=\"413\" height=\"600\" class=\"size-medium wp-image-11537074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bob-Dylan-by-Gatewood-413x600.jpg 413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bob-Dylan-by-Gatewood-400x582.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bob-Dylan-by-Gatewood.jpg 584w\" sizes=\"(max-width: 413px) 100vw, 413px\">\u003cfigcaption class=\"wp-caption-text\">Dylan With Sunglasses and Cigarette \u003ccite>(Photo: Charles Gatewood)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1966, Gatewood had his first big break when he photographed Bob Dylan at a press conference. The photograph, titled “Dylan With Sunglasses and Cigarette” was picked up for syndication and published around the world. \u003c/p>\n\u003cp>“Taking the Bob Dylan photo gave me faith I could actually be a professional photographer,” \u003ca href=\"http://hifructose.com/2016/04/28/legendary-photographer-charles-gatewood-1942-2016/\" target=\"_blank\" rel=\"noopener\">Gatewood would later say\u003c/a>.\u003c/p>\n\u003cp>Gatewood went on to shoot several celebrities and other notable figures over the next 50 years, including Beat writers William S. Burroughs and Allen Ginsburg; musicians such as Ella Fitzgerald, Rod Stewart and David Bowie; and even legendary civil rights activists such as Martin Luther King Jr. His work would appear in publications such as the \u003cem>New York Times\u003c/em>, \u003cem>Time\u003c/em> and \u003cem>Rolling Stone\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But celebrities weren’t his only subjects — Gatewood was a dedicated documentarian of underground subcultures. He entrenched himself in subjects others would see as dark and off-limits, such as the debauchery of 1970s New Orleans during Mardi Gras and the sex positive communities in San Francisco, which helped bring those previously underground groups into the mainstream. He would later say that he wanted to “take photographs that kill.”\u003c/p>\n\u003cfigure id=\"attachment_11537082\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Page-Burroughs-by-Gatewood.jpg\" alt=\"Guitarist Jimmy Page and author William S. Burroughs\" width=\"640\" height=\"480\" class=\"size-full wp-image-11537082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Page-Burroughs-by-Gatewood.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Page-Burroughs-by-Gatewood-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Guitarist Jimmy Page and author William S. Burroughs \u003ccite>(Photo: Charles Gatewood)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gatewood moved to San Francisco in 1987, and would cover events such as the Folsom Street Fair and Burning Man. From 1998 to 2010, Gatewood would do most of his work for \u003ci>Skin and Ink\u003c/i> magazine, and later concentrated on photo collages that he created in his apartment.\u003c/p>\n\u003cp>After the fall from his third-floor balcony, Gatewood was hospitalized for several weeks. When he finally died on April 28, he was surrounded by friends.\u003c/p>\n\u003cp>“Well, Charles took the last train out at 12:30 this morning,” Last Gasp publisher Ron Turner, one of Gatewood’s last portrait subjects, wrote on \u003ca href=\"https://www.facebook.com/ronald.e.turner/posts/10154282528739155?pnref=story\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> after Gatewood died. “I marveled at Charles’ wakefulness yesterday evening. It was as if he was taking in as much as he could, like a child being ushered out of the amusement park as it was shutting down. I treasure the smile I got from him as I left.”\u003c/p>\n\u003cp>UC Berkeley’s Bancroft Library recently bought Gatewood’s massive photo archive and there are plans for a retrospective in 2017. A memorial was being organized as of Thursday, which is expected to be held at the Center for Sex and Culture in San Francisco.\u003c/p>\n\u003cp>\u003ci>Watch a perspective of Gatewood and his work below. \u003cstrong>Warning:\u003c/strong> some images are NSFW.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lhq9IgeG_Nk \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-grace-jones-project-at-moad-deconstructs-her-flawless-arabesque",
"title": "How Does the Influence of Grace Jones Impact Art Today?",
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"content": "\u003cp>Opening the door to \u003ca href=\"http://www.moadsf.org/exhibition/the-grace-jones-project/\">\u003ci>The Grace Jones Project\u003c/i>\u003c/a> at the Museum of the Africa Diaspora is like entering the shrine of a living goddess.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11532358\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/GraceJones-short.gif\" alt=\"GraceJones-short\" width=\"338\" height=\"519\">In the center of the gallery two display walls separate the space, drawing a line through the exhibit. On one side of the line, the artist represented is Jones herself. Thirty-two evenly arranged Grace Jones records are divided and mounted on black backgrounds. The singer, actress and model features prominently on almost every album cover. Her aura, and her shifting series of identities, dominate the room. The effect is that of a pop star’s power to dazzle.\u003c/p>\n\u003cp>A reel of Jones’ music videos loops alongside the wall of albums. The projected images shriek with the 1980s MTV era of self-conscious experimentalism. Jones and her collaborators capitalized on the fact that the camera loved to look at her. But she knew how to look back. Jones stared down the male gaze and smashed it to bits. Sunglasses, costumes, hats, cowls, even her makeup were all parts of the armory, to be removed only at her behest.\u003c/p>\n\u003cp>The other side of gallery space contends with her enduring cultural influence and its impact on musicians and artists, pop and otherwise. Harold Offeh, a London-based performance and video artist, filmed a live action version of himself attempting the famous arabesque pose from the cover of Jones’ 1985 album \u003ci>Island Life\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_11532356\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11532356\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200.jpg\" alt=\"Harold Offeh, Still from 'Arabesque, Covers: Arabesque, After Grace Jones, 1978,' 2008-2009.\" width=\"1000\" height=\"658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200-960x632.jpg 960w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Harold Offeh, Still from ‘Arabesque, Covers: Arabesque, After Grace Jones, 1978,’ 2008-2009. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike Jones, Offeh is nude as he stands with his limbs outstretched (Jones’ body is selectively wrapped: an ankle, a wrist, her breasts). His round stomach lacks her body’s sculptural ideal, and he’s all the more human for it. After holding something like her pose for a minute, he loses his balance, utters a sigh, and the film begins again. It’s a witty piece that exposes the album cover for what it is: a cut and paste technique — a pre-Photoshop illusion — by the photographer Jean-Paul Goude.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a deliberate omission, Goude is not represented in \u003ci>The Grace Jones Project\u003c/i>. He may not have been the sole decision maker of her aesthetic sensibility, but while they were a couple he was responsible for much of it. Goude photographed and designed her album covers and directed many of her first music videos.\u003c/p>\n\u003cfigure id=\"attachment_11530665\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11530665\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/5.-Gaskin-Backstage-at-the-Evisu-Ball-Manhattan.jpg\" alt=\"Gerard Gaskin, 'Backstage at the Evisu Ball, Manhattan,' 2010. \" width=\"480\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/5.-Gaskin-Backstage-at-the-Evisu-Ball-Manhattan.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/5.-Gaskin-Backstage-at-the-Evisu-Ball-Manhattan-400x600.jpg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Gerard Gaskin, ‘Backstage at the Evisu Ball, Manhattan,’ 2010. \u003ccite>(Courtesy of the artist.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His 1982 book of photography, \u003ci>Jungle Fever\u003c/i>, features a notorious image of Jones naked and caged. Goude, a white man, revels in the need for art to shock for the sake of attention. His “Break the Internet” photographs with Kim Kardashian for the November 2014 issue of \u003ci>PAPER\u003c/i> magazine were no exception.\u003c/p>\n\u003cp>This outré aspect of their work together brings this question to mind: In what context has the art of Grace Jones actively retained its influence?\u003c/p>\n\u003cp>The collection of vinyl on display at MoAD belongs to the exhibit’s curator Nicole Caruth, but \u003ci>The Grace Jones Project\u003c/i> is not simply the tribute project of an ardent fan. When Caruth first saw the video for “La Vie en rose,” Jones, tangling with an accordion, was for her a figure of female and Black empowerment (Jones moved from Jamaica to New York as a teenager).\u003c/p>\n\u003cp>Many of the installations on display contend with and embrace Jones’ projection of Black strength. Photo shoots like the one she did for \u003ci>Playboy\u003c/i> in 1985, with her then-boyfriend Dolph Lundgren, reinforced the mythology of her physical perfection.\u003c/p>\n\u003cfigure id=\"attachment_11532354\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11532354\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200.jpg\" alt=\"Rashayla Marie Brown, 'The Island Pose from the Black Betty series,' 2013.\" width=\"1200\" height=\"795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200-960x636.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rashayla Marie Brown, ‘The Island Pose from the Black Betty series,’ 2013. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But her oeuvre largely resides within the realms of pop culture, where attention-getting is the end game. It’s easy to see where Rihanna, Lady Gaga and Nicki Minaj often draw visual inspiration, sometimes borrowing directly from Jones’ wardrobe. But it’s difficult to compete with the lasting impression made by a suit made of meat.\u003c/p>\n\u003cp>Heather Hart’s mixed media collage \u003ci>Jumeaux\u003c/i> (twins) claims Grace Jones as more than mere pop artifact. Hart says, “In pop culture we found her in chains, in cages, with raw meat, put into the position of the savage animal. But because of her command, because she was tall, because she was androgynous, because she had power in her own gaze, somehow I didn’t doubt her agency as a subject.”\u003c/p>\n\u003cfigure id=\"attachment_11532357\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11532357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200.jpg\" alt=\"Gerard Gaskin, 'Baby (painted black) at the Tony, Andrea, and Eric Ball, Brooklyn, NY,' 2000.\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200-960x640.jpg 960w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Gerard Gaskin, ‘Baby (painted black) at the Tony, Andrea, and Eric Ball, Brooklyn, NY,’ 2000. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two images of Jones nest inside a circle of light in Hart’s collage. The viewer is instructed “to press one piece of gold leaf” into this space on the canvas. For Hart, this action is meant to refute the idea that Jones was just a puppet in Goude’s hands.\u003c/p>\n\u003cp>Hart’s collage, and the diverse range of other contributions in \u003cem>The Grace Jones Project\u003c/em> make a convincing argument for Jones’ status as an icon of Black female empowerment, and as a seminal figure in the landscape of pop culture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>The Grace Jones Project\u003c/b> is on view through Sept. 18 at the Museum of the African Diaspora in San Francisco. For tickets and more information visit \u003ca href=\"http://www.moadsf.org/exhibition/the-grace-jones-project/\" target=\"_blank\" rel=\"noopener\">moadsf.org\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A group show at MoAD brings together generations of artists influenced by and paying homage to model, actress, and singer Grace Jones.",
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"title": "How Does the Influence of Grace Jones Impact Art Today? | KQED",
"description": "A group show at MoAD brings together generations of artists influenced by and paying homage to model, actress, and singer Grace Jones.",
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"headline": "How Does the Influence of Grace Jones Impact Art Today?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opening the door to \u003ca href=\"http://www.moadsf.org/exhibition/the-grace-jones-project/\">\u003ci>The Grace Jones Project\u003c/i>\u003c/a> at the Museum of the Africa Diaspora is like entering the shrine of a living goddess.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11532358\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/GraceJones-short.gif\" alt=\"GraceJones-short\" width=\"338\" height=\"519\">In the center of the gallery two display walls separate the space, drawing a line through the exhibit. On one side of the line, the artist represented is Jones herself. Thirty-two evenly arranged Grace Jones records are divided and mounted on black backgrounds. The singer, actress and model features prominently on almost every album cover. Her aura, and her shifting series of identities, dominate the room. The effect is that of a pop star’s power to dazzle.\u003c/p>\n\u003cp>A reel of Jones’ music videos loops alongside the wall of albums. The projected images shriek with the 1980s MTV era of self-conscious experimentalism. Jones and her collaborators capitalized on the fact that the camera loved to look at her. But she knew how to look back. Jones stared down the male gaze and smashed it to bits. Sunglasses, costumes, hats, cowls, even her makeup were all parts of the armory, to be removed only at her behest.\u003c/p>\n\u003cp>The other side of gallery space contends with her enduring cultural influence and its impact on musicians and artists, pop and otherwise. Harold Offeh, a London-based performance and video artist, filmed a live action version of himself attempting the famous arabesque pose from the cover of Jones’ 1985 album \u003ci>Island Life\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_11532356\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11532356\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200.jpg\" alt=\"Harold Offeh, Still from 'Arabesque, Covers: Arabesque, After Grace Jones, 1978,' 2008-2009.\" width=\"1000\" height=\"658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200-960x632.jpg 960w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Harold Offeh, Still from ‘Arabesque, Covers: Arabesque, After Grace Jones, 1978,’ 2008-2009. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike Jones, Offeh is nude as he stands with his limbs outstretched (Jones’ body is selectively wrapped: an ankle, a wrist, her breasts). His round stomach lacks her body’s sculptural ideal, and he’s all the more human for it. After holding something like her pose for a minute, he loses his balance, utters a sigh, and the film begins again. It’s a witty piece that exposes the album cover for what it is: a cut and paste technique — a pre-Photoshop illusion — by the photographer Jean-Paul Goude.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a deliberate omission, Goude is not represented in \u003ci>The Grace Jones Project\u003c/i>. He may not have been the sole decision maker of her aesthetic sensibility, but while they were a couple he was responsible for much of it. Goude photographed and designed her album covers and directed many of her first music videos.\u003c/p>\n\u003cfigure id=\"attachment_11530665\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11530665\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/5.-Gaskin-Backstage-at-the-Evisu-Ball-Manhattan.jpg\" alt=\"Gerard Gaskin, 'Backstage at the Evisu Ball, Manhattan,' 2010. \" width=\"480\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/5.-Gaskin-Backstage-at-the-Evisu-Ball-Manhattan.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/5.-Gaskin-Backstage-at-the-Evisu-Ball-Manhattan-400x600.jpg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Gerard Gaskin, ‘Backstage at the Evisu Ball, Manhattan,’ 2010. \u003ccite>(Courtesy of the artist.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His 1982 book of photography, \u003ci>Jungle Fever\u003c/i>, features a notorious image of Jones naked and caged. Goude, a white man, revels in the need for art to shock for the sake of attention. His “Break the Internet” photographs with Kim Kardashian for the November 2014 issue of \u003ci>PAPER\u003c/i> magazine were no exception.\u003c/p>\n\u003cp>This outré aspect of their work together brings this question to mind: In what context has the art of Grace Jones actively retained its influence?