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"content": "\u003cp>One of the most tantalizing films I’ve ever seen is \u003cem>The Swimmer\u003c/em>, a surreal masterpiece from 1968 based on a John Cheever short story. It stars a middle-aged but still very buff and tan Burt Lancaster as a man who impulsively decides to swim home from a suburban summer garden party at a friend’s house by traversing all the many pools that lie between other people’s backyards and his own. As the afternoon unfolds, the bright, jovial atmosphere becomes broodingly autumnal, until our hero, exhausted in his Speedos after a series of unfortunate encounters and mishaps, finally arrives at his empty, derelict home.\u003c/p>\n\u003cp>Cheever’s chilly narrative, reimagined as a 41-minute ballet by company stalwart Yuri Possokhov, is the centerpiece of \u003cem>\u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">Sensorium\u003c/a>\u003c/em>, a splashy soiree of dance, music, food and booze organized by the San Francisco Ballet (SF Ballet) as a way to reel the millennial crowd into the War Memorial Opera House. The event did well last year, so it’s back again for a second iteration on Wednesday, Mar. 23.\u003c/p>\n\u003cfigure id=\"attachment_11428906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11428906\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg\" alt=\"Guests at SF Ballet's first Sensorium event in 2015\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1920x1262.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-960x631.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guests at SF Ballet’s first Sensorium event in 2015 \u003ccite>(Photo Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The choice of Possokhov’s \u003cem>Swimmer\u003c/em> for this event makes sense: Of all the pieces in SF Ballet’s recent history, it’s likely to be one of the most impressive to a young, tech-savvy crowd. Waves of Tom Waits music and immersive video depicting mid-century scenes of suburban Americana sweep the dance along.\u003c/p>\n\u003cp>Beyond the proscenium, \u003cem>Sensorium\u003c/em> gives audiences the chance to experience various pop-up events. These aren’t the usual thing. There’s a pair of massive 30-foot-long crashing wave video projections, inspired by \u003cem>Swimmer, \u003c/em>that you can actually walk through because the video is projected onto “theatrical string” like a 70s-style beaded curtain.\u003c/p>\n\u003cp>And the art-tech company \u003ca href=\"http://teleportlabs.com/\" target=\"_blank\" rel=\"noopener\">Teleport Labs\u003c/a> has created a virtual reality film piece based on a snippets of a rehearsal of \u003cem>Pas/Parts\u003c/em> — that’s the other ballet on the evening’s performance program choreographed by William Forsythe — that apparently can be experienced without those goofy-looking glasses and helmets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Also, fashion designer Lan Jaenicke is setting up a “mini-atelier” in the lobby of the opera house where she and her team plan to create instant couture gowns tailor-made for a few lucky audience members…out of bed sheets.\u003c/p>\n\u003cp>But here’s what I’m personally most excited about: Professionals from the company are joining audience members on the dance floor after the main performance. After all, it’s not every day you get to boogie on down with ballet stars like Yuan Yuan Tan and Mathilde Froustey.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Ballet presents \u003cem>Sensorium\u003c/em> on Wednesday, Mar. 23 at the War Memorial Opera House in San Francisco. Head \u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for more information. \u003c/strong>\u003c/p>\n\n",
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"content": "\u003cp>A tearful, beloved cartoon adventurer, Tintin, quickly emerged as a symbol of solidarity in the chaotic aftermath of the Brussels bombings as social media users worldwide took to Facebook and other Web streams for check ins by loved ones potentially in harm’s way.\u003c/p>\n\u003cp>On Twitter, on Instagram and elsewhere around the internet, the red-haired reporter in his signature trench coat with his white dog Snowy — the creations of Belgian cartoonist Herge — were shared as shocked and saddened versions of their usually indomitable and irrepressible selves.\u003c/p>\n\u003cp>Some cartoonists drew “too soon” criticism for depicting the stars of the comic series The \u003cem>Adventures of Tintin\u003c/em> — made into a movie in 2011 by Steven Spielberg — as bloodied and battered.\u003c/p>\n\u003cp>Others on social media borrowed from the January 2015 Charlie Hebdo tragedy, using the hashtag #JeSuisBruxelles, or “I am Brussels,” just as those after the Paris attacks did when spreading the sentiment “JeSuisCharlie.”\u003c/p>\n\u003cp>Facebook, meanwhile, activated its “safety check” system yet again to help Tuesday within hours of the three deadly explosions at the Brussels airport and a metro station.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The system can provide an easy way for people to mark themselves as “safe” after a major disaster or crisis so that people searching for them will know they are unharmed. It has been used recently to help people communicate after major floods, earthquakes and other deadly attacks.\u003c/p>\n\u003cp>Facebook first deployed the service after the 2011 Fukushima tsunami and nuclear disaster in Japan. The company said it is still “working through” how and when it should be used. It was activated six times last year, providing notifications to more than 950 million people.\u003c/p>\n\u003cp>The Tintin cartoon books have been translated into 70-plus languages, from Chinese to Armenian, English to Spanish, just as social media users are lending their languages and voices of outrage, fear, defiance and concern to the cacophony following the blasts in Brussels.\u003c/p>\n\u003cp>The books have sold in the tens of millions of copies, but only in Belgium has the fearless reporter and his dog been ingrained in the DNA of most youngsters since the 1950s. Herge died in 1983 and is considered a national treasure in his native Belgium.\u003c/p>\n\u003cp>A more popular version of the Tintin meme in response to the explosions has him shedding a single tear as he hovers over a newspaper with a headline about the explosions, pal Snowy shaking nearby. Tintin utters “Mon Dieu,” or “My God.”\u003c/p>\n\u003cp>Accompanying Tintin in the flood of social media sentiment were altered images of Manneken Pis, a bronze statue of a naked boy urinating into a fountain’s basin not far from Brussels Town Hall.\u003c/p>\n\u003cp>One showed the boy as a simple red line drawing against a black background as he urinated from on high onto a machine gun. Another had him doing the same on taped-together sticks of dynamite with the words: “Pis and Love,” a peace sign drawn into the letter o.\u003c/p>\n\u003cp>The boy, dating to around 1619, was created by Brussels sculptor Hieronimus Duquesnoy the Elder. He’s the father of sculptor François Duquesnoy. The statue has been repeatedly stolen and replaced. It is dressed in costumes on a regular weekly schedule, his wardrobe of several hundred outfits permanently housed in a museum.\u003c/p>\n\u003cp>Elsewhere around the Web, kind-hearted Belgians were tweeting offers of shelter to stranded travelers using the hashtag “PorteOuverte” or “OpenHouse” for non-French speakers. One in Antwerp threw in “food and Belgian beers for 1-3 people.”\u003c/p>\n\u003cp>Others taking to social media found comfort in sharing YouTube clips, photos and drawings of another famous figure in Belgium, singer-songwriter-actor Jacques Brel, who was known for his soothing ballads.\u003c/p>\n\u003cp>The straightforward hashtag “Brussels” continued with “JeSuisBruxelles” through the day on Twitter around the world, also accompanied by “PrayForBelgium.” Comment threads included “Tous Ensemble,” or “All Together,” but some social media users were more defiant.\u003c/p>\n\u003cp>An image of a cluster of Belgium’s famous “frites,” with one French fry standing above the others in a middle-finger salute, was accompanied by “I dont pray #jesuisbelge,” the latter for “I Am Belgian.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Raf Casert in Brussels and Brandon Bailey in San Francisco contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"title": "Social Media Users Share Crying Tintin in Brussels Aftermath | KQED",
"description": "A tearful, beloved cartoon adventurer, Tintin, quickly emerged as a symbol of solidarity in the chaotic aftermath of the Brussels bombings as social media users worldwide took to Facebook and other Web streams for check ins by loved ones potentially in harm's way. On Twitter, on Instagram and elsewhere around the internet, the red-haired reporter in his signature trench coat with his white dog Snowy — the creations of Belgian cartoonist Herge — were shared as shocked and saddened versions of their usually indomitable and irrepressible selves. Some cartoonists drew "too soon" criticism for depicting the stars of the comic",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A tearful, beloved cartoon adventurer, Tintin, quickly emerged as a symbol of solidarity in the chaotic aftermath of the Brussels bombings as social media users worldwide took to Facebook and other Web streams for check ins by loved ones potentially in harm’s way.\u003c/p>\n\u003cp>On Twitter, on Instagram and elsewhere around the internet, the red-haired reporter in his signature trench coat with his white dog Snowy — the creations of Belgian cartoonist Herge — were shared as shocked and saddened versions of their usually indomitable and irrepressible selves.\u003c/p>\n\u003cp>Some cartoonists drew “too soon” criticism for depicting the stars of the comic series The \u003cem>Adventures of Tintin\u003c/em> — made into a movie in 2011 by Steven Spielberg — as bloodied and battered.\u003c/p>\n\u003cp>Others on social media borrowed from the January 2015 Charlie Hebdo tragedy, using the hashtag #JeSuisBruxelles, or “I am Brussels,” just as those after the Paris attacks did when spreading the sentiment “JeSuisCharlie.”\u003c/p>\n\u003cp>Facebook, meanwhile, activated its “safety check” system yet again to help Tuesday within hours of the three deadly explosions at the Brussels airport and a metro station.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The system can provide an easy way for people to mark themselves as “safe” after a major disaster or crisis so that people searching for them will know they are unharmed. It has been used recently to help people communicate after major floods, earthquakes and other deadly attacks.\u003c/p>\n\u003cp>Facebook first deployed the service after the 2011 Fukushima tsunami and nuclear disaster in Japan. The company said it is still “working through” how and when it should be used. It was activated six times last year, providing notifications to more than 950 million people.\u003c/p>\n\u003cp>The Tintin cartoon books have been translated into 70-plus languages, from Chinese to Armenian, English to Spanish, just as social media users are lending their languages and voices of outrage, fear, defiance and concern to the cacophony following the blasts in Brussels.\u003c/p>\n\u003cp>The books have sold in the tens of millions of copies, but only in Belgium has the fearless reporter and his dog been ingrained in the DNA of most youngsters since the 1950s. Herge died in 1983 and is considered a national treasure in his native Belgium.\u003c/p>\n\u003cp>A more popular version of the Tintin meme in response to the explosions has him shedding a single tear as he hovers over a newspaper with a headline about the explosions, pal Snowy shaking nearby. Tintin utters “Mon Dieu,” or “My God.”\u003c/p>\n\u003cp>Accompanying Tintin in the flood of social media sentiment were altered images of Manneken Pis, a bronze statue of a naked boy urinating into a fountain’s basin not far from Brussels Town Hall.\u003c/p>\n\u003cp>One showed the boy as a simple red line drawing against a black background as he urinated from on high onto a machine gun. Another had him doing the same on taped-together sticks of dynamite with the words: “Pis and Love,” a peace sign drawn into the letter o.\u003c/p>\n\u003cp>The boy, dating to around 1619, was created by Brussels sculptor Hieronimus Duquesnoy the Elder. He’s the father of sculptor François Duquesnoy. The statue has been repeatedly stolen and replaced. It is dressed in costumes on a regular weekly schedule, his wardrobe of several hundred outfits permanently housed in a museum.\u003c/p>\n\u003cp>Elsewhere around the Web, kind-hearted Belgians were tweeting offers of shelter to stranded travelers using the hashtag “PorteOuverte” or “OpenHouse” for non-French speakers. One in Antwerp threw in “food and Belgian beers for 1-3 people.”\u003c/p>\n\u003cp>Others taking to social media found comfort in sharing YouTube clips, photos and drawings of another famous figure in Belgium, singer-songwriter-actor Jacques Brel, who was known for his soothing ballads.\u003c/p>\n\u003cp>The straightforward hashtag “Brussels” continued with “JeSuisBruxelles” through the day on Twitter around the world, also accompanied by “PrayForBelgium.” Comment threads included “Tous Ensemble,” or “All Together,” but some social media users were more defiant.\u003c/p>\n\u003cp>An image of a cluster of Belgium’s famous “frites,” with one French fry standing above the others in a middle-finger salute, was accompanied by “I dont pray #jesuisbelge,” the latter for “I Am Belgian.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Raf Casert in Brussels and Brandon Bailey in San Francisco contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "More Than Mosh Pits, ‘Void California’ Displays the Art of a Punk Scene",
"headTitle": "More Than Mosh Pits, ‘Void California’ Displays the Art of a Punk Scene | KQED",
"content": "\u003cp>Punk rock is a rare music genre. It becomes the identity of its fans; they don’t just listen to punk, they become punks, and many stay that way well into adulthood.\u003c/p>\n\u003cp>I became a punk at 12. Two decades later, I still rock black-and-white band t-shirts and walk around with my headphones on, the Misfits and Black Flag blasting in my ears.\u003c/p>\n\u003cp>The magic of being punk is that it licenses a certain freedom from social norms. Thinking back to the moment when I realized I could just do what I wanted still feels as freeing and uplifting now as it did back then. The power and drive that freedom inspires on full display in the show \u003ci>Void California: 1975-1989\u003c/i>, curated by CCA’s graduating curatorial practice class at the \u003ca href=\"http://www.wattis.org/index?alt=1\" target=\"_blank\" rel=\"noopener\">Wattis Institute\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11427186\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11427186\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_1543-885x1180.jpg\" alt=\"Raymond Pettibon, 'Untitled' (I thought California would be different), 1989\" width=\"480\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543.jpg 1980w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Raymond Pettibon, ‘Untitled’ (I thought California would be different), 1989 \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The core of the punk ethos is “just go for it,” an attitude demonstrated in the prolific output of Raymond Pettibon, patron saint of punk art. His zines, paintings and drawings dominate the \u003cem>Void California \u003c/em>show, but with good reason. Pettibon’s work for Black Flag is iconic, and his style — menacing ink figures accompanied by disjointed phrases — conveyed the urban experience during a dangerous and desperate time.\u003c/p>\n\u003cp>The exhibit paints a comprehensive picture of what the spectrum of punk art looked like in the 14 years represented. On one side is the work intended to shock: the graphic photography of \u003ci>Vile\u003c/i> magazine and the crude, Ralph Steadman-like drawings of Fred Tomaselli.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other reaction-causing work — inciting fear instead of disgust — comes from \u003ca href=\"http://www.srl.org/\" target=\"_blank\" rel=\"noopener\">Survival Research Laboratories\u003c/a>, whose performances featured destructive, threatening machines smashing objects and lots (and I mean \u003cem>lots\u003c/em>) of fire. Their performances, which occurred in random parking lots, were described as both scary and exhilarating by those who saw them.\u003c/p>\n\u003cfigure id=\"attachment_11427184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11427184 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_1564-800x600.jpg\" alt=\"Bruce Kalberg, 'Su Tissue (Suburban Lawns),' 1984.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Kalberg, ‘Su Tissue (Suburban Lawns),’ 1984. \u003ccite>(Photo: Courtesy of Ewa Wojciak/Yes Press Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The majority of the work in \u003cem>Void California\u003c/em> comes from the other side of the spectrum, from artists seeking not to shock, but to make thought-provoking work. Photography by Ruby Ray and Bruce Kalberg would fit equally well into a “fine art” gallery exhibition, totally separate from its punk context. While Ray’s photos focus on characters in the San Francisco punk scene through a documentary lens that could belong to Lee Friedlander, Kalberg’s photos take LA’s most notable scenesters and portray them as rare, beautiful creatures caught in the wild. His shot of Screamers’ vocalist Tomato du Plenty in a spiky tribal outfit will burn into your consciousness like a sun flare.\u003c/p>\n\u003cp>While about half of the exhibition is art, the other half is made up of museum-worthy artifacts. Televisions screen short but influential documentaries from filmmakers like Joe “Target Video” Rees — namely his footage of the psychobilly kings the Cramps \u003ca href=\"https://www.youtube.com/watch?v=Fat2rswNJ1k\" target=\"_blank\" rel=\"noopener\">playing Napa Mental State Hospital\u003c/a> and former-Dead Kennedys frontman Jello Biafra’s San Francisco mayoral campaign.\u003c/p>\n\u003cp>Greta Snider’s schizophrenic 5-minute-long \u003ci>Hard Core Home Movie\u003c/i> is also well worth a viewing. The 16mm footage comes from the infamous San Francisco venue The Farm, a no-holds-barred punk venue, the likes of which would never be allowed to exist today.\u003c/p>\n\u003cfigure id=\"attachment_11427185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11427185 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_1545-800x600.jpg\" alt=\"Cameron Jamie, Screen shot from video compilation 'The Neotoma Tape,' 1995.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cameron Jamie, Screen shot from video compilation ‘The Neotoma Tape,’ 1995. \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.negativland.com/news/\" target=\"_blank\" rel=\"noopener\">Negativland\u003c/a>, Bay Area tape wizards known mostly for their \u003ca href=\"http://ww2.kqed.org/arts/2014/10/28/negativland-is-still-cultural-jamming-taking-on-our-masters/\" target=\"_blank\" rel=\"noopener\">far-from-subtle political commentary\u003c/a> and their pranks on the media (or \u003ca href=\"http://ww2.kqed.org/arts/2014/06/17/negativland-provides-tracks-for-infamous-single-asks-fans-to-remix/\" target=\"_blank\" rel=\"noopener\">whoever else they don’t like\u003c/a>), provide artifacts from \u003ci>A 10-8 Place,\u003c/i> their landmark concept album about life in Contra Costa County. Not only does the exhibition include a few of the hundreds of tape reels used to make the album, a vitrine holds a sampling of the grass clippings Negativland stuffed in each record they pressed.\u003c/p>\n\u003cp>For any casual gallery-goer, \u003ci>Void California\u003c/i> succeeds in proving the artistic merit of punk-made art from a pivotal moment in the state’s cultural history. But those who will appreciate this collection the most are the punk fans who seek to ingest any and all memorabilia from the genre that changed their lives.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Void California: 1975-1989\u003c/b> is on view at the CCA Wattis Institute for Contemporary Arts in San Francisco until April 9. Admission is free and gallery hours vary; for more information, visit \u003ca href=\"http://www.wattis.org/view?id=4,305\" target=\"_blank\" rel=\"noopener\">wattis.org\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Punk rock is a rare music genre. It becomes the identity of its fans; they don’t just listen to punk, they become punks, and many stay that way well into adulthood.