\u003c/p>\n\u003cp>The collection of vinyl on display at MoAD belongs to the exhibit’s curator Nicole Caruth, but \u003ci>The Grace Jones Project\u003c/i> is not simply the tribute project of an ardent fan. When Caruth first saw the video for “La Vie en rose,” Jones, tangling with an accordion, was for her a figure of female and Black empowerment (Jones moved from Jamaica to New York as a teenager).\u003c/p>\n\u003cp>Many of the installations on display contend with and embrace Jones’ projection of Black strength. Photo shoots like the one she did for \u003ci>Playboy\u003c/i> in 1985, with her then-boyfriend Dolph Lundgren, reinforced the mythology of her physical perfection.\u003c/p>\n\u003cfigure id=\"attachment_11532354\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11532354\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200.jpg\" alt=\"Rashayla Marie Brown, 'The Island Pose from the Black Betty series,' 2013.\" width=\"1200\" height=\"795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200-960x636.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rashayla Marie Brown, ‘The Island Pose from the Black Betty series,’ 2013. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But her oeuvre largely resides within the realms of pop culture, where attention-getting is the end game. It’s easy to see where Rihanna, Lady Gaga and Nicki Minaj often draw visual inspiration, sometimes borrowing directly from Jones’ wardrobe. But it’s difficult to compete with the lasting impression made by a suit made of meat.\u003c/p>\n\u003cp>Heather Hart’s mixed media collage \u003ci>Jumeaux\u003c/i> (twins) claims Grace Jones as more than mere pop artifact. Hart says, “In pop culture we found her in chains, in cages, with raw meat, put into the position of the savage animal. But because of her command, because she was tall, because she was androgynous, because she had power in her own gaze, somehow I didn’t doubt her agency as a subject.”\u003c/p>\n\u003cfigure id=\"attachment_11532357\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11532357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200.jpg\" alt=\"Gerard Gaskin, 'Baby (painted black) at the Tony, Andrea, and Eric Ball, Brooklyn, NY,' 2000.\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200-960x640.jpg 960w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Gerard Gaskin, ‘Baby (painted black) at the Tony, Andrea, and Eric Ball, Brooklyn, NY,’ 2000. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two images of Jones nest inside a circle of light in Hart’s collage. The viewer is instructed “to press one piece of gold leaf” into this space on the canvas. For Hart, this action is meant to refute the idea that Jones was just a puppet in Goude’s hands.\u003c/p>\n\u003cp>Hart’s collage, and the diverse range of other contributions in \u003cem>The Grace Jones Project\u003c/em> make a convincing argument for Jones’ status as an icon of Black female empowerment, and as a seminal figure in the landscape of pop culture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>The Grace Jones Project\u003c/b> is on view through Sept. 18 at the Museum of the African Diaspora in San Francisco. For tickets and more information visit \u003ca href=\"http://www.moadsf.org/exhibition/the-grace-jones-project/\" target=\"_blank\" rel=\"noopener\">moadsf.org\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "#BayBackWhen: We Want Your Vintage Family Photographs From the 1960s!",
"title": "#BayBackWhen: We Want Your Vintage Family Photographs From the 1960s!",
"headTitle": "On KQED Insider | About KQED",
"content": "\u003cp>\u003cstrong>In association with the broadcast premiere of \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=23409\" target=\"_blank\">\u003cem>Janis Joplin: Little Girl Blue\u003c/em>\u003c/a> on Tuesday, May 3, at 8 pm on KQED 9\u003c/strong>\u003c/p>\n\u003cp>Do your family albums contain vintage snaps of you or your parents — or perhaps your grandparents, or family friends — taken during the 1960s in the San Francisco Bay Area? Then we want to see them.\u003c/p>\n\u003cp>To celebrate the broadcast of \u003cem>American Masters\u003c/em>’ acclaimed film \u003ca href=\"http://ww2.kqed.org/arts/2016/04/28/american-masters-janis-joplin/\" target=\"_blank\">\u003cem>Janis Joplin: Little Girl Blue\u003c/em>\u003c/a> on May 3, we’re building a collective picture of the style, attitude and atmosphere of 1960s San Francisco and the wider Bay Area: a place Janis Joplin called home from 1963 until her untimely death age 27 in 1970. That's where you — and your family photos — come in.\u003c/p>\n\u003cfigure id=\"attachment_6761\" class=\"wp-caption aligncenter\" style=\"max-width: 1047px\">\u003cimg class=\"size-full wp-image-6761\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2016/04/Blosser_60s_crop.jpg\" alt=\"KQED staffer Heather Blosser sent us this picture of her parents (far right) with her as a toddler, taken in the 1960s\" width=\"1047\" height=\"894\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2016/04/Blosser_60s_crop.jpg 1047w, https://ww2.kqed.org/app/uploads/sites/19/2016/04/Blosser_60s_crop-400x342.jpg 400w, https://ww2.kqed.org/app/uploads/sites/19/2016/04/Blosser_60s_crop-703x600.jpg 703w, https://ww2.kqed.org/app/uploads/sites/19/2016/04/Blosser_60s_crop-768x656.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2016/04/Blosser_60s_crop-960x820.jpg 960w\" sizes=\"(max-width: 1047px) 100vw, 1047px\">\u003cfigcaption class=\"wp-caption-text\">KQED staffer Heather Blosser sent us this picture of her parents (far right) with her as a toddler, taken in the 1960s\u003c/figcaption>\u003c/figure>\n\u003cp>Think your family's got a great photo taken between 1960 and 1970 in the Bay Area? Take a photo of it (or if you're feeling fancy, maybe even scan it) and post it to Twitter, Instagram or \u003ca href=\"https://www.facebook.com/kqed\" target=\"_blank\">KQED's Facebook Page\u003c/a> with the hashtag \u003cstrong>#BayBackWhen\u003c/strong>. Don't forget to include a note about who's in it, and when and where it was taken, if you know it. We'll be collecting photos and reposting highlights to social media and our website!\u003c/p>\n\u003cp>\u003cem>Remember, by posting a photo you are agreeing that you have the right and permission necessary to post the photo (e.g., that you own the copyright in the photo and that you have everyone’s permission in the photo to post it). You agree that KQED may publish the photo on our website , social media pages or in other media and that you will hold KQED harmless from any and all claims and expenses (including legal expenses) arising from use of the photo and/or your failure to comply with the rules set out in this disclaimer.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>In association with the broadcast premiere of \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=23409\" target=\"_blank\">\u003cem>Janis Joplin: Little Girl Blue\u003c/em>\u003c/a> on Tuesday, May 3, at 8 pm on KQED 9\u003c/strong>\u003c/p>\n\u003cp>Do your family albums contain vintage snaps of you or your parents — or perhaps your grandparents, or family friends — taken during the 1960s in the San Francisco Bay Area? Then we want to see them.\u003c/p>\n\u003cp>To celebrate the broadcast of \u003cem>American Masters\u003c/em>’ acclaimed film \u003ca href=\"http://ww2.kqed.org/arts/2016/04/28/american-masters-janis-joplin/\" target=\"_blank\">\u003cem>Janis Joplin: Little Girl Blue\u003c/em>\u003c/a> on May 3, we’re building a collective picture of the style, attitude and atmosphere of 1960s San Francisco and the wider Bay Area: a place Janis Joplin called home from 1963 until her untimely death age 27 in 1970. That's where you — and your family photos — come in.\u003c/p>\n\u003cfigure id=\"attachment_6761\" class=\"wp-caption aligncenter\" style=\"max-width: 1047px\">\u003cimg class=\"size-full wp-image-6761\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2016/04/Blosser_60s_crop.jpg\" alt=\"KQED staffer Heather Blosser sent us this picture of her parents (far right) with her as a toddler, taken in the 1960s\" width=\"1047\" height=\"894\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2016/04/Blosser_60s_crop.jpg 1047w, https://ww2.kqed.org/app/uploads/sites/19/2016/04/Blosser_60s_crop-400x342.jpg 400w, https://ww2.kqed.org/app/uploads/sites/19/2016/04/Blosser_60s_crop-703x600.jpg 703w, https://ww2.kqed.org/app/uploads/sites/19/2016/04/Blosser_60s_crop-768x656.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2016/04/Blosser_60s_crop-960x820.jpg 960w\" sizes=\"(max-width: 1047px) 100vw, 1047px\">\u003cfigcaption class=\"wp-caption-text\">KQED staffer Heather Blosser sent us this picture of her parents (far right) with her as a toddler, taken in the 1960s\u003c/figcaption>\u003c/figure>\n\u003cp>Think your family's got a great photo taken between 1960 and 1970 in the Bay Area? Take a photo of it (or if you're feeling fancy, maybe even scan it) and post it to Twitter, Instagram or \u003ca href=\"https://www.facebook.com/kqed\" target=\"_blank\">KQED's Facebook Page\u003c/a> with the hashtag \u003cstrong>#BayBackWhen\u003c/strong>. Don't forget to include a note about who's in it, and when and where it was taken, if you know it. We'll be collecting photos and reposting highlights to social media and our website!\u003c/p>\n\u003cp>\u003cem>Remember, by posting a photo you are agreeing that you have the right and permission necessary to post the photo (e.g., that you own the copyright in the photo and that you have everyone’s permission in the photo to post it). You agree that KQED may publish the photo on our website , social media pages or in other media and that you will hold KQED harmless from any and all claims and expenses (including legal expenses) arising from use of the photo and/or your failure to comply with the rules set out in this disclaimer.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The coming relaunch of the \u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a> has lots of people buzzing in anticipation. But downtown San Francisco is not the only place where truly exciting things are happening on the visual arts front.\u003c/p>\n\u003cp>Super-star artist \u003ca href=\"http://jamesturrell.com/about/introduction/\">James Turrell\u003c/a>, for instance, is touching down in Palo Alto with a pocket-sized exhibition this week, ahead of the re-opening of a \u003ca href=\"http://www.lacma.org/art/exhibition/james-turrell-breathing-light\">major retrospective\u003c/a> of his work at The Los Angeles County Museum of Art in late May.\u003c/p>\n\u003cp>Turrell is famous for his meditations on light and space that play with your depth perception. Take the most eye-catching piece in the inaugural show at the newly opened Pace Gallery in Palo Alto. \u003ca href=\"https://www.artsy.net/artwork/james-turrell-pelee\">\u003cem>Pelée \u003c/em>\u003c/a>is a curvaceous LED screen that looks like a window — or really, more like an opening in the wall to another world.\u003c/p>\n\u003cp>“You’ll see reds, and that can fade into other colors,” says Pace Palo Alto President Elizabeth Sullivan. “It’s just beautiful, mesmerizing, really meditative in a way.”\u003c/p>\n\u003cp>Sullivan figures the most casual passer-by will be entranced by the light of the artwork spilling out onto the street. Even those unfamiliar with Turrell’s work may have been exposed by Drake’s video for “Hotline Bling,” albeit without Turrell’s consent: his work was ripped off. (For the record, Turrell has reportedly said he’s \u003ca href=\"http://www.theguardian.com/artanddesign/2015/nov/11/james-turrell-more-people-have-heard-of-me-through-drake-than-anything-else\">not that irked\u003c/a> by the hip hop artist’s co-option of his art.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=uxpDa-c-4Mc]\u003c/p>\n\u003cp>Pace, which has represented Turrell for years, is a bit of an art world celebrity, too. The global art gallery empire, based in New York with four galleries there, maintains outposts in London, Paris, Beijing and Hong Kong.\u003c/p>\n\u003cp>Sullivan won’t say why Pace picked Palo Alto over more obvious choices like San Francisco or Los Angeles. But the local community is happy about the choice. “People in the art world are so excited that Pace would choose to come to Silicon Valley,” says Cathy Kimball, executive director of the \u003ca href=\"http://sjica.org/\">San Jose Institute of Contemporary Art\u003c/a>.\u003c/p>\n\u003cp>Pace started on the Peninsula with a “pop-up” gallery in Menlo Park in a converted Tesla showroom, slated for demolition sometime next year. There were a handful of solid exhibitions featuring names like Alexander Calder and Tara Donovan. Then came a blockbuster by a Japanese group called \u003ca href=\"https://www.team-lab.net/\">teamlab\u003c/a>, which makes ancient Japanese art come alive in floor-to-ceiling digital animations.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=l9IwS1QkZXk]\u003c/p>\n\u003cp>From her vantage point to the south, Kimball looked on with some envy as Pace drew in 45,000 people in less than three months. “That teamlab animation is something to marvel at,” Kimball says. “It’s immersive. It’s so animated. There’s so much to look at.”\u003c/p>\n\u003cp>Kimball insists she’s not really feeling competitive with Pace, though she wishes her organization had resources more in line with the shiny new neighbor up the road. “Pace certainly has a kick ass team,” Kimball says. “They also have a kick ass budget. There aren’t a lot of us who can mount a Turrell show or a teamlab show in the degree that they did in Menlo Park.”\u003c/p>\n\u003cp>Pace is not the only big art muscle flexing on the Peninsula. In the last five years, Stanford has built an entire “arts district” in the heart of its campus. The site includes a new museum next to the Cantor Arts Center built to house the personal collection of one local family, the \u003ca href=\"https://anderson.stanford.edu/about/the-andersons/\">Andersons\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11528236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11528236 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-800x533.jpg\" alt=\"A room at Stanford's Anderson Collection. From left to right: "Timeless Clock," by David Smith (1957); "Lucifer" by Jackson Pollack (1947); "Transfiguration III" by Adolph Gottlieb (1958); and "Figure 8" by Franz Kline (1952).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A room at Stanford’s Anderson Collection. From left to right: “Timeless Clock,” by David Smith (1957); “Lucifer” by Jackson Pollack (1947); “Transfiguration III” by Adolph Gottlieb (1958); and “Figure 8” by Franz Kline (1952). \u003ccite>(Photo: Courtesy of Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent Saturday, a group of curators, gallery owners, collection managers, and other visual arts professionals took a private tour of the museum. The tour was put together by the local chapter of \u003ca href=\"http://www.arttable.org/\">Art Table\u003c/a>, a non-profit that usually organizes special events like this one \u003cspan style=\"background: white\">in San Francisco and the East Bay. \u003c/span>\u003c/p>\n\u003cp>[contextly_sidebar id=”pyeWbiln5qLQqPk75byBZVha284Cg9A0″]But that’s changing, says chapter co-chair Kathy Kenyon. “I think it’s real exciting what they’re doing here with this whole arts section, with the \u003ca href=\"https://anderson.stanford.edu/\">Anderson Collection\u003c/a>, and bringing over the art department so that it is directly connected with the museums here is a huge thing,” Kenyon says. And all of Stanford’s art collection is available to the public for free.\u003c/p>\n\u003cp>There’s more to the scene than the high profile glamour of Stanford and Pace. Municipalities on the Peninsula are also doing a fair bit to nurture local talent. A number of them, including \u003ca href=\"http://ww2.kqed.org/arts/2016/03/15/redwood-city-sidewalk-stencils-draw-your-eyes-to-your-feet/\">Redwood City\u003c/a>, commission and exhibit local artists. Palo Alto goes a step further, providing \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/studios/default.asp\">studio space\u003c/a> for \u003ca href=\"http://cubberleyartists.com/\">25 artists\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11528485\" class=\"wp-caption aligncenter\" style=\"max-width: 478px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528485\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut-478x600.jpg\" alt=\""Ribosome Metamorphosis," by chemist-turned-artist Michal Gavish (2016). She's one of the artists who's benefited from Palo Alto's city-sponsored, affordable studio space.\" width=\"478\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut-478x600.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut-400x502.