\u003c/p>\n\u003cp>I became a punk at 12. Two decades later, I still rock black-and-white band t-shirts and walk around with my headphones on, the Misfits and Black Flag blasting in my ears.\u003c/p>\n\u003cp>The magic of being punk is that it licenses a certain freedom from social norms. Thinking back to the moment when I realized I could just do what I wanted still feels as freeing and uplifting now as it did back then. The power and drive that freedom inspires on full display in the show \u003ci>Void California: 1975-1989\u003c/i>, curated by CCA’s graduating curatorial practice class at the \u003ca href=\"http://www.wattis.org/index?alt=1\" target=\"_blank\" rel=\"noopener\">Wattis Institute\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11427186\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11427186\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_1543-885x1180.jpg\" alt=\"Raymond Pettibon, 'Untitled' (I thought California would be different), 1989\" width=\"480\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543.jpg 1980w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Raymond Pettibon, ‘Untitled’ (I thought California would be different), 1989 \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The core of the punk ethos is “just go for it,” an attitude demonstrated in the prolific output of Raymond Pettibon, patron saint of punk art. His zines, paintings and drawings dominate the \u003cem>Void California \u003c/em>show, but with good reason. Pettibon’s work for Black Flag is iconic, and his style — menacing ink figures accompanied by disjointed phrases — conveyed the urban experience during a dangerous and desperate time.\u003c/p>\n\u003cp>The exhibit paints a comprehensive picture of what the spectrum of punk art looked like in the 14 years represented. On one side is the work intended to shock: the graphic photography of \u003ci>Vile\u003c/i> magazine and the crude, Ralph Steadman-like drawings of Fred Tomaselli.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other reaction-causing work — inciting fear instead of disgust — comes from \u003ca href=\"http://www.srl.org/\" target=\"_blank\" rel=\"noopener\">Survival Research Laboratories\u003c/a>, whose performances featured destructive, threatening machines smashing objects and lots (and I mean \u003cem>lots\u003c/em>) of fire. Their performances, which occurred in random parking lots, were described as both scary and exhilarating by those who saw them.\u003c/p>\n\u003cfigure id=\"attachment_11427184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11427184 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_1564-800x600.jpg\" alt=\"Bruce Kalberg, 'Su Tissue (Suburban Lawns),' 1984.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Kalberg, ‘Su Tissue (Suburban Lawns),’ 1984. \u003ccite>(Photo: Courtesy of Ewa Wojciak/Yes Press Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The majority of the work in \u003cem>Void California\u003c/em> comes from the other side of the spectrum, from artists seeking not to shock, but to make thought-provoking work. Photography by Ruby Ray and Bruce Kalberg would fit equally well into a “fine art” gallery exhibition, totally separate from its punk context. While Ray’s photos focus on characters in the San Francisco punk scene through a documentary lens that could belong to Lee Friedlander, Kalberg’s photos take LA’s most notable scenesters and portray them as rare, beautiful creatures caught in the wild. His shot of Screamers’ vocalist Tomato du Plenty in a spiky tribal outfit will burn into your consciousness like a sun flare.\u003c/p>\n\u003cp>While about half of the exhibition is art, the other half is made up of museum-worthy artifacts. Televisions screen short but influential documentaries from filmmakers like Joe “Target Video” Rees — namely his footage of the psychobilly kings the Cramps \u003ca href=\"https://www.youtube.com/watch?v=Fat2rswNJ1k\" target=\"_blank\" rel=\"noopener\">playing Napa Mental State Hospital\u003c/a> and former-Dead Kennedys frontman Jello Biafra’s San Francisco mayoral campaign.\u003c/p>\n\u003cp>Greta Snider’s schizophrenic 5-minute-long \u003ci>Hard Core Home Movie\u003c/i> is also well worth a viewing. The 16mm footage comes from the infamous San Francisco venue The Farm, a no-holds-barred punk venue, the likes of which would never be allowed to exist today.\u003c/p>\n\u003cfigure id=\"attachment_11427185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11427185 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_1545-800x600.jpg\" alt=\"Cameron Jamie, Screen shot from video compilation 'The Neotoma Tape,' 1995.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cameron Jamie, Screen shot from video compilation ‘The Neotoma Tape,’ 1995. \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.negativland.com/news/\" target=\"_blank\" rel=\"noopener\">Negativland\u003c/a>, Bay Area tape wizards known mostly for their \u003ca href=\"http://ww2.kqed.org/arts/2014/10/28/negativland-is-still-cultural-jamming-taking-on-our-masters/\" target=\"_blank\" rel=\"noopener\">far-from-subtle political commentary\u003c/a> and their pranks on the media (or \u003ca href=\"http://ww2.kqed.org/arts/2014/06/17/negativland-provides-tracks-for-infamous-single-asks-fans-to-remix/\" target=\"_blank\" rel=\"noopener\">whoever else they don’t like\u003c/a>), provide artifacts from \u003ci>A 10-8 Place,\u003c/i> their landmark concept album about life in Contra Costa County. Not only does the exhibition include a few of the hundreds of tape reels used to make the album, a vitrine holds a sampling of the grass clippings Negativland stuffed in each record they pressed.\u003c/p>\n\u003cp>For any casual gallery-goer, \u003ci>Void California\u003c/i> succeeds in proving the artistic merit of punk-made art from a pivotal moment in the state’s cultural history. But those who will appreciate this collection the most are the punk fans who seek to ingest any and all memorabilia from the genre that changed their lives.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Void California: 1975-1989\u003c/b> is on view at the CCA Wattis Institute for Contemporary Arts in San Francisco until April 9. Admission is free and gallery hours vary; for more information, visit \u003ca href=\"http://www.wattis.org/view?id=4,305\" target=\"_blank\" rel=\"noopener\">wattis.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Visual artist and curator \u003ca href=\"http://www.taranehhemami.com/\" target=\"_blank\" rel=\"noopener\">Taraneh Hemami\u003c/a> found herself at a crossroads after moving from Tehran, Iran to the U.S. to attend college nearly 30 years ago.\u003c/p>\n\u003cp>“After the first decade, I wanted to go home,” Hemami says. “But my dad died by the second decade, and it became clear that I was going to stay.”\u003c/p>\n\u003cfigure id=\"attachment_11424515\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11424515 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/taraneh-dad-800x560.jpg\" alt=\"Hemami and her father pose for a picture at a teahouse in Qom, Iran during her visit in 1990\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-dad.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-dad-400x280.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-dad-768x538.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hemami and her father pose for a picture at a teahouse in Qom, Iran during her visit in 1990 \u003ccite>(Courtesy of Taraneh Hemami.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a time when her adoptive home has become rife with Islamophobic rhetoric and polarized views on the Muslim community, Hemami’s decision to stay in the U.S. and create work that facilitates difficult but necessary conversations around those conflicts has become all the more important.\u003c/p>\n\u003cp>“What really makes Taraneh unique is that she bridges the Iranian and American parts of our identity,” says Torange Yeghiazarian, executive director of \u003ca href=\"http://www.goldenthread.org/\" target=\"_blank\" rel=\"noopener\">Golden Thread Productions\u003c/a>, a San Francisco-based performing arts company focused on Middle Eastern work. “Other artists are more traditional or insular, but she’s active and present and brings more visibility to our community.”\u003c/p>\n\u003cp>While Hemami’s migration to the U.S. strongly informs her body of work, she says a brief visit to Iran in 1990 altered the focus and influences behind her art.\u003c/p>\n\u003cfigure id=\"attachment_11424518\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11424518\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/taraneh-old-800x542.jpg\" alt=\"Hemami, pictured at 17 before moving to Oregon for college (left) and in her green card photo (right).\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-old.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-old-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-old-768x520.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hemami, pictured at 17 before moving to Oregon for college (left) and in her green card photo (right). \u003ccite>(Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was immersed in my culture and I got to visit historic sites that renewed my interest in Islamic architecture and arts,” Hemami says. “At the same time, I was immersed in the family narrative again, and I was inspired by the traditions being handed down by women from each generation.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hemami’s trip inspired \u003ca href=\"http://www.taranehhemami.com/sacred-space\" target=\"_blank\" rel=\"noopener\">\u003ci>Sacred Space\u003c/i>\u003c/a>, a project focused on giving voice to women, something she saw was lacking in Iran and the Iranian community in the U.S. The work features memories and wishes collected from women by the artist. The women’s sayings are wrapped around a shrine-like structure and tiled on small cleansing pools inspired by mosques.\u003c/p>\n\u003cfigure id=\"attachment_11423650\" class=\"wp-caption alignnone\" style=\"max-width: 741px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423650\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/pool-741x600.jpg\" alt=\"Hemami's "Sacred Space" installation at San Francisco's The Lab featured women's stories embedded into mosque architectures.\" width=\"741\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool-741x600.jpg 741w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool.jpg 800w\" sizes=\"(max-width: 741px) 100vw, 741px\">\u003cfigcaption class=\"wp-caption-text\">Hemami’s “Sacred Space” installation at San Francisco’s The Lab featured women’s stories embedded into mosque architectures. \u003ccite>(Photo: Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to deeply personal pieces like \u003cem>Sacred Space\u003c/em>, Hemami also creates works about the experiences of the broader Middle Eastern community. “Multiplicity is what I’m interested in; it’s important to reflect the complexity and diversity of the community,” Hemami says. “I wanted to deny the singular image of Arabs and Iranians in the media.”\u003c/p>\n\u003cp>For her project \u003ca href=\"https://www.taranehhemami.com/hall-of-reflections-2000-present%E2%80%9D\" target=\"_blank\" rel=\"noopener\">\u003ci>Hall of Reflections\u003c/i>\u003c/a>, Hemami collected photographs and letters from individuals to create collages representative of the group’s historical displacement after the Iranian revolution. “I created it post-9/11, when gathering spaces became especially important for people,” Hemami says. “I worked off archives from the community to give historical and personal context to the project. It allowed us to talk about who we are.”\u003c/p>\n\u003cfigure id=\"attachment_11423651\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423651\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/poolstuff-800x594.jpg\" alt=\""Ruins", one of the pieces in Hemami's "Hall of Reflections" project, is a collection of personal photographs and stories from Iranian immigrants.\" width=\"800\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolstuff.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolstuff-400x297.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolstuff-768x570.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ruins”, one of the pieces in Hemami’s “Hall of Reflections” project, is a collection of personal photographs and stories from Iranian immigrants. \u003ccite>(Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Works that address collective mourning and the reconstruction of histories, such as those by sculptor \u003ca href=\"http://whitecube.com/artists/doris_salcedo/\" target=\"_blank\" rel=\"noopener\">Doris Salcedo\u003c/a> and media artist \u003ca href=\"http://www.theatlasgroup.org/\" target=\"_blank\" rel=\"noopener\">Walid Raad\u003c/a>, serve as inspiration for Hemami, who holds a deep fascination for community art-making and participatory work.\u003c/p>\n\u003cp>For her most recent project \u003ca href=\"//www.taranehhemami.com/theory-of-survival%E2%80%9D\" target=\"”_blank”\" rel=\"noopener\">\u003ci>Theory of Survival\u003c/i>\u003c/a>, Hemami invited Californian artists and scholars to interpret and respond to material from the historical archives of the Iranian Students Association of Northern California, an anti-Shah student organization inspired by international anti-colonial movements in the 1960s and 70s. Together, the participants created art pieces exploring the violent history of dissent and radical movements in the Iranian community through varying mediums, like glass, textiles and digital photography.\u003c/p>\n\u003cfigure id=\"attachment_11423652\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423652\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/poolwall-800x528.jpg\" alt=\""Theory of Survival", Hemami's recent work, explores the history of dissent in the Iranian community.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolwall.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolwall-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolwall-768x507.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Theory of Survival”, Hemami’s recent work, explores the history of dissent in the Iranian community. \u003ccite>(Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as it taps into the community, Hemami’s work also provides the artist with a medium to come to terms with her own displacement. “The project started with me having lost stories of my family after being away for nearly 20 years,” Hemami says. “But being on the public platform invites me to do something more than personal reflections. My art practice, my teaching practice, my activism, and my community organizing are merging into one.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Visual artist and curator \u003ca href=\"http://www.taranehhemami.com/\" target=\"_blank\" rel=\"noopener\">Taraneh Hemami\u003c/a> found herself at a crossroads after moving from Tehran, Iran to the U.S. to attend college nearly 30 years ago.\u003c/p>\n\u003cp>“After the first decade, I wanted to go home,” Hemami says. “But my dad died by the second decade, and it became clear that I was going to stay.”\u003c/p>\n\u003cfigure id=\"attachment_11424515\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11424515 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/taraneh-dad-800x560.jpg\" alt=\"Hemami and her father pose for a picture at a teahouse in Qom, Iran during her visit in 1990\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-dad.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-dad-400x280.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-dad-768x538.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hemami and her father pose for a picture at a teahouse in Qom, Iran during her visit in 1990 \u003ccite>(Courtesy of Taraneh Hemami.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a time when her adoptive home has become rife with Islamophobic rhetoric and polarized views on the Muslim community, Hemami’s decision to stay in the U.S. and create work that facilitates difficult but necessary conversations around those conflicts has become all the more important.\u003c/p>\n\u003cp>“What really makes Taraneh unique is that she bridges the Iranian and American parts of our identity,” says Torange Yeghiazarian, executive director of \u003ca href=\"http://www.goldenthread.org/\" target=\"_blank\" rel=\"noopener\">Golden Thread Productions\u003c/a>, a San Francisco-based performing arts company focused on Middle Eastern work. “Other artists are more traditional or insular, but she’s active and present and brings more visibility to our community.”\u003c/p>\n\u003cp>While Hemami’s migration to the U.S. strongly informs her body of work, she says a brief visit to Iran in 1990 altered the focus and influences behind her art.\u003c/p>\n\u003cfigure id=\"attachment_11424518\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11424518\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/taraneh-old-800x542.jpg\" alt=\"Hemami, pictured at 17 before moving to Oregon for college (left) and in her green card photo (right).\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-old.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-old-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-old-768x520.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hemami, pictured at 17 before moving to Oregon for college (left) and in her green card photo (right). \u003ccite>(Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was immersed in my culture and I got to visit historic sites that renewed my interest in Islamic architecture and arts,” Hemami says. “At the same time, I was immersed in the family narrative again, and I was inspired by the traditions being handed down by women from each generation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hemami’s trip inspired \u003ca href=\"http://www.taranehhemami.com/sacred-space\" target=\"_blank\" rel=\"noopener\">\u003ci>Sacred Space\u003c/i>\u003c/a>, a project focused on giving voice to women, something she saw was lacking in Iran and the Iranian community in the U.S. The work features memories and wishes collected from women by the artist. The women’s sayings are wrapped around a shrine-like structure and tiled on small cleansing pools inspired by mosques.\u003c/p>\n\u003cfigure id=\"attachment_11423650\" class=\"wp-caption alignnone\" style=\"max-width: 741px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423650\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/pool-741x600.jpg\" alt=\"Hemami's "Sacred Space" installation at San Francisco's The Lab featured women's stories embedded into mosque architectures.\" width=\"741\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool-741x600.jpg 741w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool.jpg 800w\" sizes=\"(max-width: 741px) 100vw, 741px\">\u003cfigcaption class=\"wp-caption-text\">Hemami’s “Sacred Space” installation at San Francisco’s The Lab featured women’s stories embedded into mosque architectures. \u003ccite>(Photo: Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to deeply personal pieces like \u003cem>Sacred Space\u003c/em>, Hemami also creates works about the experiences of the broader Middle Eastern community. “Multiplicity is what I’m interested in; it’s important to reflect the complexity and diversity of the community,” Hemami says. “I wanted to deny the singular image of Arabs and Iranians in the media.”\u003c/p>\n\u003cp>For her project \u003ca href=\"https://www.taranehhemami.com/hall-of-reflections-2000-present%E2%80%9D\" target=\"_blank\" rel=\"noopener\">\u003ci>Hall of Reflections\u003c/i>\u003c/a>, Hemami collected photographs and letters from individuals to create collages representative of the group’s historical displacement after the Iranian revolution. “I created it post-9/11, when gathering spaces became especially important for people,” Hemami says. “I worked off archives from the community to give historical and personal context to the project. It allowed us to talk about who we are.”\u003c/p>\n\u003cfigure id=\"attachment_11423651\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423651\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/poolstuff-800x594.jpg\" alt=\""Ruins", one of the pieces in Hemami's "Hall of Reflections" project, is a collection of personal photographs and stories from Iranian immigrants.\" width=\"800\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolstuff.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolstuff-400x297.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolstuff-768x570.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ruins”, one of the pieces in Hemami’s “Hall of Reflections” project, is a collection of personal photographs and stories from Iranian immigrants. \u003ccite>(Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Works that address collective mourning and the reconstruction of histories, such as those by sculptor \u003ca href=\"http://whitecube.com/artists/doris_salcedo/\" target=\"_blank\" rel=\"noopener\">Doris Salcedo\u003c/a> and media artist \u003ca href=\"http://www.theatlasgroup.org/\" target=\"_blank\" rel=\"noopener\">Walid Raad\u003c/a>, serve as inspiration for Hemami, who holds a deep fascination for community art-making and participatory work.\u003c/p>\n\u003cp>For her most recent project \u003ca href=\"//www.taranehhemami.com/theory-of-survival%E2%80%9D\" target=\"”_blank”\" rel=\"noopener\">\u003ci>Theory of Survival\u003c/i>\u003c/a>, Hemami invited Californian artists and scholars to interpret and respond to material from the historical archives of the Iranian Students Association of Northern California, an anti-Shah student organization inspired by international anti-colonial movements in the 1960s and 70s. Together, the participants created art pieces exploring the violent history of dissent and radical movements in the Iranian community through varying mediums, like glass, textiles and digital photography.\u003c/p>\n\u003cfigure id=\"attachment_11423652\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423652\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/poolwall-800x528.jpg\" alt=\""Theory of Survival", Hemami's recent work, explores the history of dissent in the Iranian community.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolwall.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolwall-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolwall-768x507.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Theory of Survival”, Hemami’s recent work, explores the history of dissent in the Iranian community. \u003ccite>(Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as it taps into the community, Hemami’s work also provides the artist with a medium to come to terms with her own displacement. “The project started with me having lost stories of my family after being away for nearly 20 years,” Hemami says. “But being on the public platform invites me to do something more than personal reflections. My art practice, my teaching practice, my activism, and my community organizing are merging into one.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Take This Hammer' Reveals Power of Art and Activism at YBCA",