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut.jpg 600w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003cfigcaption class=\"wp-caption-text\">“Ribosome Metamorphosis,” by chemist-turned-artist Michal Gavish (2016). She’s one of the artists who’s benefited from Palo Alto’s city-sponsored, affordable studio space. \u003ccite>(Photo: Courtesy of Michal Gavish)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Artists and arts groups can be considered here an endangered species,” says Rhyena Halpern, who oversees the city’s public investment in the arts as assistant director of Palo Alto’s \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/\">Community Services Department\u003c/a>. “Because the cost of living is so high, and the cost of doing business is so high.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the very same economic boom has created more people in a position to invest in art. Pace, Halpern says, could well be the harbinger of things to come. “That they took this risk to come here to see what they could do, see if there was a collector base they could tap into: very smart,” Halpern says. “But what it gives the community in return is this amazing access. You know, down the street. It’s incredible!”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The coming relaunch of the \u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a> has lots of people buzzing in anticipation. But downtown San Francisco is not the only place where truly exciting things are happening on the visual arts front.\u003c/p>\n\u003cp>Super-star artist \u003ca href=\"http://jamesturrell.com/about/introduction/\">James Turrell\u003c/a>, for instance, is touching down in Palo Alto with a pocket-sized exhibition this week, ahead of the re-opening of a \u003ca href=\"http://www.lacma.org/art/exhibition/james-turrell-breathing-light\">major retrospective\u003c/a> of his work at The Los Angeles County Museum of Art in late May.\u003c/p>\n\u003cp>Turrell is famous for his meditations on light and space that play with your depth perception. Take the most eye-catching piece in the inaugural show at the newly opened Pace Gallery in Palo Alto. \u003ca href=\"https://www.artsy.net/artwork/james-turrell-pelee\">\u003cem>Pelée \u003c/em>\u003c/a>is a curvaceous LED screen that looks like a window — or really, more like an opening in the wall to another world.\u003c/p>\n\u003cp>“You’ll see reds, and that can fade into other colors,” says Pace Palo Alto President Elizabeth Sullivan. “It’s just beautiful, mesmerizing, really meditative in a way.”\u003c/p>\n\u003cp>Sullivan figures the most casual passer-by will be entranced by the light of the artwork spilling out onto the street. Even those unfamiliar with Turrell’s work may have been exposed by Drake’s video for “Hotline Bling,” albeit without Turrell’s consent: his work was ripped off. (For the record, Turrell has reportedly said he’s \u003ca href=\"http://www.theguardian.com/artanddesign/2015/nov/11/james-turrell-more-people-have-heard-of-me-through-drake-than-anything-else\">not that irked\u003c/a> by the hip hop artist’s co-option of his art.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\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/uxpDa-c-4Mc'\n title='//www.youtube.com/embed/uxpDa-c-4Mc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Pace, which has represented Turrell for years, is a bit of an art world celebrity, too. The global art gallery empire, based in New York with four galleries there, maintains outposts in London, Paris, Beijing and Hong Kong.\u003c/p>\n\u003cp>Sullivan won’t say why Pace picked Palo Alto over more obvious choices like San Francisco or Los Angeles. But the local community is happy about the choice. “People in the art world are so excited that Pace would choose to come to Silicon Valley,” says Cathy Kimball, executive director of the \u003ca href=\"http://sjica.org/\">San Jose Institute of Contemporary Art\u003c/a>.\u003c/p>\n\u003cp>Pace started on the Peninsula with a “pop-up” gallery in Menlo Park in a converted Tesla showroom, slated for demolition sometime next year. There were a handful of solid exhibitions featuring names like Alexander Calder and Tara Donovan. Then came a blockbuster by a Japanese group called \u003ca href=\"https://www.team-lab.net/\">teamlab\u003c/a>, which makes ancient Japanese art come alive in floor-to-ceiling digital animations.\u003c/p>\n\u003cp>\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/l9IwS1QkZXk'\n title='//www.youtube.com/embed/l9IwS1QkZXk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>From her vantage point to the south, Kimball looked on with some envy as Pace drew in 45,000 people in less than three months. “That teamlab animation is something to marvel at,” Kimball says. “It’s immersive. It’s so animated. There’s so much to look at.”\u003c/p>\n\u003cp>Kimball insists she’s not really feeling competitive with Pace, though she wishes her organization had resources more in line with the shiny new neighbor up the road. “Pace certainly has a kick ass team,” Kimball says. “They also have a kick ass budget. There aren’t a lot of us who can mount a Turrell show or a teamlab show in the degree that they did in Menlo Park.”\u003c/p>\n\u003cp>Pace is not the only big art muscle flexing on the Peninsula. In the last five years, Stanford has built an entire “arts district” in the heart of its campus. The site includes a new museum next to the Cantor Arts Center built to house the personal collection of one local family, the \u003ca href=\"https://anderson.stanford.edu/about/the-andersons/\">Andersons\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11528236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11528236 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-800x533.jpg\" alt=\"A room at Stanford's Anderson Collection. From left to right: "Timeless Clock," by David Smith (1957); "Lucifer" by Jackson Pollack (1947); "Transfiguration III" by Adolph Gottlieb (1958); and "Figure 8" by Franz Kline (1952).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A room at Stanford’s Anderson Collection. From left to right: “Timeless Clock,” by David Smith (1957); “Lucifer” by Jackson Pollack (1947); “Transfiguration III” by Adolph Gottlieb (1958); and “Figure 8” by Franz Kline (1952). \u003ccite>(Photo: Courtesy of Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent Saturday, a group of curators, gallery owners, collection managers, and other visual arts professionals took a private tour of the museum. The tour was put together by the local chapter of \u003ca href=\"http://www.arttable.org/\">Art Table\u003c/a>, a non-profit that usually organizes special events like this one \u003cspan style=\"background: white\">in San Francisco and the East Bay. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>But that’s changing, says chapter co-chair Kathy Kenyon. “I think it’s real exciting what they’re doing here with this whole arts section, with the \u003ca href=\"https://anderson.stanford.edu/\">Anderson Collection\u003c/a>, and bringing over the art department so that it is directly connected with the museums here is a huge thing,” Kenyon says. And all of Stanford’s art collection is available to the public for free.\u003c/p>\n\u003cp>There’s more to the scene than the high profile glamour of Stanford and Pace. Municipalities on the Peninsula are also doing a fair bit to nurture local talent. A number of them, including \u003ca href=\"http://ww2.kqed.org/arts/2016/03/15/redwood-city-sidewalk-stencils-draw-your-eyes-to-your-feet/\">Redwood City\u003c/a>, commission and exhibit local artists. Palo Alto goes a step further, providing \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/studios/default.asp\">studio space\u003c/a> for \u003ca href=\"http://cubberleyartists.com/\">25 artists\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11528485\" class=\"wp-caption aligncenter\" style=\"max-width: 478px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528485\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut-478x600.jpg\" alt=\""Ribosome Metamorphosis," by chemist-turned-artist Michal Gavish (2016). She's one of the artists who's benefited from Palo Alto's city-sponsored, affordable studio space.\" width=\"478\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut-478x600.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut-400x502.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut.jpg 600w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003cfigcaption class=\"wp-caption-text\">“Ribosome Metamorphosis,” by chemist-turned-artist Michal Gavish (2016). She’s one of the artists who’s benefited from Palo Alto’s city-sponsored, affordable studio space. \u003ccite>(Photo: Courtesy of Michal Gavish)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Artists and arts groups can be considered here an endangered species,” says Rhyena Halpern, who oversees the city’s public investment in the arts as assistant director of Palo Alto’s \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/\">Community Services Department\u003c/a>. “Because the cost of living is so high, and the cost of doing business is so high.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the very same economic boom has created more people in a position to invest in art. Pace, Halpern says, could well be the harbinger of things to come. “That they took this risk to come here to see what they could do, see if there was a collector base they could tap into: very smart,” Halpern says. “But what it gives the community in return is this amazing access. You know, down the street. It’s incredible!”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "L.A. Exhibit Makes Disposable Plastic Trash Impossible to Ignore",
"title": "L.A. Exhibit Makes Disposable Plastic Trash Impossible to Ignore",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Discarded plastic cups and bottles are so prevalent, they’re almost invisible. Whether it’s an iced coffee cup from Starbucks or a red Solo cup at a party, or a water bottle bought from a gas station, they are made to be used and thrown away minutes later.\u003c/p>\n\u003cp>Two artists are trying to raise awareness of the harmful impact of these plastic objects. Using post-consumer recycled plastic, they created two large inflatable sculptures, each about the size of a school bus. One is shaped like a simple plastic bottle. They other is a plastic cup with a lid and a green straw.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/260435732\" 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>On a recent weekend, the artists -- \u003ca href=\"http://janacruderfineart.com/\">Jana Cruder\u003c/a> and \u003ca href=\"http://www.matthewlapenta.com/\">Matthew LaPenta\u003c/a> -- set up their sculptures in Pershing Square, a park surrounded by glittering skyscrapers in downtown Los Angeles. Passersby snapped selfies in front of the bulbous shapes and approached the artists to ask questions about their intention.\u003c/p>\n\u003cp>Cruder and LaPenta call this work “Natural Plasticity,” a phrase that both draws attention to just how unnatural plastic actually is, and is also a reference to “neural plasticity,” the brain's ability to reorganize itself by forming new neural connections. Their goal is to change how people think about plastic, and influence consumer behavior.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Created from the byproduct of oil and natural gas production, the neurotoxins and chemicals found in plastic have been linked to a host of public health concerns, including diabetes, obesity, various forms of cancer and reproductive problems.\u003c/p>\n\u003cfigure id=\"attachment_10937346\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10937346\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/RS19244_IMG_1425-qut.jpg\" alt=\"The goal of artists Matthew LaPenta and Jana Cruder is to change how people think about plastic, and influence consumer behavior.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19244_IMG_1425-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19244_IMG_1425-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19244_IMG_1425-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19244_IMG_1425-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19244_IMG_1425-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The goal of artists Matthew LaPenta and Jana Cruder is to change how people think about plastic, and influence consumer behavior. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists plan to bring their sculptures to other locations around Los Angeles. LaPenta said the goal is to head west along the L.A. River, mimicking the journey of plastic trash toward the ocean.\u003c/p>\n\u003cp>“Because that's a huge problem, that everything's being flushed out to the ocean. And we're not really being responsible,” LaPenta said.\u003c/p>\n\u003cp>The artists cite Claes Oldenburg, the sculptor who turns ink stamps, shuttlecocks and ice cream cones into public art, as a major influence on their work. They also credit Chinese dissident artist and activist Ai Weiwei as a political influence.\u003c/p>\n\u003cp>Cruder said her awareness of disposable plastic began after the couple watched a documentary called \u003ca href=\"https://www.youtube.com/watch?v=a7X-J1DhfjE\">\u003cem>Plastic Planet\u003c/em>\u003c/a>, a 14-country tour of plastic manufacturing and health dangers associated with products made of synthetic polymers. Later, during hikes through national parks, the couple would see plastic trash thrown everywhere.\u003c/p>\n\u003cp>But it was her personal health that really moved Cruder to act.\u003c/p>\n\u003cp>[contextly_sidebar id=\"eHFv77HSVvhO7klVm7GaalxH3nvIzLLG\"]\u003c/p>\n\u003cp>“My mother had breast cancer most of my life and when she passed away, I did a ton of research to make sure that I don't get breast cancer,” Cruder says. “And one of the things that I learned was about plastic and how it affects women specifically, our endocrine systems. And from that awareness, this choice in eradication of plastic out of my life happened.”\u003c/p>\n\u003cp>Policy activists say the amount of plastic that ends up in our oceans has created a public health crisis. Visual artist Dianna Cohen runs Plastic Pollution Coalition, a global alliance of NGOs and businesses. She came out to the park to see the artwork herself.\u003c/p>\n\u003cp>“Some people have heard of the \u003ca href=\"http://education.nationalgeographic.org/encyclopedia/great-pacific-garbage-patch/\">Great Pacific Garbage Patch\u003c/a>. Well, we’ve got multiple garbage patches in all five major oceans in the world,” Cohen said. “We’re not saying that they’re islands of plastic, we’re saying the entire ocean has become a plastic soup.”\u003c/p>\n\u003cp>Cohen says public art like this can actually change people’s behavior. “To me, what this does is, it’s in your face,” Cohen said. “And the thing about it is, we become immune to seeing this stuff. If you drive home tonight, you’ll see it along the side of the road. You know, you’ll see it everywhere. And people don’t even pick it up anymore because there’s so much of it.”\u003c/p>\n\u003cfigure id=\"attachment_10937347\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg class=\"size-full wp-image-10937347\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut.jpg\" alt=\"The artists built the sculptures out of post-consumer recycled plastic.\" width=\"1280\" height=\"721\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut.jpg 1280w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut-800x451.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut-1180x665.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut-960x541.jpg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The artists built the sculptures out of post-consumer recycled plastic. \u003ccite>(Guina Elvis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artwork also resonated with Eric Gharakhanian, who happened upon it while walking through downtown. He thinks projects like “Natural Plasticity” may lead people to rethink their use of disposable plastic.\u003c/p>\n\u003cp>“I think it'll make people more conscious of it, because it seems all too common to just see like a bottle on the ground. And to sort of have that like in such a magnified and large form, I think it might make people consider that,” Gharakhanian said.\u003c/p>\n\u003cp>Gharakhanian said he didn’t realize at first that the objects are meant to draw attention to how much of this plastic ends up in the oceans. That’s why the artists say they need to be present with the art, to help make that connection and suggest ways to reduce the use of disposable plastic.\u003c/p>\n\u003caside class=\"pullquote alignright\">'We’re not saying that they’re islands of plastic, we’re saying the entire ocean has become a plastic soup.'\u003c/aside>\n\u003cp>“I’m sorry guys, recycling doesn’t work, because we're producing way more than we can ever recycle, and we're exporting our recyclables,” Cruder said. “Other countries don't really know what to do with it. So, it’s refusing, it's getting to the point of saying no, I'm not going to use disposable plastic in my life and if we as consumers shift that, then I think those who make things that we buy will shift as well. So, it’s about shifting perspective.”\u003c/p>\n\u003cp>The use of inflatable plastic sculptures comes with its own headaches. Strong winds require the use of sandbags to hold the bottle and cup in place. Visitors tend to poke and prod the sculptures, requiring the artists to politely ask them to back away. And on a sunny afternoon, the heat demands the artists re-inflate the works using a rather loud air pump.\u003c/p>\n\u003cp>The appearance of “Natural Plasticity” in Pershing Square was made possible through funding from \u003ca href=\"http://doartfoundation.org/\">Do Art Foundation\u003c/a>, RVCC, \u003ca href=\"http://www.sharkallies.com/\">Shark Allies\u003c/a> and support by the City of LA Department of Recreation and Parks. After the sculptures reach the Pacific Ocean, the artists want to keep it moving. Their next stops could include Yosemite, Sequoia & Kings Canyon and other national parks fighting the onslaught of plastic.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>You can see “Natural Plasticity” on display in Los Angeles at Griffith Park on Saturday, April 30, and Elysian Park on Sunday, May 1st.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Discarded plastic cups and bottles are so prevalent, they’re almost invisible. Whether it’s an iced coffee cup from Starbucks or a red Solo cup at a party, or a water bottle bought from a gas station, they are made to be used and thrown away minutes later.\u003c/p>\n\u003cp>Two artists are trying to raise awareness of the harmful impact of these plastic objects. Using post-consumer recycled plastic, they created two large inflatable sculptures, each about the size of a school bus. One is shaped like a simple plastic bottle. They other is a plastic cup with a lid and a green straw.\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/260435732&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/260435732'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>On a recent weekend, the artists -- \u003ca href=\"http://janacruderfineart.com/\">Jana Cruder\u003c/a> and \u003ca href=\"http://www.matthewlapenta.com/\">Matthew LaPenta\u003c/a> -- set up their sculptures in Pershing Square, a park surrounded by glittering skyscrapers in downtown Los Angeles. Passersby snapped selfies in front of the bulbous shapes and approached the artists to ask questions about their intention.\u003c/p>\n\u003cp>Cruder and LaPenta call this work “Natural Plasticity,” a phrase that both draws attention to just how unnatural plastic actually is, and is also a reference to “neural plasticity,” the brain's ability to reorganize itself by forming new neural connections. Their goal is to change how people think about plastic, and influence consumer behavior.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Created from the byproduct of oil and natural gas production, the neurotoxins and chemicals found in plastic have been linked to a host of public health concerns, including diabetes, obesity, various forms of cancer and reproductive problems.\u003c/p>\n\u003cfigure id=\"attachment_10937346\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10937346\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/RS19244_IMG_1425-qut.jpg\" alt=\"The goal of artists Matthew LaPenta and Jana Cruder is to change how people think about plastic, and influence consumer behavior.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19244_IMG_1425-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19244_IMG_1425-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19244_IMG_1425-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19244_IMG_1425-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19244_IMG_1425-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The goal of artists Matthew LaPenta and Jana Cruder is to change how people think about plastic, and influence consumer behavior. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists plan to bring their sculptures to other locations around Los Angeles. LaPenta said the goal is to head west along the L.A. River, mimicking the journey of plastic trash toward the ocean.\u003c/p>\n\u003cp>“Because that's a huge problem, that everything's being flushed out to the ocean. And we're not really being responsible,” LaPenta said.\u003c/p>\n\u003cp>The artists cite Claes Oldenburg, the sculptor who turns ink stamps, shuttlecocks and ice cream cones into public art, as a major influence on their work. They also credit Chinese dissident artist and activist Ai Weiwei as a political influence.\u003c/p>\n\u003cp>Cruder said her awareness of disposable plastic began after the couple watched a documentary called \u003ca href=\"https://www.youtube.com/watch?v=a7X-J1DhfjE\">\u003cem>Plastic Planet\u003c/em>\u003c/a>, a 14-country tour of plastic manufacturing and health dangers associated with products made of synthetic polymers. Later, during hikes through national parks, the couple would see plastic trash thrown everywhere.\u003c/p>\n\u003cp>But it was her personal health that really moved Cruder to act.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“My mother had breast cancer most of my life and when she passed away, I did a ton of research to make sure that I don't get breast cancer,” Cruder says. “And one of the things that I learned was about plastic and how it affects women specifically, our endocrine systems. And from that awareness, this choice in eradication of plastic out of my life happened.”\u003c/p>\n\u003cp>Policy activists say the amount of plastic that ends up in our oceans has created a public health crisis. Visual artist Dianna Cohen runs Plastic Pollution Coalition, a global alliance of NGOs and businesses. She came out to the park to see the artwork herself.\u003c/p>\n\u003cp>“Some people have heard of the \u003ca href=\"http://education.nationalgeographic.org/encyclopedia/great-pacific-garbage-patch/\">Great Pacific Garbage Patch\u003c/a>. Well, we’ve got multiple garbage patches in all five major oceans in the world,” Cohen said. “We’re not saying that they’re islands of plastic, we’re saying the entire ocean has become a plastic soup.”\u003c/p>\n\u003cp>Cohen says public art like this can actually change people’s behavior. “To me, what this does is, it’s in your face,” Cohen said. “And the thing about it is, we become immune to seeing this stuff. If you drive home tonight, you’ll see it along the side of the road. You know, you’ll see it everywhere. And people don’t even pick it up anymore because there’s so much of it.”\u003c/p>\n\u003cfigure id=\"attachment_10937347\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg class=\"size-full wp-image-10937347\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut.jpg\" alt=\"The artists built the sculptures out of post-consumer recycled plastic.\" width=\"1280\" height=\"721\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut.jpg 1280w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut-800x451.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut-1180x665.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut-960x541.jpg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The artists built the sculptures out of post-consumer recycled plastic. \u003ccite>(Guina Elvis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artwork also resonated with Eric Gharakhanian, who happened upon it while walking through downtown. He thinks projects like “Natural Plasticity” may lead people to rethink their use of disposable plastic.\u003c/p>\n\u003cp>“I think it'll make people more conscious of it, because it seems all too common to just see like a bottle on the ground. And to sort of have that like in such a magnified and large form, I think it might make people consider that,” Gharakhanian said.\u003c/p>\n\u003cp>Gharakhanian said he didn’t realize at first that the objects are meant to draw attention to how much of this plastic ends up in the oceans. That’s why the artists say they need to be present with the art, to help make that connection and suggest ways to reduce the use of disposable plastic.\u003c/p>\n\u003caside class=\"pullquote alignright\">'We’re not saying that they’re islands of plastic, we’re saying the entire ocean has become a plastic soup.'\u003c/aside>\n\u003cp>“I’m sorry guys, recycling doesn’t work, because we're producing way more than we can ever recycle, and we're exporting our recyclables,” Cruder said. “Other countries don't really know what to do with it. So, it’s refusing, it's getting to the point of saying no, I'm not going to use disposable plastic in my life and if we as consumers shift that, then I think those who make things that we buy will shift as well. So, it’s about shifting perspective.”\u003c/p>\n\u003cp>The use of inflatable plastic sculptures comes with its own headaches. Strong winds require the use of sandbags to hold the bottle and cup in place. Visitors tend to poke and prod the sculptures, requiring the artists to politely ask them to back away. And on a sunny afternoon, the heat demands the artists re-inflate the works using a rather loud air pump.\u003c/p>\n\u003cp>The appearance of “Natural Plasticity” in Pershing Square was made possible through funding from \u003ca href=\"http://doartfoundation.org/\">Do Art Foundation\u003c/a>, RVCC, \u003ca href=\"http://www.sharkallies.com/\">Shark Allies\u003c/a> and support by the City of LA Department of Recreation and Parks. After the sculptures reach the Pacific Ocean, the artists want to keep it moving. Their next stops could include Yosemite, Sequoia & Kings Canyon and other national parks fighting the onslaught of plastic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You can see “Natural Plasticity” on display in Los Angeles at Griffith Park on Saturday, April 30, and Elysian Park on Sunday, May 1st.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Growing up in a mixed-race family, the question of imposed identity was something that always interested \u003ca href=\"https://pushingart.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Rhiannon MacFadyen\u003c/a>. The black side of her family was highly educated, while the white side was working class. “I didn’t feel like I fit into any of the check boxes,” she says. “Though my family let me be who I was, other people were always telling me what I was my whole life instead of finding it out for myself.”\u003c/p>\n\u003cp>Now a curator and visual artist, MacFadyen found that questions of identity were just as prevalent in the art world.\u003c/p>\n\u003cfigure id=\"attachment_11514723\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11514723\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/portrait2-800x600.jpg\" alt=\"Rhiannon MacFadyen poses with Craig Calderwood's beaded work at Black and White Projects. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/portrait2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/portrait2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/portrait2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/portrait2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/portrait2.jpg 1067w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rhiannon MacFadyen poses with Craig Calderwood’s work at Black and White Projects. \u003ccite>(Creo Noveno / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While recently moderating a panel between two artists, MacFadyen and her guests were interrupted by an audience member asking what they thought about people of color constantly having to answer for their identity.\u003c/p>\n\u003cp>“I wanted to tell her that I didn’t think we get asked to answer for our identity more than non-minorities all the time — it’s just that our identities are defined more rigidly than everybody else,” MacFadyen says. “Our imposed identities are supposed to be all about our minority-hood rather than the experiences we’ve had or our other inspirations.”\u003c/p>\n\u003cfigure id=\"attachment_11514720\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11514720 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/header-800x450.jpg\" alt=\"Curator Rhiannon MacFadyen reached out to artists such as Xandra Ibarra and art collective Related Tactics to speak on their experiences as minorities in the art world.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/header-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/header-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/header-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/header-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/header-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/header.jpg 1422w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pieces by artists such as Xandra Ibarra and art collective Related Tactics speak on their experiences as minorities in the art world. \u003ccite>(Creo Noveno / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>MacFadyen’s new show \u003ca href=\"https://issuedid.com/2016/03/05/minority-as-brand/\" target=\"_blank\" rel=\"noopener\">\u003ci>Issued ID: Minority as Brand\u003c/i>\u003c/a> seeks to examine the place of minorities in the art world and the ways minority artists negotiate expectations around their identities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One point of conflict lies in the subjectivity involved in art. For the artist, their work may exist outside a system of prescribed identities and tropes, MacFadyen says. But a work’s meaning can change once another person sees the symbols in the piece and interprets them personally.\u003c/p>\n\u003cp>“It’s just a part of the exchange — it’s not necessarily good or bad. But (artists) have to separate why we make and why we share art,” she says.\u003c/p>\n\u003cp>This subjectivity is informed by certain expectations tied to the artist’s identity, according to abstract artist \u003ca href=\"http://www.timroseborough.com/\" target=\"_blank\" rel=\"noopener\">Tim Roseborough\u003c/a>, who says he believes minority artists often carry the unfair burden of being experts in their own heritages, which audiences then project onto their work.\u003c/p>\n\u003cfigure id=\"attachment_11514858\" class=\"wp-caption alignnone\" style=\"max-width: 653px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11514858 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/tumt-653x600.jpg\" alt=\"Tim Roseborough's "I'm Not Black, But You Are" refutes his identity and turns it back toward the viewer.\" width=\"653\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/tumt-653x600.jpg 653w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/tumt-400x368.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/tumt-768x706.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/tumt-960x882.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/tumt.jpg 1000w\" sizes=\"(max-width: 653px) 100vw, 653px\">\u003cfigcaption class=\"wp-caption-text\">Tim Roseborough’s “I’m Not Black, But You Are” refutes his identity and turns it back toward the viewer. \u003ccite>(Creo Noveno / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I want to be ‘Tim Roseborough: The Artist’ first over ‘Tim Roseborough: The Black Man,’ or ‘Tim Roseborough: The Gay Man’ or any other identity,” he says.\u003c/p>\n\u003cp>Ultimately, MacFadyen hopes that the discussions raised in \u003ci>Issued ID\u003c/i> help minority artists find opportunities to explore their own personal visions of themselves as well as make the industry more aware about the positions it places such artists in.\u003c/p>\n\u003cp>“What’s more important is finding an honest way of presenting your work. If you think all your work is black queer performance and you’re selling it as that, then it’s honest. If your work isn’t, no one should tell you that it has to be,” MacFadyen says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Issued ID: Minority as Brand\u003c/b> will hold a roundtable on Saturday, April 23 at 2pm in Black & White Projects in San Francisco. The full exhibition runs through April 30. Visit \u003ca href=\"http://issuedid.com\" target=\"_blank\" rel=\"noopener\">issuedid.com\u003c/a> for more information.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up in a mixed-race family, the question of imposed identity was something that always interested \u003ca href=\"https://pushingart.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Rhiannon MacFadyen\u003c/a>. The black side of her family was highly educated, while the white side was working class. “I didn’t feel like I fit into any of the check boxes,” she says. “Though my family let me be who I was, other people were always telling me what I was my whole life instead of finding it out for myself.”