"headTitle": "‘Take This Hammer’ Reveals Power of Art and Activism at YBCA | KQED",
"content": "\u003cp>At my very first direct action training some 20 years ago, I clearly remember the facilitator emphasizing the importance of using creativity to get our messages about capitalism, deforestation and racism out there. “It will make people think,” he told us. “And in the very least, the police won’t know what to do you with you if you’re dressed like a clown-tree and performing a monologue about sweat shop labor while riding a unicycle.”\u003c/p>\n\u003cp>He was right. The intersection of art and activism certainly makes people think. And at this moment in history, critical thinking is desperately needed.\u003c/p>\n\u003cp>In today’s world of online petition activism and social media political memes, it can be easy to click away and forget the many other forms of action that change makers engage with out in the real world — and the varied creative mediums they use to get their messages to the masses.\u003c/p>\n\u003cfigure id=\"attachment_11422442\" class=\"wp-caption aligncenter\" style=\"max-width: 1082px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11422442 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/ybca-3edited.jpg\" alt=\"Carved and inked particle board from CultureStrike\" width=\"1082\" height=\"878\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/ybca-3edited.jpg 1082w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/ybca-3edited-400x325.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/ybca-3edited-739x600.jpg 739w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/ybca-3edited-768x623.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/ybca-3edited-960x779.jpg 960w\" sizes=\"(max-width: 1082px) 100vw, 1082px\">\u003cfigcaption class=\"wp-caption-text\">Carved and inked particle board from CultureStrike \u003ccite>(John Cartwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.ybca.org/christian-frock-take-this-hammer\" target=\"_blank\" rel=\"noopener\">\u003cem>Take This Hammer: Art + Media Activism from the Bay Area\u003c/em>\u003c/a> brings together an extensive, radical and heart-wrenching collection of multimedia activist art that should be required viewing.\u003c/p>\n\u003cp>The exhibition, which runs through August at the Yerba Buena Center for the Arts in San Francisco, covers a lot of ground, a survey that can at once be overwhelming and inspirational. The overwhelm of course comes from the vast range of socio-political and environmental issues we currently face as a society: racism, police brutality, housing crises/gentrification, poverty, the prison industrial complex, the list goes on. The inspiration comes from the seemingly endless creativity utilized within visual, performing and literary arts as tools for individual and collective resistance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The exhibition begins in the lobby of the YBCA with a row of screens playing various film clips, including \u003cem>\u003ca href=\"https://vimeo.com/13175192\" target=\"_blank\" rel=\"noopener\">Take This Hammer\u003c/a>\u003c/em>, the 1963 documentary featuring James Baldwin’s trip to San Francisco, \u003cem>Walls into Bridges\u003c/em>, featuring Angela Davis and episode 10 of \u003cem>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223557\" target=\"_blank\" rel=\"noopener\">Blacks, Blues, Black!\u003c/a>\u003c/em> a 1968 documentary series written and produced exclusively for KQED by Maya Angelou.\u003c/p>\n\u003cfigure id=\"attachment_11422443\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11422443 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/anti-evictionedited.jpg\" alt=\"Anti-Eviction Mapping Project\" width=\"1280\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited-1180x831.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited-960x676.jpg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Anti-Eviction Mapping Project \u003ccite>(John Cartwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon entering the main gallery on the first floor, where the bulk of \u003cem>Take This Hammer\u003c/em> is on display, visitors are greeted with a wall of protest posters from San Leandro-based \u003ca href=\"http://dignidadrebelde.com/\" target=\"_blank\" rel=\"noopener\">Dignidad Rebelde\u003c/a>. The collaborate project focuses on Chicana feminism and the intersection of indigenous rights with autonomy; posters cover issues spanning from the disappearances of women in Ciudad Juárez, Mexico to the liberation of Palestine.\u003c/p>\n\u003cp>Work from Oakland-based activist organization \u003ca href=\"http://www.culturestrike.org/\" target=\"_blank\" rel=\"noopener\">CultureStrike\u003c/a> is prominently displayed as well, including video installations, a collection of protest signs, and executive director Favianna Rodriguez’s 13-by-30-foot \u003cem>Pleasure is Freedom\u003c/em> mural.\u003c/p>\n\u003cp>Other video work inside the main gallery includes \u003cem>‘Tasha\u003c/em>, a video piece written and performed by Cat Brooks of Black Lives Matter and the \u003ca href=\"http://www.antipoliceterrorproject.org/\" target=\"_blank\" rel=\"noopener\">Anti Police-Terror Project\u003c/a>, \u003ca href=\"http://www.lesliedreyer.com/\" target=\"_blank\" rel=\"noopener\">Leslie Dreyer\u003c/a>’s anti-Google bus tactical intervention and William Rhodes’ \u003cem>Cross Burning\u003c/em>, a short video documenting his construction of a 12-foot-tall cross made of mirror, glass and gold leaf.\u003c/p>\n\u003cfigure id=\"attachment_11422444\" class=\"wp-caption aligncenter\" style=\"max-width: 1527px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11422444 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited.jpg\" alt=\"Oree Originol, Detail from 'Justice for Alex Nieto' \" width=\"1527\" height=\"1709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited.jpg 1527w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-400x448.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-536x600.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-768x860.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-1054x1180.jpg 1054w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-1180x1321.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-960x1074.jpg 960w\" sizes=\"(max-width: 1527px) 100vw, 1527px\">\u003cfigcaption class=\"wp-caption-text\">Oree Originol, Detail from ‘Justice for Alex Nieto’ \u003ccite>(Dani Burlison)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://adrienneskyeroberts.com/\" target=\"_blank\" rel=\"noopener\">Adrienne Skye Roberts\u003c/a>’ \u003cem>A Living Chance: Storytelling to End Life Without Parole\u003c/em> project includes stacks of eight different postcards (and accompanying audio) that visitors are free to take. Each card includes a portrait of a woman incarcerated for life without parole (portraits by Billie Simões Belo), with commentary about life in prison — in the women’s own words — on each card.\u003c/p>\n\u003cp>The ambitious exhibition also includes installations from the \u003ca href=\"http://www.antievictionmap.com/\" target=\"_blank\" rel=\"noopener\">Anti-Eviction Mapping Project\u003c/a>, \u003ca href=\"http://www.guantanamobaymuseum.org/\" target=\"_blank\" rel=\"noopener\">The Guantanamo Bay Museum of Art and History,\u003c/a> Emory Douglas, Tucker Nichols, an incredible analysis of San Francisco’s activist culture written by Rebecca Solnit (available for free in the YBCA lobby) and so much more.\u003c/p>\n\u003cp>Yet the most punch-in-the-gut installation for me, personally, was the timely presence of \u003ca href=\"http://oreeoriginol.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Oree Originol\u003c/a>’s \u003cem>Justice For Our Lives\u003c/em>. A collection of simple sketches of people of color killed by law enforcement since 2014, the bright sheets of paper cover an entire wall. The names and faces of victims from our greater Bay Area community include Oscar Grant, 13-year-old Andy Lopez, Mario Woods and Alex Nieto, who was killed in San Francisco in March 2014. Just a week before \u003cem>Take This Hammer\u003c/em> opened, the four police officers who fired 59 shots at Nieto were \u003ca href=\"http://ww2.kqed.org/news/2016/03/10/jury-clears-s-f-police-officers-of-wrongdoing-in-nieto-shooting\" target=\"_blank\" rel=\"noopener\">cleared of any wrongdoing\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Take This Hammer\u003c/em> makes us think. And then it makes us think some more. I suggest a long, thoughtful visit to the exhibition before going home and working on some creative resistance of your own.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Take This Hammer\u003c/strong> is on view at Yerba Buena Center for the Arts in San Francisco through August 14, 2016. For tickets and more information visit \u003ca href=\"http://www.ybca.org/christian-frock-take-this-hammer\" target=\"_blank\" rel=\"noopener\">ybca.org\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At my very first direct action training some 20 years ago, I clearly remember the facilitator emphasizing the importance of using creativity to get our messages about capitalism, deforestation and racism out there. “It will make people think,” he told us. “And in the very least, the police won’t know what to do you with you if you’re dressed like a clown-tree and performing a monologue about sweat shop labor while riding a unicycle.”\u003c/p>\n\u003cp>He was right. The intersection of art and activism certainly makes people think. And at this moment in history, critical thinking is desperately needed.\u003c/p>\n\u003cp>In today’s world of online petition activism and social media political memes, it can be easy to click away and forget the many other forms of action that change makers engage with out in the real world — and the varied creative mediums they use to get their messages to the masses.\u003c/p>\n\u003cfigure id=\"attachment_11422442\" class=\"wp-caption aligncenter\" style=\"max-width: 1082px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11422442 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/ybca-3edited.jpg\" alt=\"Carved and inked particle board from CultureStrike\" width=\"1082\" height=\"878\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/ybca-3edited.jpg 1082w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/ybca-3edited-400x325.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/ybca-3edited-739x600.jpg 739w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/ybca-3edited-768x623.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/ybca-3edited-960x779.jpg 960w\" sizes=\"(max-width: 1082px) 100vw, 1082px\">\u003cfigcaption class=\"wp-caption-text\">Carved and inked particle board from CultureStrike \u003ccite>(John Cartwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.ybca.org/christian-frock-take-this-hammer\" target=\"_blank\" rel=\"noopener\">\u003cem>Take This Hammer: Art + Media Activism from the Bay Area\u003c/em>\u003c/a> brings together an extensive, radical and heart-wrenching collection of multimedia activist art that should be required viewing.\u003c/p>\n\u003cp>The exhibition, which runs through August at the Yerba Buena Center for the Arts in San Francisco, covers a lot of ground, a survey that can at once be overwhelming and inspirational. The overwhelm of course comes from the vast range of socio-political and environmental issues we currently face as a society: racism, police brutality, housing crises/gentrification, poverty, the prison industrial complex, the list goes on. The inspiration comes from the seemingly endless creativity utilized within visual, performing and literary arts as tools for individual and collective resistance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The exhibition begins in the lobby of the YBCA with a row of screens playing various film clips, including \u003cem>\u003ca href=\"https://vimeo.com/13175192\" target=\"_blank\" rel=\"noopener\">Take This Hammer\u003c/a>\u003c/em>, the 1963 documentary featuring James Baldwin’s trip to San Francisco, \u003cem>Walls into Bridges\u003c/em>, featuring Angela Davis and episode 10 of \u003cem>\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/223557\" target=\"_blank\" rel=\"noopener\">Blacks, Blues, Black!\u003c/a>\u003c/em> a 1968 documentary series written and produced exclusively for KQED by Maya Angelou.\u003c/p>\n\u003cfigure id=\"attachment_11422443\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11422443 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/anti-evictionedited.jpg\" alt=\"Anti-Eviction Mapping Project\" width=\"1280\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited-1180x831.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/anti-evictionedited-960x676.jpg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Anti-Eviction Mapping Project \u003ccite>(John Cartwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon entering the main gallery on the first floor, where the bulk of \u003cem>Take This Hammer\u003c/em> is on display, visitors are greeted with a wall of protest posters from San Leandro-based \u003ca href=\"http://dignidadrebelde.com/\" target=\"_blank\" rel=\"noopener\">Dignidad Rebelde\u003c/a>. The collaborate project focuses on Chicana feminism and the intersection of indigenous rights with autonomy; posters cover issues spanning from the disappearances of women in Ciudad Juárez, Mexico to the liberation of Palestine.\u003c/p>\n\u003cp>Work from Oakland-based activist organization \u003ca href=\"http://www.culturestrike.org/\" target=\"_blank\" rel=\"noopener\">CultureStrike\u003c/a> is prominently displayed as well, including video installations, a collection of protest signs, and executive director Favianna Rodriguez’s 13-by-30-foot \u003cem>Pleasure is Freedom\u003c/em> mural.\u003c/p>\n\u003cp>Other video work inside the main gallery includes \u003cem>‘Tasha\u003c/em>, a video piece written and performed by Cat Brooks of Black Lives Matter and the \u003ca href=\"http://www.antipoliceterrorproject.org/\" target=\"_blank\" rel=\"noopener\">Anti Police-Terror Project\u003c/a>, \u003ca href=\"http://www.lesliedreyer.com/\" target=\"_blank\" rel=\"noopener\">Leslie Dreyer\u003c/a>’s anti-Google bus tactical intervention and William Rhodes’ \u003cem>Cross Burning\u003c/em>, a short video documenting his construction of a 12-foot-tall cross made of mirror, glass and gold leaf.\u003c/p>\n\u003cfigure id=\"attachment_11422444\" class=\"wp-caption aligncenter\" style=\"max-width: 1527px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11422444 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited.jpg\" alt=\"Oree Originol, Detail from 'Justice for Alex Nieto' \" width=\"1527\" height=\"1709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited.jpg 1527w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-400x448.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-536x600.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-768x860.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-1054x1180.jpg 1054w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-1180x1321.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Alex-Nietoedited-960x1074.jpg 960w\" sizes=\"(max-width: 1527px) 100vw, 1527px\">\u003cfigcaption class=\"wp-caption-text\">Oree Originol, Detail from ‘Justice for Alex Nieto’ \u003ccite>(Dani Burlison)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://adrienneskyeroberts.com/\" target=\"_blank\" rel=\"noopener\">Adrienne Skye Roberts\u003c/a>’ \u003cem>A Living Chance: Storytelling to End Life Without Parole\u003c/em> project includes stacks of eight different postcards (and accompanying audio) that visitors are free to take. Each card includes a portrait of a woman incarcerated for life without parole (portraits by Billie Simões Belo), with commentary about life in prison — in the women’s own words — on each card.\u003c/p>\n\u003cp>The ambitious exhibition also includes installations from the \u003ca href=\"http://www.antievictionmap.com/\" target=\"_blank\" rel=\"noopener\">Anti-Eviction Mapping Project\u003c/a>, \u003ca href=\"http://www.guantanamobaymuseum.org/\" target=\"_blank\" rel=\"noopener\">The Guantanamo Bay Museum of Art and History,\u003c/a> Emory Douglas, Tucker Nichols, an incredible analysis of San Francisco’s activist culture written by Rebecca Solnit (available for free in the YBCA lobby) and so much more.\u003c/p>\n\u003cp>Yet the most punch-in-the-gut installation for me, personally, was the timely presence of \u003ca href=\"http://oreeoriginol.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Oree Originol\u003c/a>’s \u003cem>Justice For Our Lives\u003c/em>. A collection of simple sketches of people of color killed by law enforcement since 2014, the bright sheets of paper cover an entire wall. The names and faces of victims from our greater Bay Area community include Oscar Grant, 13-year-old Andy Lopez, Mario Woods and Alex Nieto, who was killed in San Francisco in March 2014. Just a week before \u003cem>Take This Hammer\u003c/em> opened, the four police officers who fired 59 shots at Nieto were \u003ca href=\"http://ww2.kqed.org/news/2016/03/10/jury-clears-s-f-police-officers-of-wrongdoing-in-nieto-shooting\" target=\"_blank\" rel=\"noopener\">cleared of any wrongdoing\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Take This Hammer\u003c/em> makes us think. And then it makes us think some more. I suggest a long, thoughtful visit to the exhibition before going home and working on some creative resistance of your own.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Take This Hammer\u003c/strong> is on view at Yerba Buena Center for the Arts in San Francisco through August 14, 2016. For tickets and more information visit \u003ca href=\"http://www.ybca.org/christian-frock-take-this-hammer\" target=\"_blank\" rel=\"noopener\">ybca.org\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>‘Backstage Heroes’ is a series spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is Hiya Swanhuyser, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the SF Weekly — where her \u003ca href=\"http://www.sfweekly.com/sanfrancisco/ArticleArchives?author=2126606\" target=\"_blank\" rel=\"noopener\">‘Music Heroes’ \u003c/a>series inspired this broader look at the arts — giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>When we think of museums, we think about display — about objects to view. But more and more, art institutions are interested in something else: we might call it “fun” or “hipster band night” or “craft tables,” but the umbrella term is programming.\u003c/p>\n\u003cp>While plenty of Bay Area museums have instituted evening cocktails and performance series, few have committed to the practice of highly social, interactive “extras” like the \u003ca href=\"http://www.thecjm.org/\" target=\"_blank\" rel=\"noopener\">Contemporary Jewish Museum\u003c/a>, and behind it is Gravity Goldberg, a woman with an extraordinary name and a deep love of her behind-the-scenes job.\u003c/p>\n\u003cfigure id=\"attachment_11422776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11422776\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/12347636_10153804638908069_7723682928317258186_n-800x531.jpg\" alt=\"Gravity Goldberg with noted filmmaker Tiffany Shlain at one of the museum's frequent after-hours events. \" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12347636_10153804638908069_7723682928317258186_n-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12347636_10153804638908069_7723682928317258186_n-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12347636_10153804638908069_7723682928317258186_n-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12347636_10153804638908069_7723682928317258186_n.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gravity Goldberg with noted filmmaker Tiffany Shlain at Night at the Jewseum, one of the museum’s frequent after-hours events. \u003ccite>(Gracie Malley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Walk into the CJM’s lofty entrance hall, and you’re already smiling. The parade of globes on a chain track mechanism have caught your eye, but also, you could grab a bagel at Wise Sons, or there might be little tricks or games by the coat check. As associate director and curator of public programs, Goldberg’s work has only begun. Starting with the factoid that the average person looks at the average piece of art for just two seconds, her goal is to give the public permission to slow down a little, to take more time to absorb things.\u003c/p>\n\u003cp>“Art takes a little bit of the world and defamiliarizes what is familiar,” Goldberg says over green-tea lattes at a café on a recent sunny afternoon. “It brings us back around to where we can re-engage and re-understand, and maybe make more sense out of our lives.” Her events take place inside the museum’s installations, right in the galleries themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perched on a narrow bench seat with the café chattering away around her, Goldberg radiates a quiet, compassionate intensity. Later, she’ll tell me no one ever asks her to talk about her work. Too bad, since she’s got plenty to say and nearly five years’ worth of deep meditation on the moment — those two seconds — of seeing art. “People look at a deconstructed car that’s strewn across the floor, and they think there’s supposed to be a right answer … And part of what I’m trying to do is to say there’s not a right answer, but rather we’re supposed to bring what we have to art.”\u003c/p>\n\u003cfigure id=\"attachment_11422777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11422777\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/11140064_10153644054238069_6404316466444072400_n-800x535.jpg\" alt=\"Cassette-making craft time accompanied the museum's recent Amy Winehouse exhibit.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/11140064_10153644054238069_6404316466444072400_n-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/11140064_10153644054238069_6404316466444072400_n-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/11140064_10153644054238069_6404316466444072400_n-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/11140064_10153644054238069_6404316466444072400_n.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cassette-making craft time accompanied the museum’s recent Amy Winehouse exhibit. \u003ccite>(Gracie Malley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With that philosophy in mind, she programs events in conversation with the exhibits, but also with the project of roughing up the idea of expertise; bringing it out of the art world. Talks have been about photomicroscopy, rock medicine, the CIA, and 20th century socialism. Speakers have included Ed Hardy, Greil Marcus, and at one particularly memorable panel, writer Michelle Tea, poet Eileen Myles, and writer-director Jill Soloway. Myles and Soloway met there and started dating afterward, Goldberg tells me. “So we’re proud of that.”\u003c/p>\n\u003cp>These are live events, after all, not static exhibitions, and Goldberg is often the responsible party, no matter what goes down. People yell at her, or complain randomly in long, handwritten letters. You never know what’s going to come out of someone’s mouth, she says, be they audience or presenter. “And that’s half the fun of it!”\u003c/p>\n\u003cp>Goldberg’s the right person in the right place, obviously. As she describes her process — Invite poets? Dancers? Who has something interesting to say about this particular piece of art? — she says it’s about becoming completely immersed in the exhibit itself, researching, listening, thinking. She waxes slightly lysergic when I ask about her favorite part of the job. It’s the moment when anything is possible, she says, when “You’ve absorbed the content enough, and it’s kind of coursing through your veins, and it smells like the perfume you’re wearing, and you’re dressing to match the colors of the exhibition in your mind, and it’s just part of you.”\u003c/p>\n\u003cp>This, I think, is how you fight the two-second problem. Still, programming has problems a lot of jobs share: Too much email, not enough money. Museum workers are having the same hard time scraping by in an inflated market as anyone else. But the rewards are many.\u003c/p>\n\u003cfigure id=\"attachment_11422779\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11422779\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/1453319_10153337898173069_1703113364004993320_n-800x597.jpg\" alt=\"SF rockers The She's performing at the CJM.\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1453319_10153337898173069_1703113364004993320_n-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1453319_10153337898173069_1703113364004993320_n-400x298.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1453319_10153337898173069_1703113364004993320_n-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1453319_10153337898173069_1703113364004993320_n.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF rockers The She’s performing at the CJM. \u003ccite>(Gracie Malley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve had a blast,” says Bonnie Simmons, Executive Director of the Bill Graham Memorial Foundation and an artist organizer for the Hardly Strictly Bluegrass Festival. “Gravity and I have been working together recently both on the Warren Hellman exhibit and now the Bill Graham exhibit.” (Check out KQED Music Editor Gabe Meline’s \u003ca href=\"http://ww2.kqed.org/arts/2016/03/16/bill-graham-the-personality-no-museum-could-possibly-contain/\" target=\"_blank\" rel=\"noopener\">review of that exhibit right here\u003c/a>.) Simmons says she and Goldberg are both “passionate” about their work, and that Goldberg excels at incorporating younger artists; supporting living artists is a big deal for the CJM.\u003c/p>\n\u003cp>In February, as part of the “Chasing Justice” exhibition, Goldberg invited a staff attorney at the Electronic Frontier Foundation to give a talk. Mark Rumold, who often works with the Freedom of Information Act, addressed the art of Arnold Mesches, who had FOIA-ed his own FBI file, heavily redacted, or “blacked out,” as they often are, and used it as the basis for a series of collaged paintings. The lawyer “looked at the redacted text, under the painting,” Goldberg tells me. “He said, ‘I know this looks really blacked-out to your eye, but to me, no. I still see words. And see the little codes written next to this black line? This means that under these black lines there’s a list of names of people who were informants.”\u003c/p>\n\u003cp>This is what she does: If the story of a lawyer who found meanings that even the artist himself couldn’t see in his own painting doesn’t get us to spend more than two seconds, well, it’s still “fun.” If you’d been there, though, looking at the Mesches painting while someone from way outside the art world completely recontextualized it, you’d have gotten a big electric bolt of permission: To slow down, to think your own thoughts, to make more sense out of life.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>‘Backstage Heroes’ is a series spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is Hiya Swanhuyser, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the SF Weekly — where her \u003ca href=\"http://www.sfweekly.com/sanfrancisco/ArticleArchives?author=2126606\" target=\"_blank\" rel=\"noopener\">‘Music Heroes’ \u003c/a>series inspired this broader look at the arts — giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>When we think of museums, we think about display — about objects to view. But more and more, art institutions are interested in something else: we might call it “fun” or “hipster band night” or “craft tables,” but the umbrella term is programming.\u003c/p>\n\u003cp>While plenty of Bay Area museums have instituted evening cocktails and performance series, few have committed to the practice of highly social, interactive “extras” like the \u003ca href=\"http://www.thecjm.org/\" target=\"_blank\" rel=\"noopener\">Contemporary Jewish Museum\u003c/a>, and behind it is Gravity Goldberg, a woman with an extraordinary name and a deep love of her behind-the-scenes job.\u003c/p>\n\u003cfigure id=\"attachment_11422776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11422776\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/12347636_10153804638908069_7723682928317258186_n-800x531.jpg\" alt=\"Gravity Goldberg with noted filmmaker Tiffany Shlain at one of the museum's frequent after-hours events. \" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12347636_10153804638908069_7723682928317258186_n-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12347636_10153804638908069_7723682928317258186_n-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12347636_10153804638908069_7723682928317258186_n-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12347636_10153804638908069_7723682928317258186_n.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gravity Goldberg with noted filmmaker Tiffany Shlain at Night at the Jewseum, one of the museum’s frequent after-hours events. \u003ccite>(Gracie Malley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Walk into the CJM’s lofty entrance hall, and you’re already smiling. The parade of globes on a chain track mechanism have caught your eye, but also, you could grab a bagel at Wise Sons, or there might be little tricks or games by the coat check. As associate director and curator of public programs, Goldberg’s work has only begun. Starting with the factoid that the average person looks at the average piece of art for just two seconds, her goal is to give the public permission to slow down a little, to take more time to absorb things.\u003c/p>\n\u003cp>“Art takes a little bit of the world and defamiliarizes what is familiar,” Goldberg says over green-tea lattes at a café on a recent sunny afternoon. “It brings us back around to where we can re-engage and re-understand, and maybe make more sense out of our lives.” Her events take place inside the museum’s installations, right in the galleries themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perched on a narrow bench seat with the café chattering away around her, Goldberg radiates a quiet, compassionate intensity. Later, she’ll tell me no one ever asks her to talk about her work. Too bad, since she’s got plenty to say and nearly five years’ worth of deep meditation on the moment — those two seconds — of seeing art. “People look at a deconstructed car that’s strewn across the floor, and they think there’s supposed to be a right answer … And part of what I’m trying to do is to say there’s not a right answer, but rather we’re supposed to bring what we have to art.”\u003c/p>\n\u003cfigure id=\"attachment_11422777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11422777\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/11140064_10153644054238069_6404316466444072400_n-800x535.jpg\" alt=\"Cassette-making craft time accompanied the museum's recent Amy Winehouse exhibit.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/11140064_10153644054238069_6404316466444072400_n-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/11140064_10153644054238069_6404316466444072400_n-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/11140064_10153644054238069_6404316466444072400_n-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/11140064_10153644054238069_6404316466444072400_n.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cassette-making craft time accompanied the museum’s recent Amy Winehouse exhibit. \u003ccite>(Gracie Malley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With that philosophy in mind, she programs events in conversation with the exhibits, but also with the project of roughing up the idea of expertise; bringing it out of the art world. Talks have been about photomicroscopy, rock medicine, the CIA, and 20th century socialism. Speakers have included Ed Hardy, Greil Marcus, and at one particularly memorable panel, writer Michelle Tea, poet Eileen Myles, and writer-director Jill Soloway. Myles and Soloway met there and started dating afterward, Goldberg tells me. “So we’re proud of that.”\u003c/p>\n\u003cp>These are live events, after all, not static exhibitions, and Goldberg is often the responsible party, no matter what goes down. People yell at her, or complain randomly in long, handwritten letters. You never know what’s going to come out of someone’s mouth, she says, be they audience or presenter. “And that’s half the fun of it!”\u003c/p>\n\u003cp>Goldberg’s the right person in the right place, obviously. As she describes her process — Invite poets? Dancers? Who has something interesting to say about this particular piece of art? — she says it’s about becoming completely immersed in the exhibit itself, researching, listening, thinking. She waxes slightly lysergic when I ask about her favorite part of the job. It’s the moment when anything is possible, she says, when “You’ve absorbed the content enough, and it’s kind of coursing through your veins, and it smells like the perfume you’re wearing, and you’re dressing to match the colors of the exhibition in your mind, and it’s just part of you.”\u003c/p>\n\u003cp>This, I think, is how you fight the two-second problem. Still, programming has problems a lot of jobs share: Too much email, not enough money. Museum workers are having the same hard time scraping by in an inflated market as anyone else. But the rewards are many.\u003c/p>\n\u003cfigure id=\"attachment_11422779\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11422779\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/1453319_10153337898173069_1703113364004993320_n-800x597.jpg\" alt=\"SF rockers The She's performing at the CJM.\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1453319_10153337898173069_1703113364004993320_n-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1453319_10153337898173069_1703113364004993320_n-400x298.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1453319_10153337898173069_1703113364004993320_n-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1453319_10153337898173069_1703113364004993320_n.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF rockers The She’s performing at the CJM. \u003ccite>(Gracie Malley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve had a blast,” says Bonnie Simmons, Executive Director of the Bill Graham Memorial Foundation and an artist organizer for the Hardly Strictly Bluegrass Festival. “Gravity and I have been working together recently both on the Warren Hellman exhibit and now the Bill Graham exhibit.” (Check out KQED Music Editor Gabe Meline’s \u003ca href=\"http://ww2.kqed.org/arts/2016/03/16/bill-graham-the-personality-no-museum-could-possibly-contain/\" target=\"_blank\" rel=\"noopener\">review of that exhibit right here\u003c/a>.) Simmons says she and Goldberg are both “passionate” about their work, and that Goldberg excels at incorporating younger artists; supporting living artists is a big deal for the CJM.\u003c/p>\n\u003cp>In February, as part of the “Chasing Justice” exhibition, Goldberg invited a staff attorney at the Electronic Frontier Foundation to give a talk. Mark Rumold, who often works with the Freedom of Information Act, addressed the art of Arnold Mesches, who had FOIA-ed his own FBI file, heavily redacted, or “blacked out,” as they often are, and used it as the basis for a series of collaged paintings. The lawyer “looked at the redacted text, under the painting,” Goldberg tells me. “He said, ‘I know this looks really blacked-out to your eye, but to me, no. I still see words. And see the little codes written next to this black line? This means that under these black lines there’s a list of names of people who were informants.”\u003c/p>\n\u003cp>This is what she does: If the story of a lawyer who found meanings that even the artist himself couldn’t see in his own painting doesn’t get us to spend more than two seconds, well, it’s still “fun.” If you’d been there, though, looking at the Mesches painting while someone from way outside the art world completely recontextualized it, you’d have gotten a big electric bolt of permission: To slow down, to think your own thoughts, to make more sense out of life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Daniel Clowes On Time Travel, a Changing Oakland, and 'Patience'",