\u003c/p>\n\u003cp>Now a curator and visual artist, MacFadyen found that questions of identity were just as prevalent in the art world.\u003c/p>\n\u003cfigure id=\"attachment_11514723\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11514723\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/portrait2-800x600.jpg\" alt=\"Rhiannon MacFadyen poses with Craig Calderwood's beaded work at Black and White Projects. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/portrait2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/portrait2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/portrait2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/portrait2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/portrait2.jpg 1067w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rhiannon MacFadyen poses with Craig Calderwood’s work at Black and White Projects. \u003ccite>(Creo Noveno / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While recently moderating a panel between two artists, MacFadyen and her guests were interrupted by an audience member asking what they thought about people of color constantly having to answer for their identity.\u003c/p>\n\u003cp>“I wanted to tell her that I didn’t think we get asked to answer for our identity more than non-minorities all the time — it’s just that our identities are defined more rigidly than everybody else,” MacFadyen says. “Our imposed identities are supposed to be all about our minority-hood rather than the experiences we’ve had or our other inspirations.”\u003c/p>\n\u003cfigure id=\"attachment_11514720\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11514720 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/header-800x450.jpg\" alt=\"Curator Rhiannon MacFadyen reached out to artists such as Xandra Ibarra and art collective Related Tactics to speak on their experiences as minorities in the art world.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/header-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/header-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/header-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/header-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/header-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/header.jpg 1422w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pieces by artists such as Xandra Ibarra and art collective Related Tactics speak on their experiences as minorities in the art world. \u003ccite>(Creo Noveno / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>MacFadyen’s new show \u003ca href=\"https://issuedid.com/2016/03/05/minority-as-brand/\" target=\"_blank\" rel=\"noopener\">\u003ci>Issued ID: Minority as Brand\u003c/i>\u003c/a> seeks to examine the place of minorities in the art world and the ways minority artists negotiate expectations around their identities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One point of conflict lies in the subjectivity involved in art. For the artist, their work may exist outside a system of prescribed identities and tropes, MacFadyen says. But a work’s meaning can change once another person sees the symbols in the piece and interprets them personally.\u003c/p>\n\u003cp>“It’s just a part of the exchange — it’s not necessarily good or bad. But (artists) have to separate why we make and why we share art,” she says.\u003c/p>\n\u003cp>This subjectivity is informed by certain expectations tied to the artist’s identity, according to abstract artist \u003ca href=\"http://www.timroseborough.com/\" target=\"_blank\" rel=\"noopener\">Tim Roseborough\u003c/a>, who says he believes minority artists often carry the unfair burden of being experts in their own heritages, which audiences then project onto their work.\u003c/p>\n\u003cfigure id=\"attachment_11514858\" class=\"wp-caption alignnone\" style=\"max-width: 653px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11514858 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/tumt-653x600.jpg\" alt=\"Tim Roseborough's "I'm Not Black, But You Are" refutes his identity and turns it back toward the viewer.\" width=\"653\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/tumt-653x600.jpg 653w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/tumt-400x368.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/tumt-768x706.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/tumt-960x882.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/tumt.jpg 1000w\" sizes=\"(max-width: 653px) 100vw, 653px\">\u003cfigcaption class=\"wp-caption-text\">Tim Roseborough’s “I’m Not Black, But You Are” refutes his identity and turns it back toward the viewer. \u003ccite>(Creo Noveno / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I want to be ‘Tim Roseborough: The Artist’ first over ‘Tim Roseborough: The Black Man,’ or ‘Tim Roseborough: The Gay Man’ or any other identity,” he says.\u003c/p>\n\u003cp>Ultimately, MacFadyen hopes that the discussions raised in \u003ci>Issued ID\u003c/i> help minority artists find opportunities to explore their own personal visions of themselves as well as make the industry more aware about the positions it places such artists in.\u003c/p>\n\u003cp>“What’s more important is finding an honest way of presenting your work. If you think all your work is black queer performance and you’re selling it as that, then it’s honest. If your work isn’t, no one should tell you that it has to be,” MacFadyen says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Issued ID: Minority as Brand\u003c/b> will hold a roundtable on Saturday, April 23 at 2pm in Black & White Projects in San Francisco. The full exhibition runs through April 30. Visit \u003ca href=\"http://issuedid.com\" target=\"_blank\" rel=\"noopener\">issuedid.com\u003c/a> for more information.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mariana Castillo Deball Strings Together Artifacts and Absences at SFAI",
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"content": "\u003cp>I try not to put the word “history” in my headlines, under the (likely correct) assumption that any mere mention of the subject causes eyes to glaze over. And once the eyes glaze over, the understanding is, good luck getting those readers to click through. So I tricked you, and didn’t put “history” in this headline. Because this time, “history” isn’t a staid and boring lesson in the way things were — it’s a space filled with gaps, mysteries, conflicting stories and living legacies.\u003c/p>\n\u003cfigure id=\"attachment_11511408\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/MCD_4_1200-1.jpg\" alt=\"Installation view, Mariana Castillo Deball, 'Feathered Changes, Serpent Disappearances.'\" width=\"1200\" height=\"846\" class=\"size-full wp-image-11511408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_4_1200-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_4_1200-1-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_4_1200-1-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_4_1200-1-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_4_1200-1-1180x832.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_4_1200-1-960x677.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view, Mariana Castillo Deball, ‘Feathered Changes, Serpent Disappearances.’ \u003ccite>(Photo: Stephanie Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every time you try to read history you make it new,” says Mexican artist Mariana Castillo Deball. Her solo exhibition \u003ci>\u003ca href=\"http://sfai.edu/exhibitions-public-events/detail/a-project-by-mariana-castillo-deball\" target=\"_blank\" rel=\"noopener\">Feathered Changes, Serpent Disappearances\u003c/a>\u003c/i>, on view in SFAI’s Walter and McBean Galleries through July 30, is filled with references to and replications of historical things: ancient Mexican murals, Mayan and Mimbres pottery and the chance-based artworks of the late composer John Cage. In her hands, these disparate threads weave together with an ease that makes the viewer almost unaware they’re being lead through an alternate retelling of the dreaded subject of “history” and its artifacts. \u003c/p>\n\u003cp>Assisted by recent grad and SFAI + Kadist Fellow Christopher Squier, Deball’s exhibition delves into the collections of two Bay Area institutions — the \u003ca href=\"https://www.famsf.org/\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a> and \u003ca href=\"http://www.crownpoint.com/\" target=\"_blank\" rel=\"noopener\">Crown Point Press\u003c/a>. The former houses the \u003ca href=\"https://deyoung.famsf.org/deyoung/collections/harald-wagner-collection-teotihuacan-murals\">Harald Wagner Collection of Teotihuacan Murals\u003c/a>, a surprise bequest to the museum of fragmented wall paintings looted from the walls of the ancient Mesoamerican mega-city of Teotihuacan. The latter published Cage’s experiments in printmaking from 1978 to 1992, including a series titled \u003ci>Changes & Disappearances\u003c/i>, in which each printmaking decision was made using a computerized algorithm based on the \u003ci>I Ching\u003c/i>, an ancient Chinese divination text.\u003c/p>\n\u003cp>For Deball, her interest in the Teotihuacan murals (specifically \u003ci>Feathered Serpent and Flowering Trees\u003c/i>, a mimeograph reproduction of which is on view in the SFAI exhibition) and Cage’s \u003ci>Changes & Disappearances\u003c/i> (the 27th iteration of which is also on view) isn’t just about the artworks themselves, but the institutions that preserve them.\u003c/p>\n\u003cfigure id=\"attachment_11511406\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/MCD_6_1200.jpg\" alt=\"Installation view, Mariana Castillo Deball, 'Feathered Changes, Serpent Disappearances.'\" width=\"1200\" height=\"760\" class=\"size-full wp-image-11511406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_6_1200-400x253.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_6_1200-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_6_1200-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_6_1200-1180x747.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_6_1200-960x608.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view, Mariana Castillo Deball, ‘Feathered Changes, Serpent Disappearances.’ \u003ccite>(Photo: Stephanie Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A series of fresco fragments positioned throughout the SFAI exhibition are scaled-up versions of “crumbs” kept in storage at the de Young, illegible chunks of the mural that retain their status as archaeological artifacts within the museum’s collection. With the help of SFAI students, Deball created original frescoes with cement, lime plaster and pigment to mimic the de Young’s “crumbs.” Yet they also show evidence of aesthetic decision-making and elements of Cage-like chance; Deball reduces some patterns to just one or two colors, with changes in scale rendering the minuscule hefty.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Such translations occur with satisfying regularity in \u003ci>Feathered Changes, Serpent Disappearances\u003c/i>. A literal “through line” of varying thicknesses of rope runs from the steps outside the upstairs gallery down to the main space, where the floor, painted a rich terra-cotta hue of “copper orange,” puts all frescoes, pottery, ropes and brightly painted poles into sharp relief.\u003c/p>\n\u003cp>Outside on concrete steps usually reserved for chain-smoking art students, fragmented cast concrete reliefs reproduce the larger-than-life patterns of \u003ci>Feathered Changes, Serpent Disappearances\u003c/i>. Back inside, Deball ties (literally; there’s rope everywhere) SFAI’s Brutalist architecture to the history of archaeological rubbings with a giant rubbing of the building’s conical skylights. \u003c/p>\n\u003cfigure id=\"attachment_11511407\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/MCD_17_1200.jpg\" alt=\"Installation view, Mariana Castillo Deball, 'Feathered Changes, Serpent Disappearances.'\" width=\"1200\" height=\"789\" class=\"size-full wp-image-11511407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_17_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_17_1200-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_17_1200-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_17_1200-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_17_1200-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_17_1200-960x631.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view, Mariana Castillo Deball, ‘Feathered Changes, Serpent Disappearances.’ \u003ccite>(Photo: Stephanie Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all the objects in Deball’s exhibition, the presentation is as much about absence as it about making connections between disparate cultures, histories and themes. Of the Teotihuacan murals bequeathed to the Fine Arts Museums by Harald Wagner, the majority were repatriated to the Mexican government after many years of negotiations, but a dissonance remains between the original site of the looting and the multiple collections that now house the displaced murals. Similarly, reproductions of Mayan and Mimbres pottery scattered throughout the exhibition all feature “kill holes,” punctures through their centers that render the ceramics useless as functional objects and reserve them — some archaeologists believe — for funereal purposes. \u003c/p>\n\u003cp>For Deball, the distance between what is certain, what is assumed and what will perhaps never be known about the past is a fascinating and fruitful space. Like Cage, she embraces chance and experimentation, balancing historical research with graceful aesthetic decisions that make \u003ci>Feathered Changes, Serpent Disappearances\u003c/i> a thoroughly invigorating art viewing experience and painless history lesson all in one.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Feathered Changes, Serpent Disappearances\u003c/b> is on view at SFAI’s Walter and McBean Galleries in San Francisco through July 30, 2016. For more information visit \u003ca href=\"http://sfai.edu/exhibitions-public-events/detail/a-project-by-mariana-castillo-deball\" target=\"_blank\" rel=\"noopener\">sfai.edu\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I try not to put the word “history” in my headlines, under the (likely correct) assumption that any mere mention of the subject causes eyes to glaze over. And once the eyes glaze over, the understanding is, good luck getting those readers to click through. So I tricked you, and didn’t put “history” in this headline. Because this time, “history” isn’t a staid and boring lesson in the way things were — it’s a space filled with gaps, mysteries, conflicting stories and living legacies.\u003c/p>\n\u003cfigure id=\"attachment_11511408\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/MCD_4_1200-1.jpg\" alt=\"Installation view, Mariana Castillo Deball, 'Feathered Changes, Serpent Disappearances.'\" width=\"1200\" height=\"846\" class=\"size-full wp-image-11511408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_4_1200-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_4_1200-1-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_4_1200-1-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_4_1200-1-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_4_1200-1-1180x832.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_4_1200-1-960x677.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view, Mariana Castillo Deball, ‘Feathered Changes, Serpent Disappearances.’ \u003ccite>(Photo: Stephanie Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every time you try to read history you make it new,” says Mexican artist Mariana Castillo Deball. Her solo exhibition \u003ci>\u003ca href=\"http://sfai.edu/exhibitions-public-events/detail/a-project-by-mariana-castillo-deball\" target=\"_blank\" rel=\"noopener\">Feathered Changes, Serpent Disappearances\u003c/a>\u003c/i>, on view in SFAI’s Walter and McBean Galleries through July 30, is filled with references to and replications of historical things: ancient Mexican murals, Mayan and Mimbres pottery and the chance-based artworks of the late composer John Cage. In her hands, these disparate threads weave together with an ease that makes the viewer almost unaware they’re being lead through an alternate retelling of the dreaded subject of “history” and its artifacts. \u003c/p>\n\u003cp>Assisted by recent grad and SFAI + Kadist Fellow Christopher Squier, Deball’s exhibition delves into the collections of two Bay Area institutions — the \u003ca href=\"https://www.famsf.org/\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a> and \u003ca href=\"http://www.crownpoint.com/\" target=\"_blank\" rel=\"noopener\">Crown Point Press\u003c/a>. The former houses the \u003ca href=\"https://deyoung.famsf.org/deyoung/collections/harald-wagner-collection-teotihuacan-murals\">Harald Wagner Collection of Teotihuacan Murals\u003c/a>, a surprise bequest to the museum of fragmented wall paintings looted from the walls of the ancient Mesoamerican mega-city of Teotihuacan. The latter published Cage’s experiments in printmaking from 1978 to 1992, including a series titled \u003ci>Changes & Disappearances\u003c/i>, in which each printmaking decision was made using a computerized algorithm based on the \u003ci>I Ching\u003c/i>, an ancient Chinese divination text.\u003c/p>\n\u003cp>For Deball, her interest in the Teotihuacan murals (specifically \u003ci>Feathered Serpent and Flowering Trees\u003c/i>, a mimeograph reproduction of which is on view in the SFAI exhibition) and Cage’s \u003ci>Changes & Disappearances\u003c/i> (the 27th iteration of which is also on view) isn’t just about the artworks themselves, but the institutions that preserve them.\u003c/p>\n\u003cfigure id=\"attachment_11511406\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/MCD_6_1200.jpg\" alt=\"Installation view, Mariana Castillo Deball, 'Feathered Changes, Serpent Disappearances.'\" width=\"1200\" height=\"760\" class=\"size-full wp-image-11511406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_6_1200-400x253.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_6_1200-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_6_1200-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_6_1200-1180x747.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_6_1200-960x608.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view, Mariana Castillo Deball, ‘Feathered Changes, Serpent Disappearances.’ \u003ccite>(Photo: Stephanie Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A series of fresco fragments positioned throughout the SFAI exhibition are scaled-up versions of “crumbs” kept in storage at the de Young, illegible chunks of the mural that retain their status as archaeological artifacts within the museum’s collection. With the help of SFAI students, Deball created original frescoes with cement, lime plaster and pigment to mimic the de Young’s “crumbs.” Yet they also show evidence of aesthetic decision-making and elements of Cage-like chance; Deball reduces some patterns to just one or two colors, with changes in scale rendering the minuscule hefty.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Such translations occur with satisfying regularity in \u003ci>Feathered Changes, Serpent Disappearances\u003c/i>. A literal “through line” of varying thicknesses of rope runs from the steps outside the upstairs gallery down to the main space, where the floor, painted a rich terra-cotta hue of “copper orange,” puts all frescoes, pottery, ropes and brightly painted poles into sharp relief.\u003c/p>\n\u003cp>Outside on concrete steps usually reserved for chain-smoking art students, fragmented cast concrete reliefs reproduce the larger-than-life patterns of \u003ci>Feathered Changes, Serpent Disappearances\u003c/i>. Back inside, Deball ties (literally; there’s rope everywhere) SFAI’s Brutalist architecture to the history of archaeological rubbings with a giant rubbing of the building’s conical skylights. \u003c/p>\n\u003cfigure id=\"attachment_11511407\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/MCD_17_1200.jpg\" alt=\"Installation view, Mariana Castillo Deball, 'Feathered Changes, Serpent Disappearances.'\" width=\"1200\" height=\"789\" class=\"size-full wp-image-11511407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_17_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_17_1200-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_17_1200-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_17_1200-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_17_1200-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/MCD_17_1200-960x631.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view, Mariana Castillo Deball, ‘Feathered Changes, Serpent Disappearances.’ \u003ccite>(Photo: Stephanie Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all the objects in Deball’s exhibition, the presentation is as much about absence as it about making connections between disparate cultures, histories and themes. Of the Teotihuacan murals bequeathed to the Fine Arts Museums by Harald Wagner, the majority were repatriated to the Mexican government after many years of negotiations, but a dissonance remains between the original site of the looting and the multiple collections that now house the displaced murals. Similarly, reproductions of Mayan and Mimbres pottery scattered throughout the exhibition all feature “kill holes,” punctures through their centers that render the ceramics useless as functional objects and reserve them — some archaeologists believe — for funereal purposes. \u003c/p>\n\u003cp>For Deball, the distance between what is certain, what is assumed and what will perhaps never be known about the past is a fascinating and fruitful space. Like Cage, she embraces chance and experimentation, balancing historical research with graceful aesthetic decisions that make \u003ci>Feathered Changes, Serpent Disappearances\u003c/i> a thoroughly invigorating art viewing experience and painless history lesson all in one.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Feathered Changes, Serpent Disappearances\u003c/b> is on view at SFAI’s Walter and McBean Galleries in San Francisco through July 30, 2016. For more information visit \u003ca href=\"http://sfai.edu/exhibitions-public-events/detail/a-project-by-mariana-castillo-deball\" target=\"_blank\" rel=\"noopener\">sfai.edu\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Visiting San Francisco’s de Young Museum and the Legion of Honor will cost more starting in July.\u003c/p>\n\u003cp>The board that oversees the two nationally prominent art institutions, collectively known as the \u003ca href=\"https://www.famsf.org/\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a> (FAMSF), announced price hikes for adult admission from $10 to $15 on Tuesday after the board approved the increase.\u003c/p>\n\u003cp>The senior rate will rise from $7 to $10.\u003c/p>\n\u003cp>A spokeswoman for the museum says making some patrons pay more will actually get more people in for free. Teenagers under 18 pay $6 now, but won’t pay anything come July 1.\u003c/p>\n\u003cp>Admission will continue to be free on Friday nights and the first Tuesday of every month.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The news comes in the wake of the announcement of pricing increases at the soon-to-reopen \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Museum of Modern Art\u003c/a> (SFMOMA), where the price of adult admission will increase to $25 when the museum reopens on May 14.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SFMOMA also announced free admission to patrons under the age of 18.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Visiting San Francisco’s de Young Museum and the Legion of Honor will cost more starting in July.\u003c/p>\n\u003cp>The board that oversees the two nationally prominent art institutions, collectively known as the \u003ca href=\"https://www.famsf.org/\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a> (FAMSF), announced price hikes for adult admission from $10 to $15 on Tuesday after the board approved the increase.\u003c/p>\n\u003cp>The senior rate will rise from $7 to $10.\u003c/p>\n\u003cp>A spokeswoman for the museum says making some patrons pay more will actually get more people in for free. Teenagers under 18 pay $6 now, but won’t pay anything come July 1.\u003c/p>\n\u003cp>Admission will continue to be free on Friday nights and the first Tuesday of every month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The news comes in the wake of the announcement of pricing increases at the soon-to-reopen \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Museum of Modern Art\u003c/a> (SFMOMA), where the price of adult admission will increase to $25 when the museum reopens on May 14.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SFMOMA also announced free admission to patrons under the age of 18.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://guerilla-art.mx/yescka/\" target=\"_blank\" rel=\"noopener\">Yescka\u003c/a>’s call to action as an artist truly began in 2006 during the Oaxaca \u003ca href=\"https://en.wikipedia.org/wiki/2006_Oaxaca_protests\" target=\"_blank\" rel=\"noopener\">teachers’ strike\u003c/a>, when a tear gas canister hit him in the chest at close range. Thinking he had been hit with a bullet, he realized the radio he was holding had shattered from the impact of the canister, probably saving his life.\u003c/p>\n\u003cp>It was during this now-historic period of rebellion (calling for better pay for teachers and the resignation of the state’s governor) that the Asamblea de Artistas Revolucionarios de Oaxaca (ASARO) collective was formed.\u003c/p>\n\u003cfigure id=\"attachment_11503550\" class=\"wp-caption aligncenter\" style=\"max-width: 1047px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11503550 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Yescka.jpg\" alt=\"Yescka, 'La Hima Cena a la Mexicana.'\" width=\"1047\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Yescka.jpg 1047w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Yescka-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Yescka-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Yescka-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Yescka-960x660.jpg 960w\" sizes=\"(max-width: 1047px) 100vw, 1047px\">\u003cfigcaption class=\"wp-caption-text\">Yescka, ‘La Hima Cena a la Mexicana.’ \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Made up of 35 artists — from students to street artists to those with established careers — the collective set out to contribute to the movement by creating social and political art that would make people more sensitive, raise consciousness and foster new spaces for artistic expression.\u003c/p>\n\u003cp>Ten years later, ASARO is still a working collective with a core group of 13 members. Many of the original members have gone on to live abroad, carrying with them the values of ASARO’s founding principles. For Yescka, political art remains a tool to express emotions and situations that affect the human sensitivity. “In this world,” he says, “I think some expressions are forgetting the human side, they are more pretentious and empty.”\u003c/p>\n\u003cp>The collective’s current exhibition at \u003ca href=\"http://www.curategood.com/\" target=\"_blank\" rel=\"noopener\">Curate Good\u003c/a> in San Jose, \u003cem>MONARCA: La Metamorphosis\u003c/em> is an excellent example of the power of conscientious art making. The works in the show call attention to and document pivotal moments of human suffering as well as our enduring resilience.\u003c/p>\n\u003cfigure id=\"attachment_11503551\" class=\"wp-caption aligncenter\" style=\"max-width: 1021px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11503551 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Zaner.jpg\" alt=\"Zamer, 'La Ley Mata.'\" width=\"1021\" height=\"714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Zaner.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Zaner-400x280.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Zaner-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Zaner-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Zaner-960x671.jpg 960w\" sizes=\"(max-width: 1021px) 100vw, 1021px\">\u003cfigcaption class=\"wp-caption-text\">Zamer, ‘La Ley Mata.’ \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition came to San Jose thanks to the efforts of \u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener\">Sonido Clash\u003c/a>, a San Jose music collective of DJs specializing in the “traditional and future sounds of Latino music.” Sonido Clash met many of the \u003ci>MONARCA\u003c/i> artists last year at \u003cem>Oaxacalifornia\u003c/em>, an art show at the \u003ca href=\"http://moderntimesbookstore.com/\" target=\"_blank\" rel=\"noopener\">Modern Times Bookstore\u003c/a> in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>MONARCA\u003c/em> organizer Fernando J. “Tlacoyo” Pérez of Sonido Clash says the exhibiting artists produced new works for the show, which he describes as “artwork that marries traditional art forms mixed with the modern influences and political issues our generation faces.”\u003c/p>\n\u003cfigure id=\"attachment_11503549\" class=\"wp-caption alignright\" style=\"max-width: 418px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11503549 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Mazatal-418x600.jpg\" alt=\"Mazatal, 'La Sin Lucha.'\" width=\"418\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mazatal-418x600.jpg 418w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mazatal-400x575.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mazatal.jpg 501w\" sizes=\"(max-width: 418px) 100vw, 418px\">\u003cfigcaption class=\"wp-caption-text\">Mazatal, ‘La Sin Lucha.’ \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For ASARO, it’s very important to communicate with a wide audience of people through their art. The collective says, “The problems are not personal anymore. They are the world’s problem, and art plays an important role… art breaks rules and it critiques the most devastating human acts.” \u003c/p>\n\u003cp>Sadly, it’s a disappointing fact that no matter where you live on the planet today, there is plenty of oppression and suffering to keep political artists busy, including the 15 artists featured in \u003cem>MONARCA\u003c/em>. The conscious thought they put into their art, coupled with their medium — woodcut prints — binds these artists together even though they are from different parts of the world, depicting topics relevant to their specific communities.\u003c/p>\n\u003cp>The hurried viewer may assume all the work was created by a sole artist, but if you spend some time with the show, it becomes apparent that each artist has their own visual vocabulary, an identifiable method of carving and a unique way of dealing with negative and positive space within the print.\u003c/p>\n\u003cfigure id=\"attachment_11503548\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11503548 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IBautista.jpg\" alt=\"Ivan Bautista, (L) 'Estigma,' (R) 'Estigma XXII.'\" width=\"1080\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IBautista.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IBautista-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IBautista-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IBautista-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IBautista-960x640.jpg 960w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Ivan Bautista, (L) ‘Estigma,’ (R) ‘Estigma XXII.’ \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://vimeo.com/69185814\" target=\"_blank\" rel=\"noopener\">labor intensive process\u003c/a> of cutting away sections of wood to create an image in relief, inking it, placing paper on top and applying pressure to transfer the ink to the paper is to me symbolic of the exertion required to create anything of significance — whether that’s an artwork or effecting change in a worker’s life.\u003c/p>\n\u003cp>Perhaps this is why the woodcut, with its thick bold lines, stark contrasting colors and potential for mass distribution, is still used today. The woodcut remains an effective means to grab our attention and relay a message far beyond the gallery walls; find them on community boards, at civic gatherings and wheat pasted in the streets.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>MONARCA: La Metamorphosis\u003c/b> is on view through May 5, 2016 at Curate Good in San Jose. For more information visit \u003ca href=\"http://www.curategood.com/\" target=\"_blank\" rel=\"noopener\">curategood.com\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://guerilla-art.mx/yescka/\" target=\"_blank\" rel=\"noopener\">Yescka\u003c/a>’s call to action as an artist truly began in 2006 during the Oaxaca \u003ca href=\"https://en.wikipedia.org/wiki/2006_Oaxaca_protests\" target=\"_blank\" rel=\"noopener\">teachers’ strike\u003c/a>, when a tear gas canister hit him in the chest at close range. Thinking he had been hit with a bullet, he realized the radio he was holding had shattered from the impact of the canister, probably saving his life.\u003c/p>\n\u003cp>It was during this now-historic period of rebellion (calling for better pay for teachers and the resignation of the state’s governor) that the Asamblea de Artistas Revolucionarios de Oaxaca (ASARO) collective was formed.\u003c/p>\n\u003cfigure id=\"attachment_11503550\" class=\"wp-caption aligncenter\" style=\"max-width: 1047px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11503550 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Yescka.jpg\" alt=\"Yescka, 'La Hima Cena a la Mexicana.'