"title": "Daniel Clowes On Time Travel, a Changing Oakland, and 'Patience'",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>It's a cliché because it's true: Life can change in an instant. Often, of course, we can’t tell which choices will shape our lives until they’re years away in the rearview mirror, given weight and color by the present. So it’s oddly fitting, perhaps, that \u003cem>\u003ca href=\"http://www.fantagraphics.com/patience/\" target=\"_blank\">Patience\u003c/a>\u003c/em>, Daniel Clowes’ first book in a half-decade -- the renowned graphic novelist’s most ambitious, reflective, weighty work yet, and one that took him five long years to birth -- is obsessed with events that take place in a matter of seconds.\u003c/p>\n\u003cp>Clowes was one of the first comics artists to propel the graphic novel into the mainstream literary world. Though a devoted, far-flung fan base had been following his delightfully weird \u003ca href=\"http://www.fantagraphics.com/complete8ball/\" target=\"_blank\">\u003cem>Eightball\u003c/em> series\u003c/a> for a nearly a decade, it was the bleak comedy of 1997's coming-of-age story \u003cem>Ghost World\u003c/em> that, for many, cast a whole new light on what comics could be. (The screenplay adaptation of that book earned Clowes an Oscar nomination, revealing a new talent of his, as well.)\u003c/p>\n\u003cp>In the nearly two decades since, Clowes has become something of a \u003ca href=\"http://ww2.kqed.org/arts/2016/01/06/daniel-clowes-boycotting-comic-award-contest-bereft-of-female-nominees/\" target=\"_blank\">respected elder figure within the comics scene\u003c/a> (no matter how uncomfortable that delineation might make the 54-year-old) as his art fills retrospectives and museum exhibits alongside current \u003cem>New Yorker \u003c/em>covers. But his hallmark remains: an uncanny ability to imbue a seemingly dull interaction between characters with a level of nuance that leaps off the page, not in spite of but because of its quietude: the simple melancholia and hilarity of everyday existence, the hopes and pitfalls of loners and weirdos, are rendered with as much urgency as any bank robbery or high-speed car chase.\u003c/p>\n\u003cfigure id=\"attachment_21317\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg class=\"wp-image-21317 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/dc3.jpg\" alt=\"dc3\" width=\"650\" height=\"435\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc3.jpg 650w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc3-400x268.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">A panel from 'Patience.'\u003c/figcaption>\u003c/figure>\n\u003cp>In a departure from much of his earlier work, \u003cem>Patience\u003c/em> (Fantagraphics; $29.99) sees Clowes blending literal action -- ray-gun fight scenes, seedy gambling dens straight out of\u003cem> Blade Runner\u003c/em> -- with his usual subtle human drama. Over the course of 180 bright, color-saturated pages, the reader follows a couple (the titular Patience and her husband Jack) on a surrealist, time-traveling adventure; Jack fixates on the past, attempting to change the course of history in order to ensure his family’s future.\u003c/p>\n\u003cp>Clowes, who lives in Piedmont with his own wife and son, made some time to chat about the book ahead of \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-daniel-clowes\" target=\"_blank\">his appearance on Wednesday, March 23 at Green Apple Books on the Park in San Francisco\u003c/a>. (This interview has been edited and condensed, if you can believe that.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>KQED Pop: One thing I’ve always admired about your earlier work is the degree to which you experimented and changed styles between comics, even within a single issue of \u003cem>Eightball\u003c/em>. So I’m curious what it felt like to work on one cohesive project for five long years?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Daniel Clowes:\u003c/strong> You put the proper gravitas in that question. It’s funny, because I know the book looks fairly uniform, but I’ve gotten to the point where there are all these subtle shifts in style that made it seem jarringly different from page to page, and that’s in no way perceptible to anybody but me. But that was enough to keep me from feeling like I was stuck in a method I got bored with.\u003c/p>\n\u003cp>Also somehow I knew that this was going to be a book that was all about the coloring. In the past, all my color books started out, like, ‘This could still be black and white, or maybe just one color,’ and then I morphed into color mode by the end. In this one, I knew what I wanted it to look like. I think the color brings it all together and you don’t really notice the slight stylistic shifts from scene to scene.\u003c/p>\n\u003cp>[In terms of the narrative], carrying all the initial inspirations all the way through over five years really was that feeling of carrying a lit match across a windstorm.\u003c/p>\n\u003cfigure id=\"attachment_21314\" class=\"wp-caption aligncenter\" style=\"max-width: 538px\">\u003cimg class=\"size-full wp-image-21314\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/dc1.jpg\" alt=\"Panels from 'Patience'\" width=\"538\" height=\"484\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc1.jpg 538w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc1-400x360.jpg 400w\" sizes=\"(max-width: 538px) 100vw, 538px\">\u003cfigcaption class=\"wp-caption-text\">Panels from 'Patience.'\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With some of the action sequences, I was thinking about in \u003cem>Calvin and Hobbes\u003c/em>, when Bill Watterson would use Spaceman Spiff to let out that adventure-action comic strip he always wanted to do. Are these images things you’d been wanting to draw for years, and this was your chance?\u003c/strong>\u003c/p>\n\u003cp>There are a few things I’ve wanted to [do] for a long time -- not necessarily specific images in my head that I wanted to get on paper. But I love that idea of seeing a little bit of the workings of the universe behind the visual reality that we all see every day. I’ve always felt that presence, that there’s some infinite mathematical void that’s in the wings behind the stage, behind that play that we’re looking at as our reality, and thought about how to best depict that. There are [other] comic artists that allude to that -- mostly guys from the '50s, post-war guys with PTSD, looking at the world in a bigger way than their stories would indicate. I was always very inspired by that.\u003c/p>\n\u003cp>\u003cstrong>The time-travel stuff, the ability to go back and change a specific moment in the past -- did that come out of anything in particular for you?\u003c/strong>\u003c/p>\n\u003cp>Well, the notion of examining your past very carefully ... the last 10 years or so, I’ve had a whole bunch of retrospective projects, which are the kind of thing I normally just run from. I really don’t want to go back in time. But I got roped into doing a museum show of my work, and that led to a monograph, and then at the same time I had agreed to do a reprint of all the early \u003cem>Eightball\u003c/em>s, and that box set. It was all stuff that I thought, ‘Okay, I’ll let somebody else do that and I’ll work on my own thing.’ Then, of course, I got really drawn into the whole process and found myself in this odd dialogue with this younger version of myself. And in some ways it seemed like no time had passed at all, and in other ways it seemed like I was talking to a different person, in a different era, and it wasn’t myself at all. I didn’t even recognize myself in some of it.\u003c/p>\n\u003cfigure id=\"attachment_21272\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg class=\"wp-image-21272 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500.jpg\" alt=\"Patience, in 'Patience.'\" width=\"500\" height=\"331\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500-400x265.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Patience, in 'Patience.' \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I heard that \u003ca href=\"http://museumca.org/exhibit/modern-cartoonist-art-daniel-clowes\" target=\"_blank\">Oakland Museum exhibition\u003c/a> was great, but it also sounds a little bit like being eulogized before your time?\u003c/strong>\u003c/p>\n\u003cp>It absolutely felt like that. It was like attending your own funeral and hearing what people say about you -- which was all very nice. There’s a movie called \u003cem>Scarlet Street\u003c/em> that opens with Edward G. Robinson going to his retirement dinner, and he’s presented with this gold watch and everybody pats him on his back and then that’s it. He leaves and he has no friends or life after that. It really did feel like that. It was weird. I disassociated myself from it and started to just think of myself as a collector of Daniel Clowes artwork after a while, because you’d see name tags on things like they were on loan from a collector -- but it was ‘on loan from Daniel and Erica Clowes.’ I would be so proud. Like, wow, I have artwork loaned to a museum!\u003c/p>\n\u003cp>\u003cstrong>Are there works you specifically noticed that, if you could go back, you would change?\u003c/strong>\u003c/p>\n\u003cp>The time in my life I most thought about going back and changing things was when I was much younger. Like, “I wish I could go back to Thursday and not have said that stupid thing in class.” You know, the whole “If I could only do it again, I’d have the perfect comeback for that guy.” Stuff like that. And then as you get older, you have so many of those moments you couldn’t really pick one. It would be your entire life. [Laughs.]\u003c/p>\n\u003cp>I also sometimes think, when I look at my old comics, “If I could redo that now, I could make it really perfect.” But that would be such a terrible idea. A, it would make it worse, no matter how well you drew it or wrote it, and B, it would crush your life as it is now. It’s just not a good way to think. The more I got into the story, the more I realized that I have no desire whatsoever to do that, and I embraced the way that events unfold in a way you can’t really imagine.\u003c/p>\n\u003cfigure id=\"attachment_21275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-21275\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/DanClowesPortrait-800x963.jpg\" alt=\"Dan Clowes, a self-portrait.\" width=\"800\" height=\"963\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-800x963.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-400x482.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-768x925.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1440x1734.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1920x2312.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1180x1421.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-960x1156.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Clowes, a self-portrait. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With a lot of artistic depictions of dystopian futures, there’s usually a nostalgia about the past, a romanticism about decades gone by, and I really didn’t get that in \u003cem>Patience\u003c/em>. It seems like Jack is pissed off to be in the '70s or whatever. “This sh*t, really?”\u003c/strong>\u003c/p>\n\u003cp>[Laughs.] Yeah, if somebody sent me back to 1985, I would just be \u003cem>so sad\u003c/em>. It’s funny, because I really love certain past aesthetics, and I’ve always felt that the way history just steamrolls the past, especially art history -- the way there’ll be a perfectly good method of painting or writing or something and then the next thing will come along and destroy that. I’ve always been interested in going back and finding these old modes that were cast aside too soon and seeing what there is in them and combining them with other modes, things like that. I’m certainly not someone who’s 100 percent forward-minded. But I don’t have any desire to go back to any other time. I think as crazy and chaotic as things are, things are always slightly improving in some way.\u003c/p>\n\u003cp>\u003cstrong>That’s a message I think a lot of people could use right now.\u003c/strong>\u003c/p>\n\u003cp>And I didn’t really want to depict the future as a dystopia. I think people always have the feeling that they’re in the end times and everything is crumbling. I don’t know that that’s necessarily true. I feel like it’s just getting more fragmented and hard to grasp.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-21319\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/Patience-24-650x371.jpg\" alt=\"Patience-24-650x371\" width=\"650\" height=\"371\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/Patience-24-650x371.jpg 650w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/Patience-24-650x371-400x228.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/p>\n\u003cp>\u003cstrong>Since you mentioned the, uh, end times: there’s a kind of blowhard evangelical political TV personality in the book. Was that based on anyone in particular?\u003c/strong>\u003c/p>\n\u003cp>I just like that kind of American demagogue character. Of course, now it seems really prescient that we’ve got actual people like that vying for the White House. At the time, I was writing it and I thought ‘What would it take for a guy like this to become president?’ I thought that seemed really far-fetched, and now it seems much less so. But yeah, he came out of guys like Glenn Beck and people like that, who are clearly not speaking truthfully to their audience, projecting an image that’s not necessarily true in any way.\u003c/p>\n\u003cp>\u003cstrong>I’ve read that you didn’t show this to anyone as you worked?\u003c/strong>\u003c/p>\n\u003cp>I did not let anybody read it. People come in and out of my studio all the time, and pages are out; pages are there. People who saw it had no idea what was going on, and I think a lot of them thought I had lost my mind when they were just looking at the art. My wife wants to read it all at once -- which, I would never want her to be reading something and go “hmm.” That would throw me off so intensely. Just a little “what?” And then that’s all I would think about. Zero response is the best. Then when it’s done, I’m more than happy to hear anything, negative or positive, but not while I’m in the throes of it.\u003c/p>\n\u003cfigure id=\"attachment_21276\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg class=\"size-full wp-image-21276\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/clowes_eightball15.jpg\" alt=\"From 'Caricature,' Eightball #5. \" width=\"750\" height=\"648\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/clowes_eightball15.jpg 750w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/clowes_eightball15-400x346.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">From 'Caricature,' Eightball #5.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m interested in your relationship to feedback in general, because the reader feedback you used to publish -- the letters section in \u003cem>Eightball\u003c/em> -- was always so entertaining. Even the hateful letters made it such a hilarious little community to be a part of.\u003c/strong>\u003c/p>\n\u003cp>That was such a fun era. And I felt a responsibility back then, because there was no internet; there was no forum where people who read these comics or were interested in this stuff could connect with each other. I would set people up -- literally, I’d get letters from two different people in Danbury, Connecticut, and I would [write back] saying “There’s this girl who lives in town. You should call her.” I felt like I had to write back to everybody. Anybody who did any comics at all, I’d write them encouraging letters.\u003c/p>\n\u003cp>When I talk to other artists from my era, like the Hernandez Brothers [of \u003cem>Love and Rockets\u003c/em>], we all talk about how we basically knew 40 percent of our readers by name. On this recent tour a woman came out who had been at a signing I did in 1993, and I completely remembered her name, because she’d written me.\u003c/p>\n\u003cp>\u003cstrong>Is there a modern version of that? Do you keep up with what fans are saying on the internet? It seems like once you open that door it’s another thing entirely.\u003c/strong>\u003c/p>\n\u003cp>Yeah, it’s too overwhelming. I can’t get involved in it. It’s just different: there was an ease to it. You’d send a letter and then you’d wait three weeks and get a letter back… every Sunday I spent an hour doing it. I wish I could go back to the old way. It was the ideal scenario, and it was fun: I’d go to my mailbox once a week and it was like Christmas every time. Now, I just have no connection because it’d be too much. But that’s why I really do actually enjoy going on book tours and signings, because you see the demographics. You see, \"Oh, good, I still have young people showing up.\"\u003c/p>\n\u003cp>\u003cstrong>You \u003ca href=\"http://boingboing.net/2016/02/17/daniel-clowes-remembers-publis.html\" target=\"_blank\">posted a sweet piece about your friend and assistant Alvin\u003c/a>, who recently passed away. I thought it was such a great note to end on that he took your social media passwords with him.\u003c/strong>\u003c/p>\n\u003cp>Yeah. He was a wonderful guy, just a kind soul and a really good friend of mine. I miss him every minute. And yeah, he was very protective of that stuff. He took it on himself --\"I'm making you an Instagram page.\" \"Okay.\" I never asked for any of it. And he hated social media!\u003c/p>\n\u003cfigure id=\"attachment_21277\" class=\"wp-caption aligncenter\" style=\"max-width: 504px\">\u003cimg class=\" wp-image-21277\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut.jpg\" alt=\"Detail from a New Yorker cover by Clowes, May 2009. \" width=\"504\" height=\"365\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut-400x290.jpg 400w\" sizes=\"(max-width: 504px) 100vw, 504px\">\u003cfigcaption class=\"wp-caption-text\">Detail from a New Yorker cover by Clowes, May 2009.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Have you had to wade into the social media waters yourself since then?\u003c/strong>\u003c/p>\n\u003cp>No, I immediately tried to get somebody else to take over. [Laughs.] I want people who are looking for info about the book to be able to find it, but I have no desire to craft little jokes and post four times a day or whatever. That seems hopelessly sad to me, to imagine people I really like and respect sitting there and racking their brains to think of a little joke, to get that little jolt of dopamine or whatever. I just feel bad for them that they feel like they have to do that. And you see people who have done 200,000 tweets and you think, that’s just all gone. That’s buried. Nobody will ever, ever look at anything before yesterday. I couldn’t face that. It seems really Sisyphean.\u003c/p>\n\u003cp>\u003cstrong>I wanted to talk about setting a bit -- I know you live in Oakland, and your love for it came through so clearly in \u003cem>Wilson\u003c/em>, your last book. But the city’s obviously changed a lot since that came out in 2010, even.\u003c/strong>\u003c/p>\n\u003cp>Right. So, they’re working on a movie of \u003cem>Wilson\u003c/em> -- it’s pretty much done, actually -- and I tried so hard to get them to shoot in Oakland. I wrote the whole script with specific Oakland locations; every one is a real place. But because of regulations it was almost impossible to shoot a movie here. So they shot in St. Paul, Minnesota, which is really weirdly like a version of Oakland from about five or six years ago, before it got the five-star restaurants and all that. It was a good solution, but disappointing.\u003c/p>\n\u003cfigure id=\"attachment_21316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-21316 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/wilson_0-e1458345053601-800x771.jpg\" alt=\"A panel from 'Wilson,' set at Lake Merritt. \" width=\"800\" height=\"771\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-800x771.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-400x386.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-768x740.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601.jpg 861w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel from 'Wilson,' set at Lake Merritt.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you feel like the city’s changes have seeped into your work at all?\u003c/strong>\u003c/p>\n\u003cp>Well, I’m always responding to stuff much later than it’s actually happened. If I were doing a daily strip or something I’m sure it’d be all about the weird developments in Oakland, but it’s stuff that seeps into the work after the fact. I’m guessing my next book will have quite a bit of that, because every single day I find I’m talking to my friends about, “Oh my god, that place went out business and now there’s this new thing.” It’s bizarre, because Oakland seemed so stagnant for the first 15 years I lived here. I used to go downtown all the time and just walk around the abandoned parts of downtown Oakland and think \"How can this be? How can this big structure for commerce just be sitting empty?\"\u003c/p>\n\u003cp>\u003cstrong>Can you imagine having moved here now? There’s obviously a different situation than you moved into, for artists and creative people trying to make a living.\u003c/strong>\u003c/p>\n\u003cp>I’m pretty aware that there will probably never be a community of young cartoonists here, which really bothers me. You go to a place like Portland, which I’m sure will wind up like Oakland in about five years, but there’s just hundreds of cartoonists there, and it feels like this real community. Here, it’s just daunting. I wouldn’t even recommend anybody who wants to do something like cartooning live here. You can do it anywhere! I guess if you’re somebody who’s really skilled with tech stuff you could get an easy job and then do it in your spare time or something... but most cartoonists aren’t really tech people. It’s a very different part of your brain.\u003c/p>\n\u003cp>\u003cstrong>Do you have a sense of what’s next for you after the tours for this book are over? Do you have the itch do shorter things after working on something so lengthy?\u003c/strong>\u003c/p>\n\u003cp>My whole goal after this was to take a month off, not think about anything, just read books and hang out. And after about two days of that, I was going insane. I started to feel like, I have this limited time on the planet and every day is precious. I have that Midwestern work ethic drummed into me, I think. So I started jotting down ideas for a new story. I always look through my old notebooks and see if anything pops out that I maybe dismissed earlier, and I came up with a couple things that hold my interest. I’m piecing something together. But it’ll probably be a while! We’ll see.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Daniel Clowes discusses \u003c/em>Patience\u003cem> at Green Apple Books on the Park on Wednesday, March 23 at at 7:30pm. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-daniel-clowes\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "On the heels of his first new book in five years, the renowned comics artist takes stock -- of his own work, his home, and his (lack of) desire to change the past. ",