\" width=\"1047\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Yescka.jpg 1047w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Yescka-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Yescka-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Yescka-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Yescka-960x660.jpg 960w\" sizes=\"(max-width: 1047px) 100vw, 1047px\">\u003cfigcaption class=\"wp-caption-text\">Yescka, ‘La Hima Cena a la Mexicana.’ \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Made up of 35 artists — from students to street artists to those with established careers — the collective set out to contribute to the movement by creating social and political art that would make people more sensitive, raise consciousness and foster new spaces for artistic expression.\u003c/p>\n\u003cp>Ten years later, ASARO is still a working collective with a core group of 13 members. Many of the original members have gone on to live abroad, carrying with them the values of ASARO’s founding principles. For Yescka, political art remains a tool to express emotions and situations that affect the human sensitivity. “In this world,” he says, “I think some expressions are forgetting the human side, they are more pretentious and empty.”\u003c/p>\n\u003cp>The collective’s current exhibition at \u003ca href=\"http://www.curategood.com/\" target=\"_blank\" rel=\"noopener\">Curate Good\u003c/a> in San Jose, \u003cem>MONARCA: La Metamorphosis\u003c/em> is an excellent example of the power of conscientious art making. The works in the show call attention to and document pivotal moments of human suffering as well as our enduring resilience.\u003c/p>\n\u003cfigure id=\"attachment_11503551\" class=\"wp-caption aligncenter\" style=\"max-width: 1021px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11503551 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Zaner.jpg\" alt=\"Zamer, 'La Ley Mata.'\" width=\"1021\" height=\"714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Zaner.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Zaner-400x280.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Zaner-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Zaner-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Zaner-960x671.jpg 960w\" sizes=\"(max-width: 1021px) 100vw, 1021px\">\u003cfigcaption class=\"wp-caption-text\">Zamer, ‘La Ley Mata.’ \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition came to San Jose thanks to the efforts of \u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener\">Sonido Clash\u003c/a>, a San Jose music collective of DJs specializing in the “traditional and future sounds of Latino music.” Sonido Clash met many of the \u003ci>MONARCA\u003c/i> artists last year at \u003cem>Oaxacalifornia\u003c/em>, an art show at the \u003ca href=\"http://moderntimesbookstore.com/\" target=\"_blank\" rel=\"noopener\">Modern Times Bookstore\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>MONARCA\u003c/em> organizer Fernando J. “Tlacoyo” Pérez of Sonido Clash says the exhibiting artists produced new works for the show, which he describes as “artwork that marries traditional art forms mixed with the modern influences and political issues our generation faces.”\u003c/p>\n\u003cfigure id=\"attachment_11503549\" class=\"wp-caption alignright\" style=\"max-width: 418px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11503549 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Mazatal-418x600.jpg\" alt=\"Mazatal, 'La Sin Lucha.'\" width=\"418\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mazatal-418x600.jpg 418w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mazatal-400x575.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mazatal.jpg 501w\" sizes=\"(max-width: 418px) 100vw, 418px\">\u003cfigcaption class=\"wp-caption-text\">Mazatal, ‘La Sin Lucha.’ \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For ASARO, it’s very important to communicate with a wide audience of people through their art. The collective says, “The problems are not personal anymore. They are the world’s problem, and art plays an important role… art breaks rules and it critiques the most devastating human acts.” \u003c/p>\n\u003cp>Sadly, it’s a disappointing fact that no matter where you live on the planet today, there is plenty of oppression and suffering to keep political artists busy, including the 15 artists featured in \u003cem>MONARCA\u003c/em>. The conscious thought they put into their art, coupled with their medium — woodcut prints — binds these artists together even though they are from different parts of the world, depicting topics relevant to their specific communities.\u003c/p>\n\u003cp>The hurried viewer may assume all the work was created by a sole artist, but if you spend some time with the show, it becomes apparent that each artist has their own visual vocabulary, an identifiable method of carving and a unique way of dealing with negative and positive space within the print.\u003c/p>\n\u003cfigure id=\"attachment_11503548\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11503548 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IBautista.jpg\" alt=\"Ivan Bautista, (L) 'Estigma,' (R) 'Estigma XXII.'\" width=\"1080\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IBautista.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IBautista-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IBautista-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IBautista-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IBautista-960x640.jpg 960w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Ivan Bautista, (L) ‘Estigma,’ (R) ‘Estigma XXII.’ \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://vimeo.com/69185814\" target=\"_blank\" rel=\"noopener\">labor intensive process\u003c/a> of cutting away sections of wood to create an image in relief, inking it, placing paper on top and applying pressure to transfer the ink to the paper is to me symbolic of the exertion required to create anything of significance — whether that’s an artwork or effecting change in a worker’s life.\u003c/p>\n\u003cp>Perhaps this is why the woodcut, with its thick bold lines, stark contrasting colors and potential for mass distribution, is still used today. The woodcut remains an effective means to grab our attention and relay a message far beyond the gallery walls; find them on community boards, at civic gatherings and wheat pasted in the streets.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>MONARCA: La Metamorphosis\u003c/b> is on view through May 5, 2016 at Curate Good in San Jose. For more information visit \u003ca href=\"http://www.curategood.com/\" target=\"_blank\" rel=\"noopener\">curategood.com\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[contextly_sidebar id=\"YnQfB3tfV1SyRTLzFWQREsegceL8FeWh\"]Last year, \u003ca href=\"http://ww2.kqed.org/pop/2015/04/10/one-of-these-4-women-could-soon-grace-the-20-bill-with-your-help/\" target=\"_blank\">I wrote about Women On 20s\u003c/a>\u003ca href=\"http://www.womenon20s.org/\">,\u003c/a> an organization whose mission is to put a woman’s face on paper currency by 2020, the 100th anniversary of the 19th amendment, which granted women the right to vote. After a public vote that \u003ca href=\"http://ww2.kqed.org/pop/2015/05/12/harriet-tubman-could-replace-andrew-jackson-on-the-20-bill/\" target=\"_blank\">selected Harriet Tubman\u003c/a> as the ideal nominee and a year of petitioning the Treasury Department to make history by better representing history, it looks like it's all really happening!\u003c/p>\n\u003cp>This afternoon, the Treasury is set to announce that slave-freer Harriet Tubman will replace slave-holder Andrew Jackson on the $20 bill. And that's not all: civil right leaders will grace the $5 bill and multiple suffragettes will appear on the back of the $10 bill (Alexander Hamilton was spared because of his newfound popularity, thanks to Broadway and Lin-Manuel Miranda).\u003c/p>\n\u003cp>On top of all the obvious reasons why this news is wonderful, \u003ca href=\"http://www.vox.com/2016/4/20/11469736/harriet-tubman-twenty-why\" target=\"_blank\">an anecdote\u003c/a> from Tubman's life makes the symbolism even more poignant. When her father was on trial for helping slaves escape, Tubman was desperate to raise $20 to free him. She marched into the office of abolitionist Oliver Johnson, declared \"I'm not gwine till I git my twenty dollars,\" and sat and slept there until she got what she came for (before you congratulate the rich white dude, don't; the funds came from ex-slaves who raised money on Harriet's behalf). Not in her wildest dreams did she probably imagine that her face would one day end up gracing the very bill she had to beg and plead for. Go on and bend, arc of the moral universe, bend!\u003c/p>\n\u003cp>\u003cstrong>Update (5:15pm): \u003c/strong>Ugh, we should have sensed that some white nonsense was just around the corner:\u003c/p>\n\u003cp>https://twitter.com/NPR/status/722880185796849672\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/p89Jk.gif\" rel=\"attachment wp-att-22781\">\u003cimg class=\"aligncenter size-full wp-image-22781\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/p89Jk.gif\" alt=\"p89Jk\" width=\"400\" height=\"230\">\u003c/a>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/VozmhcT.gif\" rel=\"attachment wp-att-22783\">\u003cimg class=\"aligncenter size-full wp-image-22783\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/VozmhcT.gif\" alt=\"VozmhcT\" width=\"400\" height=\"229\">\u003c/a>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/anigif_enhanced-buzz-10484-1424304227-18.gif\" rel=\"attachment wp-att-22788\">\u003cimg class=\"aligncenter size-full wp-image-22788\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/anigif_enhanced-buzz-10484-1424304227-18.gif\" alt=\"anigif_enhanced-buzz-10484-1424304227-18\" width=\"400\" height=\"261\">\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>Last year, \u003ca href=\"http://ww2.kqed.org/pop/2015/04/10/one-of-these-4-women-could-soon-grace-the-20-bill-with-your-help/\" target=\"_blank\">I wrote about Women On 20s\u003c/a>\u003ca href=\"http://www.womenon20s.org/\">,\u003c/a> an organization whose mission is to put a woman’s face on paper currency by 2020, the 100th anniversary of the 19th amendment, which granted women the right to vote. After a public vote that \u003ca href=\"http://ww2.kqed.org/pop/2015/05/12/harriet-tubman-could-replace-andrew-jackson-on-the-20-bill/\" target=\"_blank\">selected Harriet Tubman\u003c/a> as the ideal nominee and a year of petitioning the Treasury Department to make history by better representing history, it looks like it's all really happening!\u003c/p>\n\u003cp>This afternoon, the Treasury is set to announce that slave-freer Harriet Tubman will replace slave-holder Andrew Jackson on the $20 bill. And that's not all: civil right leaders will grace the $5 bill and multiple suffragettes will appear on the back of the $10 bill (Alexander Hamilton was spared because of his newfound popularity, thanks to Broadway and Lin-Manuel Miranda).\u003c/p>\n\u003cp>On top of all the obvious reasons why this news is wonderful, \u003ca href=\"http://www.vox.com/2016/4/20/11469736/harriet-tubman-twenty-why\" target=\"_blank\">an anecdote\u003c/a> from Tubman's life makes the symbolism even more poignant. When her father was on trial for helping slaves escape, Tubman was desperate to raise $20 to free him. She marched into the office of abolitionist Oliver Johnson, declared \"I'm not gwine till I git my twenty dollars,\" and sat and slept there until she got what she came for (before you congratulate the rich white dude, don't; the funds came from ex-slaves who raised money on Harriet's behalf). Not in her wildest dreams did she probably imagine that her face would one day end up gracing the very bill she had to beg and plead for. Go on and bend, arc of the moral universe, bend!\u003c/p>\n\u003cp>\u003cstrong>Update (5:15pm): \u003c/strong>Ugh, we should have sensed that some white nonsense was just around the corner:\u003c/p>\u003c/p>\u003c/div>",
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"title": "‘Dancers We Lost’ Honors Bay Area Dancers who Died of AIDS",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">A new exhibition of photographs housed at the Community Gallery at the \u003ca href=\"http://www.glbthistory.org/museum/dancers-we-lost/\" target=\"_blank\" rel=\"noopener\">GLBT History Museum\u003c/a> in San Francisco’s Castro neighborhood gathers together a series of portraits of Bay Area dancers who died during the height of the HIV/AIDS epidemic in the 1980s and 90s. The images in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.glbthistory.org/museum/dancers-we-lost/\" target=\"_blank\" rel=\"noopener\">Dancers We Lost: Honoring Performers Lost to HIV/AIDS\u003c/a>\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> capture the dancers at the height of their powers. Their physiques are toned and enviable. They strike graceful, impassioned poses – some mid-air — in tights and in costume.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">The photographs, all mounted on black paper, indicate the dancer’s name, his Bay Area dance company, and the years of each performer’s birth and death. Russell Hartley (1926-1983), who also worked as a costumer for the San Francisco Ballet, appears in the Mother Ginger outfit he designed for the first U.S. production of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> which was staged in 1944 at the War Memorial Opera House. \u003c/span>\u003cspan style=\"line-height: 1.5\">A necklace hangs down on Alvin Ailey’s bare chest (1931-1989) as his arms arch upward. Charles Ward (1952-1986) leaps to his right, his arms and legs aimed like arrows at a distant bullseye.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until McElhinney started work on this project, these dancers and their contributions to arts in the Bay Area seemed poised to disappear from the history books. “Absence is the word that came to mind when I began to research these performers,” says the show’s curator Glenne McElhinney in her exhibition notes.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11508064\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508064\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-800x450.jpg\" alt=\"L to r: Cruz Luna (1938--1988) Photographer Unknown; Courtesy of Luna Family. Tracy Allen Rhoades (1961--1993) Photo by Robert Bryant; Courtesy of Joe Tuohy. Antonio Mendes (1949--1991) Photographer Unknown; Courtesy of Meg Rosenfeld. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L to r: Cruz Luna (1938–1988) (Photo: Photographer Unknown/Courtesy of Luna Family.) Tracy Allen Rhoades (1961–1993) (Photo: Robert Bryant/Courtesy of Joe Tuohy.) Antonio Mendes (1949–1991) (Photo: Unknown/Courtesy of Meg Rosenfeld)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The exhibition originated with McElhinney’s research on the legendary, San Francisco-based dancer and choreographer Zack Thompson, who had a dance studio on the second floor of the Black Community Center — housed at 330 Grove Street from 1968 to the mid-1970s — and \u003ca href=\"http://www.sfgate.com/news/article/OBITUARY-Zack-Thompson-2966148.php\" target=\"_blank\" rel=\"noopener\">died of AIDS at the age of 61 in 1996\u003c/a>. “\u003c/span>\u003cspan style=\"font-weight: 400\">People kept telling me, ‘He was crazy; he was wild; he was an amazing dancer,’” \u003c/span>\u003cspan style=\"font-weight: 400\">McElhinney says of Thompson. \u003c/span>\u003cspan style=\"font-weight: 400\">“This came from so many different voices. They would say, ‘We don’t know what happened to him, but he would be a great interview.’” Once she turned her full attention to Thompson, McElhinney fell in love with his story. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Thompson became internationally famous as a black jazz dancer, danced with Katherine Dunham and Josephine Baker, and lived for many years in Toronto, Paris and Amsterdam before returning to the Bay Area, where he had grown up. Although McElhinney knew little about dance before starting the project, the roll call of dancers who died too soon quickly took hold of her imagination. “I started researching his contemporaries so I could interview them and I found they were all dead,” McElhinney says. “Then I researched their contemporaries and their dance colleagues and they were all dead.