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"description": "On the heels of his first new book in five years, the renowned comics artist takes stock -- of his own work, his home, and his (lack of) desire to change the past. ",
"title": "Daniel Clowes On Time Travel, a Changing Oakland, and 'Patience' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's a cliché because it's true: Life can change in an instant. Often, of course, we can’t tell which choices will shape our lives until they’re years away in the rearview mirror, given weight and color by the present. So it’s oddly fitting, perhaps, that \u003cem>\u003ca href=\"http://www.fantagraphics.com/patience/\" target=\"_blank\">Patience\u003c/a>\u003c/em>, Daniel Clowes’ first book in a half-decade -- the renowned graphic novelist’s most ambitious, reflective, weighty work yet, and one that took him five long years to birth -- is obsessed with events that take place in a matter of seconds.\u003c/p>\n\u003cp>Clowes was one of the first comics artists to propel the graphic novel into the mainstream literary world. Though a devoted, far-flung fan base had been following his delightfully weird \u003ca href=\"http://www.fantagraphics.com/complete8ball/\" target=\"_blank\">\u003cem>Eightball\u003c/em> series\u003c/a> for a nearly a decade, it was the bleak comedy of 1997's coming-of-age story \u003cem>Ghost World\u003c/em> that, for many, cast a whole new light on what comics could be. (The screenplay adaptation of that book earned Clowes an Oscar nomination, revealing a new talent of his, as well.)\u003c/p>\n\u003cp>In the nearly two decades since, Clowes has become something of a \u003ca href=\"http://ww2.kqed.org/arts/2016/01/06/daniel-clowes-boycotting-comic-award-contest-bereft-of-female-nominees/\" target=\"_blank\">respected elder figure within the comics scene\u003c/a> (no matter how uncomfortable that delineation might make the 54-year-old) as his art fills retrospectives and museum exhibits alongside current \u003cem>New Yorker \u003c/em>covers. But his hallmark remains: an uncanny ability to imbue a seemingly dull interaction between characters with a level of nuance that leaps off the page, not in spite of but because of its quietude: the simple melancholia and hilarity of everyday existence, the hopes and pitfalls of loners and weirdos, are rendered with as much urgency as any bank robbery or high-speed car chase.\u003c/p>\n\u003cfigure id=\"attachment_21317\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg class=\"wp-image-21317 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/dc3.jpg\" alt=\"dc3\" width=\"650\" height=\"435\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc3.jpg 650w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc3-400x268.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">A panel from 'Patience.'\u003c/figcaption>\u003c/figure>\n\u003cp>In a departure from much of his earlier work, \u003cem>Patience\u003c/em> (Fantagraphics; $29.99) sees Clowes blending literal action -- ray-gun fight scenes, seedy gambling dens straight out of\u003cem> Blade Runner\u003c/em> -- with his usual subtle human drama. Over the course of 180 bright, color-saturated pages, the reader follows a couple (the titular Patience and her husband Jack) on a surrealist, time-traveling adventure; Jack fixates on the past, attempting to change the course of history in order to ensure his family’s future.\u003c/p>\n\u003cp>Clowes, who lives in Piedmont with his own wife and son, made some time to chat about the book ahead of \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-daniel-clowes\" target=\"_blank\">his appearance on Wednesday, March 23 at Green Apple Books on the Park in San Francisco\u003c/a>. (This interview has been edited and condensed, if you can believe that.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>KQED Pop: One thing I’ve always admired about your earlier work is the degree to which you experimented and changed styles between comics, even within a single issue of \u003cem>Eightball\u003c/em>. So I’m curious what it felt like to work on one cohesive project for five long years?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Daniel Clowes:\u003c/strong> You put the proper gravitas in that question. It’s funny, because I know the book looks fairly uniform, but I’ve gotten to the point where there are all these subtle shifts in style that made it seem jarringly different from page to page, and that’s in no way perceptible to anybody but me. But that was enough to keep me from feeling like I was stuck in a method I got bored with.\u003c/p>\n\u003cp>Also somehow I knew that this was going to be a book that was all about the coloring. In the past, all my color books started out, like, ‘This could still be black and white, or maybe just one color,’ and then I morphed into color mode by the end. In this one, I knew what I wanted it to look like. I think the color brings it all together and you don’t really notice the slight stylistic shifts from scene to scene.\u003c/p>\n\u003cp>[In terms of the narrative], carrying all the initial inspirations all the way through over five years really was that feeling of carrying a lit match across a windstorm.\u003c/p>\n\u003cfigure id=\"attachment_21314\" class=\"wp-caption aligncenter\" style=\"max-width: 538px\">\u003cimg class=\"size-full wp-image-21314\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/dc1.jpg\" alt=\"Panels from 'Patience'\" width=\"538\" height=\"484\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc1.jpg 538w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc1-400x360.jpg 400w\" sizes=\"(max-width: 538px) 100vw, 538px\">\u003cfigcaption class=\"wp-caption-text\">Panels from 'Patience.'\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With some of the action sequences, I was thinking about in \u003cem>Calvin and Hobbes\u003c/em>, when Bill Watterson would use Spaceman Spiff to let out that adventure-action comic strip he always wanted to do. Are these images things you’d been wanting to draw for years, and this was your chance?\u003c/strong>\u003c/p>\n\u003cp>There are a few things I’ve wanted to [do] for a long time -- not necessarily specific images in my head that I wanted to get on paper. But I love that idea of seeing a little bit of the workings of the universe behind the visual reality that we all see every day. I’ve always felt that presence, that there’s some infinite mathematical void that’s in the wings behind the stage, behind that play that we’re looking at as our reality, and thought about how to best depict that. There are [other] comic artists that allude to that -- mostly guys from the '50s, post-war guys with PTSD, looking at the world in a bigger way than their stories would indicate. I was always very inspired by that.\u003c/p>\n\u003cp>\u003cstrong>The time-travel stuff, the ability to go back and change a specific moment in the past -- did that come out of anything in particular for you?\u003c/strong>\u003c/p>\n\u003cp>Well, the notion of examining your past very carefully ... the last 10 years or so, I’ve had a whole bunch of retrospective projects, which are the kind of thing I normally just run from. I really don’t want to go back in time. But I got roped into doing a museum show of my work, and that led to a monograph, and then at the same time I had agreed to do a reprint of all the early \u003cem>Eightball\u003c/em>s, and that box set. It was all stuff that I thought, ‘Okay, I’ll let somebody else do that and I’ll work on my own thing.’ Then, of course, I got really drawn into the whole process and found myself in this odd dialogue with this younger version of myself. And in some ways it seemed like no time had passed at all, and in other ways it seemed like I was talking to a different person, in a different era, and it wasn’t myself at all. I didn’t even recognize myself in some of it.\u003c/p>\n\u003cfigure id=\"attachment_21272\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg class=\"wp-image-21272 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500.jpg\" alt=\"Patience, in 'Patience.'\" width=\"500\" height=\"331\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500-400x265.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Patience, in 'Patience.' \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I heard that \u003ca href=\"http://museumca.org/exhibit/modern-cartoonist-art-daniel-clowes\" target=\"_blank\">Oakland Museum exhibition\u003c/a> was great, but it also sounds a little bit like being eulogized before your time?\u003c/strong>\u003c/p>\n\u003cp>It absolutely felt like that. It was like attending your own funeral and hearing what people say about you -- which was all very nice. There’s a movie called \u003cem>Scarlet Street\u003c/em> that opens with Edward G. Robinson going to his retirement dinner, and he’s presented with this gold watch and everybody pats him on his back and then that’s it. He leaves and he has no friends or life after that. It really did feel like that. It was weird. I disassociated myself from it and started to just think of myself as a collector of Daniel Clowes artwork after a while, because you’d see name tags on things like they were on loan from a collector -- but it was ‘on loan from Daniel and Erica Clowes.’ I would be so proud. Like, wow, I have artwork loaned to a museum!\u003c/p>\n\u003cp>\u003cstrong>Are there works you specifically noticed that, if you could go back, you would change?\u003c/strong>\u003c/p>\n\u003cp>The time in my life I most thought about going back and changing things was when I was much younger. Like, “I wish I could go back to Thursday and not have said that stupid thing in class.” You know, the whole “If I could only do it again, I’d have the perfect comeback for that guy.” Stuff like that. And then as you get older, you have so many of those moments you couldn’t really pick one. It would be your entire life. [Laughs.]\u003c/p>\n\u003cp>I also sometimes think, when I look at my old comics, “If I could redo that now, I could make it really perfect.” But that would be such a terrible idea. A, it would make it worse, no matter how well you drew it or wrote it, and B, it would crush your life as it is now. It’s just not a good way to think. The more I got into the story, the more I realized that I have no desire whatsoever to do that, and I embraced the way that events unfold in a way you can’t really imagine.\u003c/p>\n\u003cfigure id=\"attachment_21275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-21275\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/DanClowesPortrait-800x963.jpg\" alt=\"Dan Clowes, a self-portrait.\" width=\"800\" height=\"963\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-800x963.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-400x482.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-768x925.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1440x1734.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1920x2312.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1180x1421.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-960x1156.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Clowes, a self-portrait. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With a lot of artistic depictions of dystopian futures, there’s usually a nostalgia about the past, a romanticism about decades gone by, and I really didn’t get that in \u003cem>Patience\u003c/em>. It seems like Jack is pissed off to be in the '70s or whatever. “This sh*t, really?”\u003c/strong>\u003c/p>\n\u003cp>[Laughs.] Yeah, if somebody sent me back to 1985, I would just be \u003cem>so sad\u003c/em>. It’s funny, because I really love certain past aesthetics, and I’ve always felt that the way history just steamrolls the past, especially art history -- the way there’ll be a perfectly good method of painting or writing or something and then the next thing will come along and destroy that. I’ve always been interested in going back and finding these old modes that were cast aside too soon and seeing what there is in them and combining them with other modes, things like that. I’m certainly not someone who’s 100 percent forward-minded. But I don’t have any desire to go back to any other time. I think as crazy and chaotic as things are, things are always slightly improving in some way.\u003c/p>\n\u003cp>\u003cstrong>That’s a message I think a lot of people could use right now.\u003c/strong>\u003c/p>\n\u003cp>And I didn’t really want to depict the future as a dystopia. I think people always have the feeling that they’re in the end times and everything is crumbling. I don’t know that that’s necessarily true. I feel like it’s just getting more fragmented and hard to grasp.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-21319\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/Patience-24-650x371.jpg\" alt=\"Patience-24-650x371\" width=\"650\" height=\"371\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/Patience-24-650x371.jpg 650w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/Patience-24-650x371-400x228.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/p>\n\u003cp>\u003cstrong>Since you mentioned the, uh, end times: there’s a kind of blowhard evangelical political TV personality in the book. Was that based on anyone in particular?\u003c/strong>\u003c/p>\n\u003cp>I just like that kind of American demagogue character. Of course, now it seems really prescient that we’ve got actual people like that vying for the White House. At the time, I was writing it and I thought ‘What would it take for a guy like this to become president?’ I thought that seemed really far-fetched, and now it seems much less so. But yeah, he came out of guys like Glenn Beck and people like that, who are clearly not speaking truthfully to their audience, projecting an image that’s not necessarily true in any way.\u003c/p>\n\u003cp>\u003cstrong>I’ve read that you didn’t show this to anyone as you worked?\u003c/strong>\u003c/p>\n\u003cp>I did not let anybody read it. People come in and out of my studio all the time, and pages are out; pages are there. People who saw it had no idea what was going on, and I think a lot of them thought I had lost my mind when they were just looking at the art. My wife wants to read it all at once -- which, I would never want her to be reading something and go “hmm.” That would throw me off so intensely. Just a little “what?” And then that’s all I would think about. Zero response is the best. Then when it’s done, I’m more than happy to hear anything, negative or positive, but not while I’m in the throes of it.\u003c/p>\n\u003cfigure id=\"attachment_21276\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg class=\"size-full wp-image-21276\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/clowes_eightball15.jpg\" alt=\"From 'Caricature,' Eightball #5. \" width=\"750\" height=\"648\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/clowes_eightball15.jpg 750w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/clowes_eightball15-400x346.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">From 'Caricature,' Eightball #5.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m interested in your relationship to feedback in general, because the reader feedback you used to publish -- the letters section in \u003cem>Eightball\u003c/em> -- was always so entertaining. Even the hateful letters made it such a hilarious little community to be a part of.\u003c/strong>\u003c/p>\n\u003cp>That was such a fun era. And I felt a responsibility back then, because there was no internet; there was no forum where people who read these comics or were interested in this stuff could connect with each other. I would set people up -- literally, I’d get letters from two different people in Danbury, Connecticut, and I would [write back] saying “There’s this girl who lives in town. You should call her.” I felt like I had to write back to everybody. Anybody who did any comics at all, I’d write them encouraging letters.\u003c/p>\n\u003cp>When I talk to other artists from my era, like the Hernandez Brothers [of \u003cem>Love and Rockets\u003c/em>], we all talk about how we basically knew 40 percent of our readers by name. On this recent tour a woman came out who had been at a signing I did in 1993, and I completely remembered her name, because she’d written me.\u003c/p>\n\u003cp>\u003cstrong>Is there a modern version of that? Do you keep up with what fans are saying on the internet? It seems like once you open that door it’s another thing entirely.\u003c/strong>\u003c/p>\n\u003cp>Yeah, it’s too overwhelming. I can’t get involved in it. It’s just different: there was an ease to it. You’d send a letter and then you’d wait three weeks and get a letter back… every Sunday I spent an hour doing it. I wish I could go back to the old way. It was the ideal scenario, and it was fun: I’d go to my mailbox once a week and it was like Christmas every time. Now, I just have no connection because it’d be too much. But that’s why I really do actually enjoy going on book tours and signings, because you see the demographics. You see, \"Oh, good, I still have young people showing up.\"\u003c/p>\n\u003cp>\u003cstrong>You \u003ca href=\"http://boingboing.net/2016/02/17/daniel-clowes-remembers-publis.html\" target=\"_blank\">posted a sweet piece about your friend and assistant Alvin\u003c/a>, who recently passed away. I thought it was such a great note to end on that he took your social media passwords with him.\u003c/strong>\u003c/p>\n\u003cp>Yeah. He was a wonderful guy, just a kind soul and a really good friend of mine. I miss him every minute. And yeah, he was very protective of that stuff. He took it on himself --\"I'm making you an Instagram page.\" \"Okay.\" I never asked for any of it. And he hated social media!\u003c/p>\n\u003cfigure id=\"attachment_21277\" class=\"wp-caption aligncenter\" style=\"max-width: 504px\">\u003cimg class=\" wp-image-21277\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut.jpg\" alt=\"Detail from a New Yorker cover by Clowes, May 2009. \" width=\"504\" height=\"365\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut-400x290.jpg 400w\" sizes=\"(max-width: 504px) 100vw, 504px\">\u003cfigcaption class=\"wp-caption-text\">Detail from a New Yorker cover by Clowes, May 2009.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Have you had to wade into the social media waters yourself since then?\u003c/strong>\u003c/p>\n\u003cp>No, I immediately tried to get somebody else to take over. [Laughs.] I want people who are looking for info about the book to be able to find it, but I have no desire to craft little jokes and post four times a day or whatever. That seems hopelessly sad to me, to imagine people I really like and respect sitting there and racking their brains to think of a little joke, to get that little jolt of dopamine or whatever. I just feel bad for them that they feel like they have to do that. And you see people who have done 200,000 tweets and you think, that’s just all gone. That’s buried. Nobody will ever, ever look at anything before yesterday. I couldn’t face that. It seems really Sisyphean.\u003c/p>\n\u003cp>\u003cstrong>I wanted to talk about setting a bit -- I know you live in Oakland, and your love for it came through so clearly in \u003cem>Wilson\u003c/em>, your last book. But the city’s obviously changed a lot since that came out in 2010, even.\u003c/strong>\u003c/p>\n\u003cp>Right. So, they’re working on a movie of \u003cem>Wilson\u003c/em> -- it’s pretty much done, actually -- and I tried so hard to get them to shoot in Oakland. I wrote the whole script with specific Oakland locations; every one is a real place. But because of regulations it was almost impossible to shoot a movie here. So they shot in St. Paul, Minnesota, which is really weirdly like a version of Oakland from about five or six years ago, before it got the five-star restaurants and all that. It was a good solution, but disappointing.\u003c/p>\n\u003cfigure id=\"attachment_21316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-21316 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/wilson_0-e1458345053601-800x771.jpg\" alt=\"A panel from 'Wilson,' set at Lake Merritt. \" width=\"800\" height=\"771\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-800x771.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-400x386.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-768x740.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601.jpg 861w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel from 'Wilson,' set at Lake Merritt.