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11508066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508066\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Boatwright-800x450.jpg\" alt=\"Christopher Boatwright (1954--1997) Photo by Marty Sohl; Courtesy of Museum of Performance + Design \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Boatwright (1954–1997) (Photo: Marty Sohl/Courtesy of Museum of Performance + Design)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">McElhinney also contacted many of the dancers’ families who had saved years of ephemera. She has manila envelopes stuffed with old photographs, playbills and programs relating to performers featured in the exhibition. Over the next few years, the trove of photographs, scrapbooks, personal papers, biography files and items will go to the \u003ca href=\"http://www.mpdsf.org/index.html\" target=\"_blank\" rel=\"noopener\">Museum of Performance + Design\u003c/a> in San Francisco. And, as a result of her findings, the curator is now in the process of producing a short biographical film about Thompson and his life as a dancer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The memorabilia clearly shows how the performers’ families still take pride in their son’s or brother’s achievements, and underscores how much they were deeply loved — and are still deeply missed.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11508067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508067\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Stierle-800x450.jpg\" alt=\"Edward Stierle (1968 -1991) Courtesy of The Joffrey Ballet; Photo by Herbert Migdoll Courtesy of Rosemarie Stierle Worton\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Stierle (1968 -1991) (Photo: Herbert Migdoll/Courtesy of Rosemarie Stierle Worton)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ci>Dancers We Lost: Honoring Performers Lost to HIV/AIDS\u003c/i> is on view at the GLBT History Museum through Sunday, Aug. 7. \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A new exhibition of photographs housed at the Community Gallery at the \u003ca href=\"http://www.glbthistory.org/museum/dancers-we-lost/\" target=\"_blank\" rel=\"noopener\">GLBT History Museum\u003c/a> in San Francisco’s Castro neighborhood gathers together a series of portraits of Bay Area dancers who died during the height of the HIV/AIDS epidemic in the 1980s and 90s. The images in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.glbthistory.org/museum/dancers-we-lost/\" target=\"_blank\" rel=\"noopener\">Dancers We Lost: Honoring Performers Lost to HIV/AIDS\u003c/a>\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> capture the dancers at the height of their powers. Their physiques are toned and enviable. They strike graceful, impassioned poses – some mid-air — in tights and in costume.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">The photographs, all mounted on black paper, indicate the dancer’s name, his Bay Area dance company, and the years of each performer’s birth and death. Russell Hartley (1926-1983), who also worked as a costumer for the San Francisco Ballet, appears in the Mother Ginger outfit he designed for the first U.S. production of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> which was staged in 1944 at the War Memorial Opera House. \u003c/span>\u003cspan style=\"line-height: 1.5\">A necklace hangs down on Alvin Ailey’s bare chest (1931-1989) as his arms arch upward. Charles Ward (1952-1986) leaps to his right, his arms and legs aimed like arrows at a distant bullseye.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until McElhinney started work on this project, these dancers and their contributions to arts in the Bay Area seemed poised to disappear from the history books. “Absence is the word that came to mind when I began to research these performers,” says the show’s curator Glenne McElhinney in her exhibition notes.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11508064\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508064\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-800x450.jpg\" alt=\"L to r: Cruz Luna (1938--1988) Photographer Unknown; Courtesy of Luna Family. Tracy Allen Rhoades (1961--1993) Photo by Robert Bryant; Courtesy of Joe Tuohy. Antonio Mendes (1949--1991) Photographer Unknown; Courtesy of Meg Rosenfeld. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L to r: Cruz Luna (1938–1988) (Photo: Photographer Unknown/Courtesy of Luna Family.) Tracy Allen Rhoades (1961–1993) (Photo: Robert Bryant/Courtesy of Joe Tuohy.) Antonio Mendes (1949–1991) (Photo: Unknown/Courtesy of Meg Rosenfeld)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The exhibition originated with McElhinney’s research on the legendary, San Francisco-based dancer and choreographer Zack Thompson, who had a dance studio on the second floor of the Black Community Center — housed at 330 Grove Street from 1968 to the mid-1970s — and \u003ca href=\"http://www.sfgate.com/news/article/OBITUARY-Zack-Thompson-2966148.php\" target=\"_blank\" rel=\"noopener\">died of AIDS at the age of 61 in 1996\u003c/a>. “\u003c/span>\u003cspan style=\"font-weight: 400\">People kept telling me, ‘He was crazy; he was wild; he was an amazing dancer,’” \u003c/span>\u003cspan style=\"font-weight: 400\">McElhinney says of Thompson. \u003c/span>\u003cspan style=\"font-weight: 400\">“This came from so many different voices. They would say, ‘We don’t know what happened to him, but he would be a great interview.’” Once she turned her full attention to Thompson, McElhinney fell in love with his story. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Thompson became internationally famous as a black jazz dancer, danced with Katherine Dunham and Josephine Baker, and lived for many years in Toronto, Paris and Amsterdam before returning to the Bay Area, where he had grown up. Although McElhinney knew little about dance before starting the project, the roll call of dancers who died too soon quickly took hold of her imagination. “I started researching his contemporaries so I could interview them and I found they were all dead,” McElhinney says. “Then I researched their contemporaries and their dance colleagues and they were all dead.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11508066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508066\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Boatwright-800x450.jpg\" alt=\"Christopher Boatwright (1954--1997) Photo by Marty Sohl; Courtesy of Museum of Performance + Design \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Boatwright (1954–1997) (Photo: Marty Sohl/Courtesy of Museum of Performance + Design)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">McElhinney also contacted many of the dancers’ families who had saved years of ephemera. She has manila envelopes stuffed with old photographs, playbills and programs relating to performers featured in the exhibition. Over the next few years, the trove of photographs, scrapbooks, personal papers, biography files and items will go to the \u003ca href=\"http://www.mpdsf.org/index.html\" target=\"_blank\" rel=\"noopener\">Museum of Performance + Design\u003c/a> in San Francisco. And, as a result of her findings, the curator is now in the process of producing a short biographical film about Thompson and his life as a dancer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The memorabilia clearly shows how the performers’ families still take pride in their son’s or brother’s achievements, and underscores how much they were deeply loved — and are still deeply missed.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11508067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508067\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Stierle-800x450.jpg\" alt=\"Edward Stierle (1968 -1991) Courtesy of The Joffrey Ballet; Photo by Herbert Migdoll Courtesy of Rosemarie Stierle Worton\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Stierle (1968 -1991) (Photo: Herbert Migdoll/Courtesy of Rosemarie Stierle Worton)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ci>Dancers We Lost: Honoring Performers Lost to HIV/AIDS\u003c/i> is on view at the GLBT History Museum through Sunday, Aug. 7. \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "See How San Francisco Rebuilt 110 Years After the 1906 Quake",
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"content": "\u003cp>At 5:12 a.m., the shaking started 110 years ago today. The 7.8 magnitude earthquake and ensuing fires destroyed more than 80 percent of San Francisco and killed about 3,000 people.\u003c/p>\n\u003cp>The destruction inspired photographers from around the world and the 1906 earthquake became one of the first natural disasters widely documented with photos and early motion pictures.\u003c/p>\n\u003cp>\u003ca href=\"http://www.sfgate.com/bayarea/article/New-S-F-archive-includes-stunning-photos-from-6207086.php\" target=\"_blank\">John Henry Mentz\u003c/a> worked as a staff photographer for United Railroads at the time. On April 18, and in the ensuing days, he took more than \u003ca href=\"http://sfmta.photoshelter.com/#!/index\" target=\"_blank\">200 images\u003c/a> with his large-format camera and created a case of 6 1/2-by-8 1/2 inch negative plates.\u003c/p>\n\u003cp>Three weeks later, \u003ca href=\"http://petapixel.com/2013/06/19/the-captive-airship-george-lawrences-panoramic-kite-photography-rig/\" target=\"_blank\">George Lawrence\u003c/a> shot his famous \"San Francisco in Ruins\" with a 49-pound camera flying about 2,000 feet above the bay with 17 Conyne kites strung together with piano wire cable.\u003c/p>\n\u003cp>Photographer Frederick Eugene Ives captured the destruction \u003ca href=\"http://americanhistory.si.edu/blog/2010/01/the-1906-san-francisco-quake-in-color.html\" target=\"_blank\">in color photographs\u003c/a> six months later, using a device called a Krőmgram.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because of their vision, we can stand before the surviving buildings and imagine what it felt like 110 years ago.\u003c/p>\n\u003cfigure id=\"attachment_10930506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/mills2.jpg\" rel=\"attachment wp-att-10930496\">\u003cimg class=\"wp-image-10930506 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/mills2-800x270.jpg\" alt=\"\" width=\"800\" height=\"270\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-800x270.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-400x135.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-1180x399.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-960x325.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mills Building damaged after the 1906 earthquake and fire. \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10930488\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/boniface.jpg\" rel=\"attachment wp-att-10930488\">\u003cimg class=\"size-medium wp-image-10930488\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/boniface-800x281.jpg\" alt=\"St. Boniface Church after the 1906 earthquake and present day.\" width=\"800\" height=\"281\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-800x281.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-400x140.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-1180x414.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-960x337.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">St. Boniface Church after the 1906 earthquake and present day. \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10930499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/stfrancis.jpg\" rel=\"attachment wp-att-10930499\">\u003cimg class=\"size-medium wp-image-10930499\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/stfrancis-800x561.jpg\" alt=\"St. Francis Hotel after the earthquake and fire of April, 1906 and present day.\" width=\"800\" height=\"561\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/stfrancis.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/stfrancis-400x281.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">St. Francis Hotel after the earthquake and fire of April, 1906. Written on back: \"St. Francis Hotel + new wing in process of construction. Only damage was by fire. Powell + Geary.\" \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10930503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/kohl.jpg\" rel=\"attachment wp-att-10930503\">\u003cimg class=\"size-medium wp-image-10930503\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/kohl-800x479.jpg\" alt=\"California street at Montgomery. Ruins of the Kohl Building.\" width=\"800\" height=\"479\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/kohl.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/kohl-400x240.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">California street at Montgomery. Ruins of the Kohl Building. \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At 5:12 a.m., the shaking started 110 years ago today. The 7.8 magnitude earthquake and ensuing fires destroyed more than 80 percent of San Francisco and killed about 3,000 people.\u003c/p>\n\u003cp>The destruction inspired photographers from around the world and the 1906 earthquake became one of the first natural disasters widely documented with photos and early motion pictures.\u003c/p>\n\u003cp>\u003ca href=\"http://www.sfgate.com/bayarea/article/New-S-F-archive-includes-stunning-photos-from-6207086.php\" target=\"_blank\">John Henry Mentz\u003c/a> worked as a staff photographer for United Railroads at the time. On April 18, and in the ensuing days, he took more than \u003ca href=\"http://sfmta.photoshelter.com/#!/index\" target=\"_blank\">200 images\u003c/a> with his large-format camera and created a case of 6 1/2-by-8 1/2 inch negative plates.\u003c/p>\n\u003cp>Three weeks later, \u003ca href=\"http://petapixel.com/2013/06/19/the-captive-airship-george-lawrences-panoramic-kite-photography-rig/\" target=\"_blank\">George Lawrence\u003c/a> shot his famous \"San Francisco in Ruins\" with a 49-pound camera flying about 2,000 feet above the bay with 17 Conyne kites strung together with piano wire cable.\u003c/p>\n\u003cp>Photographer Frederick Eugene Ives captured the destruction \u003ca href=\"http://americanhistory.si.edu/blog/2010/01/the-1906-san-francisco-quake-in-color.html\" target=\"_blank\">in color photographs\u003c/a> six months later, using a device called a Krőmgram.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because of their vision, we can stand before the surviving buildings and imagine what it felt like 110 years ago.\u003c/p>\n\u003cfigure id=\"attachment_10930506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/mills2.jpg\" rel=\"attachment wp-att-10930496\">\u003cimg class=\"wp-image-10930506 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/mills2-800x270.jpg\" alt=\"\" width=\"800\" height=\"270\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-800x270.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-400x135.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-1180x399.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-960x325.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mills Building damaged after the 1906 earthquake and fire. \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10930488\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/boniface.jpg\" rel=\"attachment wp-att-10930488\">\u003cimg class=\"size-medium wp-image-10930488\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/boniface-800x281.jpg\" alt=\"St. Boniface Church after the 1906 earthquake and present day.\" width=\"800\" height=\"281\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-800x281.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-400x140.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-1180x414.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-960x337.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">St. Boniface Church after the 1906 earthquake and present day. \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10930499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/stfrancis.jpg\" rel=\"attachment wp-att-10930499\">\u003cimg class=\"size-medium wp-image-10930499\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/stfrancis-800x561.jpg\" alt=\"St. Francis Hotel after the earthquake and fire of April, 1906 and present day.\" width=\"800\" height=\"561\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/stfrancis.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/stfrancis-400x281.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">St. Francis Hotel after the earthquake and fire of April, 1906. Written on back: \"St. Francis Hotel + new wing in process of construction. Only damage was by fire. Powell + Geary.\" \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10930503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/kohl.jpg\" rel=\"attachment wp-att-10930503\">\u003cimg class=\"size-medium wp-image-10930503\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/kohl-800x479.jpg\" alt=\"California street at Montgomery. Ruins of the Kohl Building.\" width=\"800\" height=\"479\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/kohl.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/kohl-400x240.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">California street at Montgomery. Ruins of the Kohl Building. \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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