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you feel like the city’s changes have seeped into your work at all?\u003c/strong>\u003c/p>\n\u003cp>Well, I’m always responding to stuff much later than it’s actually happened. If I were doing a daily strip or something I’m sure it’d be all about the weird developments in Oakland, but it’s stuff that seeps into the work after the fact. I’m guessing my next book will have quite a bit of that, because every single day I find I’m talking to my friends about, “Oh my god, that place went out business and now there’s this new thing.” It’s bizarre, because Oakland seemed so stagnant for the first 15 years I lived here. I used to go downtown all the time and just walk around the abandoned parts of downtown Oakland and think \"How can this be? How can this big structure for commerce just be sitting empty?\"\u003c/p>\n\u003cp>\u003cstrong>Can you imagine having moved here now? There’s obviously a different situation than you moved into, for artists and creative people trying to make a living.\u003c/strong>\u003c/p>\n\u003cp>I’m pretty aware that there will probably never be a community of young cartoonists here, which really bothers me. You go to a place like Portland, which I’m sure will wind up like Oakland in about five years, but there’s just hundreds of cartoonists there, and it feels like this real community. Here, it’s just daunting. I wouldn’t even recommend anybody who wants to do something like cartooning live here. You can do it anywhere! I guess if you’re somebody who’s really skilled with tech stuff you could get an easy job and then do it in your spare time or something... but most cartoonists aren’t really tech people. It’s a very different part of your brain.\u003c/p>\n\u003cp>\u003cstrong>Do you have a sense of what’s next for you after the tours for this book are over? Do you have the itch do shorter things after working on something so lengthy?\u003c/strong>\u003c/p>\n\u003cp>My whole goal after this was to take a month off, not think about anything, just read books and hang out. And after about two days of that, I was going insane. I started to feel like, I have this limited time on the planet and every day is precious. I have that Midwestern work ethic drummed into me, I think. So I started jotting down ideas for a new story. I always look through my old notebooks and see if anything pops out that I maybe dismissed earlier, and I came up with a couple things that hold my interest. I’m piecing something together. But it’ll probably be a while! We’ll see.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Daniel Clowes discusses \u003c/em>Patience\u003cem> at Green Apple Books on the Park on Wednesday, March 23 at at 7:30pm. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-daniel-clowes\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan>Apexer is a street artist who creates colorful, spray-painted murals around the world. Using a visual foundation based in graffiti art and Chinese calligraphy, Apexer abstracts letterforms to create complex, dynamic compositions for his street art projects. Often creating artworks that communicate the vibe of the neighborhood where they are \u003ca href=\"https://ww2.kqed.org/artschool/2016/03/17/youre-a-street-artist-now-apexer-shows-you-how/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/span>\u003c/p>\n\u003cp>Source:: \u003ca href=\"https://ww2.kqed.org/artschool/2016/03/17/youre-a-street-artist-now-apexer-shows-you-how/\" target=\"_blank\" title=\"You’re a Street Artist Now! Apexer Shows You How\" rel=\"noopener\">Art School\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Thor, Spock and other assorted sci-fi and fantasy characters are wandering the halls of the San Jose Convention Center this weekend for \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con\u003c/a>.\u003c/p>\n\u003cp>As you’d expect, the people-watching will be a big draw. Not only will spectators get to ogle pint-sized superheroes in their Halloween costumes, they’ll eve catch glimpses of tech icons like Apple co founder Steve Wozniak.\u003c/p>\n\u003cp>Wozniak is a sci-fi fan boy and he wanted a new Comic Con close to home. “I go back 30, 40 years driving down to Los Angeles to see Star Trek conventions and see those people, and I’m going to actually get to meet William Shatner. I heard that he wants to have a dinner with me. Wow. I mean I’m real nervous over that.”\u003c/p>\n\u003cp>[contextly_sidebar id=”OqkPYrEeyYXdAIKZH4Hw8kkM9mCYknKd”]\u003c/p>\n\u003cp>Dinner with Capt. Kirk may be the real reason Wozniak helped rally the people and capital to spawn another spinoff of the original Comic Con in San Diego. But the event is more than another opportunity to appreciate Hollywood franchises.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Local artists are displaying their work here before a genuinely enthusiastic crowd of thousands, an estimated 30,000 per day.\u003c/p>\n\u003cfigure id=\"attachment_11418693\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11418693 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1-400x511.jpg\" alt=\"This is Hannah McGill's best-seller. "A lot of people think he's singing opera."\" width=\"400\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1-400x511.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1-470x600.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1.jpg 626w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">This is Hannah McGill’s best-seller. “A lot of people think he’s singing opera.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One such artist on display is illustrator \u003ca href=\"http://www.hannahmcgill.com/\" target=\"_blank\" rel=\"noopener\">Hannah McGill\u003c/a> from Mountain View. Her passion is paleontology and her take on it is decidedly humorous. “I loved going to the science museum growing up,” she says. “I love the people I’ve met through it. Including paleontologists.”\u003c/p>\n\u003cp>Laurie Gee from Foster City likes to buy art and books at conventions like this, because she can get the artists to sign their work. “I’m downsizing, but I can’t help it sometimes,” she says before heading back to browse the display booths.\u003c/p>\n\u003cfigure id=\"attachment_11418694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11418694\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-800x600.jpg\" alt=\"Freelance artist Joanne Kwan of San Jose hopes to make a little money selling art at this Comic Con, but "It's also just fun to hang out with friends. "\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Freelance artist Joanne Kwan of San Jose hopes to make a little money selling art at this Comic Con, but “It’s also just fun to hang out with friends. “\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>The Silicon Valley Comic Con runs through Sunday.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thor, Spock and other assorted sci-fi and fantasy characters are wandering the halls of the San Jose Convention Center this weekend for \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con\u003c/a>.\u003c/p>\n\u003cp>As you’d expect, the people-watching will be a big draw. Not only will spectators get to ogle pint-sized superheroes in their Halloween costumes, they’ll eve catch glimpses of tech icons like Apple co founder Steve Wozniak.\u003c/p>\n\u003cp>Wozniak is a sci-fi fan boy and he wanted a new Comic Con close to home. “I go back 30, 40 years driving down to Los Angeles to see Star Trek conventions and see those people, and I’m going to actually get to meet William Shatner. I heard that he wants to have a dinner with me. Wow. I mean I’m real nervous over that.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dinner with Capt. Kirk may be the real reason Wozniak helped rally the people and capital to spawn another spinoff of the original Comic Con in San Diego. But the event is more than another opportunity to appreciate Hollywood franchises.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Local artists are displaying their work here before a genuinely enthusiastic crowd of thousands, an estimated 30,000 per day.\u003c/p>\n\u003cfigure id=\"attachment_11418693\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11418693 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1-400x511.jpg\" alt=\"This is Hannah McGill's best-seller. "A lot of people think he's singing opera."\" width=\"400\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1-400x511.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1-470x600.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18832_trex.JPG-qut-1.jpg 626w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">This is Hannah McGill’s best-seller. “A lot of people think he’s singing opera.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One such artist on display is illustrator \u003ca href=\"http://www.hannahmcgill.com/\" target=\"_blank\" rel=\"noopener\">Hannah McGill\u003c/a> from Mountain View. Her passion is paleontology and her take on it is decidedly humorous. “I loved going to the science museum growing up,” she says. “I love the people I’ve met through it. Including paleontologists.”\u003c/p>\n\u003cp>Laurie Gee from Foster City likes to buy art and books at conventions like this, because she can get the artists to sign their work. “I’m downsizing, but I can’t help it sometimes,” she says before heading back to browse the display booths.\u003c/p>\n\u003cfigure id=\"attachment_11418694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11418694\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-800x600.jpg\" alt=\"Freelance artist Joanne Kwan of San Jose hopes to make a little money selling art at this Comic Con, but "It's also just fun to hang out with friends. "\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18833_Kwan.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Freelance artist Joanne Kwan of San Jose hopes to make a little money selling art at this Comic Con, but “It’s also just fun to hang out with friends. “\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>The Silicon Valley Comic Con runs through Sunday.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003ca href=\"http://theapexer.com/\" target=\"_blank\" rel=\"noopener\">Apexer\u003c/a> is a street artist who creates colorful, spray-painted murals around the world.\u003c/p>\n\u003cp>Using a visual foundation based in graffiti art and Chinese calligraphy, Apexer abstracts letterforms to create complex, dynamic compositions for his street art projects. Often creating artworks that communicate the vibe of the neighborhood where they are on view, Apexer’s painted gestures are accessible to a wide audience, and are constantly expanding upon the core element of his work: the letters of his nickname.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Watch Apexer describe some of the basics of his art form:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How to be a Street Artist with Apexer\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/qV2OTD5fMvk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[contextly_sidebar id=”aHjVUZeNzortdB1EUa0fbU51J4yHH6Mx”]\u003c/p>\n\u003cp>Listen here to \u003ca href=\"http://ww2.kqed.org/arts/2016/03/18/audio-diary-11-year-old-graffiti-artists-passion-starts-with-street-signs/\" target=\"_blank\" rel=\"noopener\">the story of Cave\u003c/a>, an 11-year-old graffiti artist based in San Francisco who started creating lettering since before his hands were big enough to hold a spray can. Cave now interns for Apexer.\u003c/p>\n\u003cfigure id=\"attachment_11411679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11411679\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-800x540.jpg\" alt=\"11-year-old graffiti artist Cave adorns a wall\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-1180x796.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-1920x1296.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-960x648.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">11-year-old graffiti artist Cave adorns a wall \u003ccite>(Photo: Courtesy of Cave)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Want to learn? Here are some Bay Area studios that’ll help you get started in the art of graffiti lettering:\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://1amsf.com/\" target=\"_blank\" rel=\"noopener\">1AM\u003c/a>, Oakland/San Francisco\u003c/strong>\u003cbr>\nA teaching gallery that offers graffiti classes, workshops and tours.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener\">Precita Eyes\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nOffers a workshop on the third Tuesday of every month. For two hours you’ll learn how to plan, organize, budget and design a mural with a community.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.eastsideartsalliance.com/youth/ve.php\" target=\"_blank\" rel=\"noopener\">Visual Element\u003c/a>, East Oakland\u003c/strong>\u003cbr>\nA mural arts program that serves high school youth. Offers spray can techniques, social activism, graphic design, and portfolio development.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thearsenalsj/\" target=\"_blank\" rel=\"noopener\">The Arsenal\u003c/a>, San Jose\u003c/strong>\u003cbr>\nOffers youth spray can technique classes during the summer. For adults, spray can technique is woven into some of the drawing and painting classes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.newbohemiasigns.com/\" target=\"_blank\" rel=\"noopener\">New Bohemia Signs\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nOffers a two-day class on sign painting. You’ll learn the basics of brush lettering, and at the end of the class you’ll receive a lettering quill and a finished small sign of your own design.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003ca href=\"http://theapexer.com/\" target=\"_blank\" rel=\"noopener\">Apexer\u003c/a> is a street artist who creates colorful, spray-painted murals around the world.\u003c/p>\n\u003cp>Using a visual foundation based in graffiti art and Chinese calligraphy, Apexer abstracts letterforms to create complex, dynamic compositions for his street art projects. Often creating artworks that communicate the vibe of the neighborhood where they are on view, Apexer’s painted gestures are accessible to a wide audience, and are constantly expanding upon the core element of his work: the letters of his nickname.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Watch Apexer describe some of the basics of his art form:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How to be a Street Artist with Apexer\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/qV2OTD5fMvk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Listen here to \u003ca href=\"http://ww2.kqed.org/arts/2016/03/18/audio-diary-11-year-old-graffiti-artists-passion-starts-with-street-signs/\" target=\"_blank\" rel=\"noopener\">the story of Cave\u003c/a>, an 11-year-old graffiti artist based in San Francisco who started creating lettering since before his hands were big enough to hold a spray can. Cave now interns for Apexer.\u003c/p>\n\u003cfigure id=\"attachment_11411679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11411679\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-800x540.jpg\" alt=\"11-year-old graffiti artist Cave adorns a wall\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-1180x796.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-1920x1296.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0401-1-1-e1458152907401-960x648.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">11-year-old graffiti artist Cave adorns a wall \u003ccite>(Photo: Courtesy of Cave)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Want to learn? Here are some Bay Area studios that’ll help you get started in the art of graffiti lettering:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://1amsf.com/\" target=\"_blank\" rel=\"noopener\">1AM\u003c/a>, Oakland/San Francisco\u003c/strong>\u003cbr>\nA teaching gallery that offers graffiti classes, workshops and tours.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener\">Precita Eyes\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nOffers a workshop on the third Tuesday of every month. For two hours you’ll learn how to plan, organize, budget and design a mural with a community.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.eastsideartsalliance.com/youth/ve.php\" target=\"_blank\" rel=\"noopener\">Visual Element\u003c/a>, East Oakland\u003c/strong>\u003cbr>\nA mural arts program that serves high school youth. Offers spray can techniques, social activism, graphic design, and portfolio development.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thearsenalsj/\" target=\"_blank\" rel=\"noopener\">The Arsenal\u003c/a>, San Jose\u003c/strong>\u003cbr>\nOffers youth spray can technique classes during the summer. For adults, spray can technique is woven into some of the drawing and painting classes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.newbohemiasigns.com/\" target=\"_blank\" rel=\"noopener\">New Bohemia Signs\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nOffers a two-day class on sign painting. You’ll learn the basics of brush lettering, and at the end of the class you’ll receive a lettering quill and a finished small sign of your own design.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Cave is an 11-year-old graffiti writer in San Francisco. He wants to keep his identity secret, just like the graffiti masters.“They don’t want people to know who they are,” Cave says. “Sometimes they do illegal stuff, and you know, that could get you into trouble.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003cem>Listen to Cave talk about his graffiti habit:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/251862556″ 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>\u003cstrong>Early signs\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cave’s passion for graffiti started early. It began with signs. “I actually learned how to read through traffic signs, because I used to know what they said by heart, like \u003ci>\u003cspan style=\"font-weight: 400\">stop\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">one way\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and stuff.” When Cave saw lettering he liked, he would make his parents stop in the street so he could admire it. At home he made copies of the signs and pasted them onto cardboard. He loved signs so much that one Halloween he dressed up as the falling rock sign. There was also a period of time that he wore a reflective construction vest to school everyday.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11392375\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11392375 size-medium\" title=\"(Courtesy of Cave)\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/1515842_1698342163724806_400933734_n-600x600.jpg\" alt=\"\" width=\"600\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Cave at an abandoned RC Cola Factory in Miami. Graffiti artists covered the factory for an event in conjunction with Art Basel. (Courtesy of Cave)\u003c/figcaption>\u003c/figure>\n\u003cp>A love of signage transitioned seamlessly into a love of graffiti. Cave has taken a handful of graffiti classes at school and at \u003ca href=\"http://1amsf.com/\" target=\"_blank\" rel=\"noopener\">1AM gallery\u003c/a>, an urban art organization in San Francisco and Oakland. Cave gives a lot of credit to his teachers for showing him the basics. While Cave’s been working on his lettering for years, he’s only been painting for two years because, he says, his hands were way too small. “It was really awkward and hard to hold a paint can,” Cave says.\u003c/p>\n\u003cfigure id=\"attachment_11392378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11392378 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-800x440.jpg\" alt=\"\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-400x220.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cave’s name and crew, JPS. (Courtesy of Cave)\u003c/figcaption>\u003c/figure>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>Right now, Cave mostly practices his art on a wall in his backyard. It’s covered with layers of paint about a centimeter thick. “I’ve probably painted it at least 50 times,” Cave says. “I usually draw everyday, but I just paint on the weekends because I’ve got to do my homework,” he says.\u003c/p>\n\u003cp>Cave further hones his craft by studying eye-catching murals by experienced artists around the Bay Area. One time, he spotted a painting by the great local graffiti artist Apex on a wall in Chinatown. Then he saw the artist himself. “We stopped and I said, hi, nice to meet you and stuff,” Cave says of the experience. “And now I’m going to intern with him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Learn the basics of graffiti lettering from graffiti art master Apexer and discover studios around the Bay Area \u003ca href=\"http://ww2.kqed.org/arts/2016/03/18/video-learn-graffiti-lettering-basics-from-apexer/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11409280\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11409280 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/924040_862928453750541_803528927_n-600x600.jpg\" alt=\"\" width=\"600\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">The artist painting his name (courtesy of Cave) \u003ccite>(Photo: Courtesy of Cave)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Cave is an 11-year-old graffiti writer in San Francisco. He wants to keep his identity secret, just like the graffiti masters.“They don’t want people to know who they are,” Cave says. “Sometimes they do illegal stuff, and you know, that could get you into trouble.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003cem>Listen to Cave talk about his graffiti habit:\u003c/em>\u003c/strong>\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/251862556″&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/251862556″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Early signs\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cave’s passion for graffiti started early. It began with signs. “I actually learned how to read through traffic signs, because I used to know what they said by heart, like \u003ci>\u003cspan style=\"font-weight: 400\">stop\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">one way\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and stuff.” When Cave saw lettering he liked, he would make his parents stop in the street so he could admire it. At home he made copies of the signs and pasted them onto cardboard. He loved signs so much that one Halloween he dressed up as the falling rock sign. There was also a period of time that he wore a reflective construction vest to school everyday.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11392375\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11392375 size-medium\" title=\"(Courtesy of Cave)\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/1515842_1698342163724806_400933734_n-600x600.jpg\" alt=\"\" width=\"600\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Cave at an abandoned RC Cola Factory in Miami. Graffiti artists covered the factory for an event in conjunction with Art Basel. (Courtesy of Cave)\u003c/figcaption>\u003c/figure>\n\u003cp>A love of signage transitioned seamlessly into a love of graffiti. Cave has taken a handful of graffiti classes at school and at \u003ca href=\"http://1amsf.com/\" target=\"_blank\" rel=\"noopener\">1AM gallery\u003c/a>, an urban art organization in San Francisco and Oakland. Cave gives a lot of credit to his teachers for showing him the basics. While Cave’s been working on his lettering for years, he’s only been painting for two years because, he says, his hands were way too small. “It was really awkward and hard to hold a paint can,” Cave says.\u003c/p>\n\u003cfigure id=\"attachment_11392378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11392378 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-800x440.jpg\" alt=\"\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-400x220.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cave’s name and crew, JPS. (Courtesy of Cave)\u003c/figcaption>\u003c/figure>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>Right now, Cave mostly practices his art on a wall in his backyard. It’s covered with layers of paint about a centimeter thick. “I’ve probably painted it at least 50 times,” Cave says. “I usually draw everyday, but I just paint on the weekends because I’ve got to do my homework,” he says.\u003c/p>\n\u003cp>Cave further hones his craft by studying eye-catching murals by experienced artists around the Bay Area. One time, he spotted a painting by the great local graffiti artist Apex on a wall in Chinatown. Then he saw the artist himself. “We stopped and I said, hi, nice to meet you and stuff,” Cave says of the experience. “And now I’m going to intern with him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Learn the basics of graffiti lettering from graffiti art master Apexer and discover studios around the Bay Area \u003ca href=\"http://ww2.kqed.org/arts/2016/03/18/video-learn-graffiti-lettering-basics-from-apexer/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11409280\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11409280 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/924040_862928453750541_803528927_n-600x600.jpg\" alt=\"\" width=\"600\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">The artist painting his name (courtesy of Cave) \u003ccite>(Photo: Courtesy of Cave)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "new-dogpatch-arts-complex-fuels-hope-amid-evictions-and-closures",
"title": "New Dogpatch Arts Complex Fuels Hope Amid Evictions and Closures",
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"content": "\u003cp>The challenges facing San Francisco’s art community are myriad, and their causes range from the actions of individual landlords to global economic trends. Many individuals and organizations are searching for ways help the arts prosper, from crowdfunding art projects to establishing non-profit asset development trusts.\u003c/p>\n\u003cp>[contextly_sidebar id=”AbpyaCxDT6lRRG4ZI4qkrmemNIvEAssV”]The \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Minnesota Street Project\u003c/a> (MSP), opening to the public on Friday, March 18, aims to help stem the flow of artists and galleries out of the Bay Area. The three-building arts complex in San Francisco’s Dogpatch neighborhood is the new home for 10 galleries, one arts nonprofit, 35 artist studios, an art storage business, and a restaurant and bar (opening in the fall). The gallery spaces are rented at below market rate, and because of zoning restrictions, artists and galleries do not need to worry about being evicted to make room for offices or condos. The landlords would be unlikely to do that anyway.\u003c/p>\n\u003cp>Andy Rappaport, a retired venture capitalist and photographer, and Deborah Rappaport, a philanthropist and jewelry designer, undertook this project following a community discussion two years ago about the state of the arts in San Francisco. The Rappaports’ goals for MSP are to provide long-term stability to artists and galleries and to create a hub for contemporary art.\u003c/p>\n\u003cfigure id=\"attachment_11406040\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11406040 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Minnesota_07.jpg\" alt=\"Courtesy of Minnesota Street Project\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_07.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_07-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Minnesota Street Project\u003c/figcaption>\u003c/figure>\n\u003cp>MSP is situated on the eastern edge of the so-called DoReMi (\u003cb>Do\u003c/b>gpatch, Pot\u003cstrong>re\u003c/strong>ro, \u003cb>Mi\u003c/b>ssion) arts district, home to a number of relocated arts spaces and long-time residents. MSP’s Dogpatch neighbors include \u003ca href=\"http://workshopresidence.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Workshop Residence\u003c/a>, \u003ca href=\"http://www.romeryounggallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Romer Young Gallery\u003c/a>, the \u003ca href=\"http://sfmcd.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of Craft and Design\u003c/a>, the \u003ca href=\"http://themidwaysf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Midway\u003c/a>, and the \u003ca href=\"http://www.sfai.edu/about-sfai/facilities\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute’s graduate center\u003c/a>. Nearby is \u003ca href=\"https://www.cca.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">California College of the Arts\u003c/a>, \u003ca href=\"https://www.creativityexplored.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Creativity Explored\u003c/a>, \u003ca href=\"http://fusedspace.com/\" target=\"_blank\" rel=\"noopener noreferrer\">fusedspace\u003c/a>, \u003ca href=\"https://sfcb.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Center for the Book\u003c/a>, \u003ca href=\"http://www.wattis.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Wattis Institute for Contemporary Arts\u003c/a>, and \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">several\u003c/a> \u003ca href=\"http://www.briangrossfineart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">other\u003c/a> \u003ca href=\"http://www.hosfeltgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">galleries\u003c/a>.\u003c/p>\n\u003cp>MSP is close to Muni and Interstate 280, yet it can still feel like it’s tucked in a far-flung corner of the city. The 10 resident galleries will host first Saturday openings (the opening month is an exception), a critical mass that might be able to quash the neighborhood’s perceived remoteness. Prior to the neighborhood’s ongoing atrophy, many art enthusiasts dutifully found their way downtown, one Thursday night a month, to the many openings at 49 Geary. MSP possesses the potential to command similar attention with a compelling and diverse calendar of shows. Several MSP galleries are former downtown tenants, including \u003ca href=\"http://www.anglimgilbertgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anglim Gilbert Gallery\u003c/a>, \u003ca href=\"http://www.nancytoomeyfineart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nancy Toomey Fine Art\u003c/a> (formerly Toomey Tourell Fine Arts), \u003ca href=\"http://Rena%20Bransten%20Fine%20Art\" target=\"_blank\" rel=\"noopener noreferrer\">Rena Bransten Projects\u003c/a>, and \u003ca href=\"http://www.themesandprojects.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Themes + Projects\u003c/a> (formerly Modernbook).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Joining these established galleries are a number of artist-run and alternative art spaces whose long-term existence could depend on MSP’s alternative business model. In summer 2015, \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bass & Reiner Gallery\u003c/a> was \u003ca href=\"http://ww2.kqed.org/arts/2015/08/24/after-displacement-redlick-artists-rally-against-changing-mission/\" target=\"_blank\" rel=\"noopener noreferrer\">displaced from their Mission District location\u003c/a>. The gallery looked at other potential spaces, but found none with terms as favorable as MSP’s. “Moving into Minnesota Street Project has essentially made it possible for us to continue to exist,” says Emily Reynolds, one of Bass & Reiner’s four co-directors.\u003c/p>\n\u003cfigure id=\"attachment_11406041\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11406041\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Minnesota_08.jpg\" alt=\"Courtesy of Minnesota Street Project\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_08.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_08-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Minnesota Street Project\u003c/figcaption>\u003c/figure>\n\u003cp>For Bass & Reiner, the move isn’t just about survival but the prospect of thriving. “As a standalone gallery that visitors needed to buzz into and then take an elevator to reach,” Reynolds says of the gallery’s former space within Studio 17 at Mission and 17th Streets, “we could only convince the most adventurous art lovers to come see what we were doing.” At MSP, she’s looking forward to brighter prospects.\u003c/p>\n\u003cp>“It’s comforting to be in a building where I know I’m protected by landlords that are passionate about the arts,” says Andrew McClintock, director of \u003ca href=\"http://sfaq.us/ever-gold-projects/\" target=\"_blank\" rel=\"noopener noreferrer\">Ever Gold [Projects]\u003c/a> (formerly Ever Gold Gallery), which is moving to MSP from the Tenderloin. But McClintock sees increased opportunity beyond the agreeable rent. He says his new gallery will be bigger and cleaner, and that the Dogpatch in general has more room “to think and breathe” — and to park.\u003c/p>\n\u003cp>The proximity of established galleries to artist-run spaces is exciting; the potential within these combinations will be on display during the opening night. Anglim Gilbert Gallery shows work by San Francisco-based \u003ca href=\"http://enriquechagoya.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Enrique Chagoya\u003c/a>, an established painter and printmaker whose art is included in major museum collections across the country. A group show at Rena Bransten Projects includes work from prominent visual artists like \u003ca href=\"http://www.doughallstudio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Doug Hall\u003c/a>, \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>, \u003ca href=\"http://artsites.ucsc.edu/faculty/lord/\" target=\"_blank\" rel=\"noopener noreferrer\">Chip Lord\u003c/a>, and \u003ca href=\"http://www.dreamlandnews.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.etaletc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Et al. etc.\u003c/a> (a second gallery from Chinatown’s Et al.) shows work by \u003ca href=\"http://jacquelinegordon.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Jacqueline Gordon\u003c/a> and \u003ca href=\"http://www.margowolowiec.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Margo Wolowiec\u003c/a>. Bass & Reiner inaugurates their new space with a site-specific installation by \u003ca href=\"http://www.miemogensen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mie Hørlyck Mogensen\u003c/a> and \u003ca href=\"http://www.maycwilson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">May Wilson\u003c/a>. Gordon, Mogensen, Wilson and Wolowiec are all relatively recent art school graduates, a category the 18 California College of the Arts MFA candidates showing in the MSP gallery reserved for outside institutions and curators will soon join.\u003c/p>\n\u003cfigure id=\"attachment_11411805\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11411805\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/bassreiner-398x600.jpg\" alt=\"Mie Hørlyck Mogensen, Untitled (detail), installation at Bass & Reiner Gallery, 2016. Photo: Chris Grunder\" width=\"398\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner-400x603.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner.jpg 610w\" sizes=\"auto, (max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">Mie Hørlyck Mogensen, \u003ci>Untitled (detail)\u003c/i>, installation at Bass & Reiner Gallery, 2016. Photo: Chris Grunder\u003c/figcaption>\u003c/figure>\n\u003cp>MSP’s artist studio program also values professional integration. Early-career artists and designers like \u003ca href=\"http://bethabrahamson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Abrahamson\u003c/a>, \u003ca href=\"http://brittanyatkinsonphotography.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brittany Atkinson\u003c/a>, and \u003ca href=\"http://www.hennavainio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Henna Vainio\u003c/a> will share facilities with an impressive roster of mid-career and established artists, including \u003ca href=\"http://www.lynnhershman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lynn Hershman Leeson\u003c/a>, \u003ca href=\"http://sean-mcfarland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean McFarland\u003c/a>, \u003ca href=\"http://www.ratio3.org/artists/mitzi-pederson\" target=\"_blank\" rel=\"noopener noreferrer\">Mitzi Pederson\u003c/a>, and \u003ca href=\"http://www.taranehhemami.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Taraneh Hemami\u003c/a>. Various sources have described these studios as renting at or just below market rates, but with terms, facilities, and landlords that would be difficult to find elsewhere.\u003c/p>\n\u003cp>MSP is not a nonprofit organization, despite its benevolent aims. The Rappaports say that a for-profit structure affords them the flexibility to act quickly. It also allows them to offer services, such as a 100,000-cubic-foot museum-quality art storage facility, that subsidizes the galleries and studios. Cautionary skepticism of this business model is not inappropriate: for-profit business practices regularly push galleries and artists out of the Bay Area, and there will almost always be a venture more profitable than contemporary art. But if the actions of landlords speak to their values, optimism like Reynolds’ and McClintock’s may be warranted.\u003c/p>\n\u003cp>See you at the opening.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Minnesota Street Project\u003c/strong> and its 10 gallery tenants celebrate their grand opening Friday, March 18, 6-10pm. Visit \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">minnesotastreetproject.com\u003c/a> for more information.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Galleries are optimistic about Minnesota Street Complex, the privately funded arts complex opening this week in San Francisco's Dogpatch neighborhood.",
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"title": "New Dogpatch Arts Complex Fuels Hope Amid Evictions and Closures | KQED",
"description": "Galleries are optimistic about Minnesota Street Complex, the privately funded arts complex opening this week in San Francisco's Dogpatch neighborhood.",
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"headline": "New Dogpatch Arts Complex Fuels Hope Amid Evictions and Closures",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The challenges facing San Francisco’s art community are myriad, and their causes range from the actions of individual landlords to global economic trends. Many individuals and organizations are searching for ways help the arts prosper, from crowdfunding art projects to establishing non-profit asset development trusts.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>The \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Minnesota Street Project\u003c/a> (MSP), opening to the public on Friday, March 18, aims to help stem the flow of artists and galleries out of the Bay Area. The three-building arts complex in San Francisco’s Dogpatch neighborhood is the new home for 10 galleries, one arts nonprofit, 35 artist studios, an art storage business, and a restaurant and bar (opening in the fall). The gallery spaces are rented at below market rate, and because of zoning restrictions, artists and galleries do not need to worry about being evicted to make room for offices or condos. The landlords would be unlikely to do that anyway.\u003c/p>\n\u003cp>Andy Rappaport, a retired venture capitalist and photographer, and Deborah Rappaport, a philanthropist and jewelry designer, undertook this project following a community discussion two years ago about the state of the arts in San Francisco. The Rappaports’ goals for MSP are to provide long-term stability to artists and galleries and to create a hub for contemporary art.\u003c/p>\n\u003cfigure id=\"attachment_11406040\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11406040 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Minnesota_07.jpg\" alt=\"Courtesy of Minnesota Street Project\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_07.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_07-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Minnesota Street Project\u003c/figcaption>\u003c/figure>\n\u003cp>MSP is situated on the eastern edge of the so-called DoReMi (\u003cb>Do\u003c/b>gpatch, Pot\u003cstrong>re\u003c/strong>ro, \u003cb>Mi\u003c/b>ssion) arts district, home to a number of relocated arts spaces and long-time residents. MSP’s Dogpatch neighbors include \u003ca href=\"http://workshopresidence.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Workshop Residence\u003c/a>, \u003ca href=\"http://www.romeryounggallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Romer Young Gallery\u003c/a>, the \u003ca href=\"http://sfmcd.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of Craft and Design\u003c/a>, the \u003ca href=\"http://themidwaysf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Midway\u003c/a>, and the \u003ca href=\"http://www.sfai.edu/about-sfai/facilities\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute’s graduate center\u003c/a>. Nearby is \u003ca href=\"https://www.cca.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">California College of the Arts\u003c/a>, \u003ca href=\"https://www.creativityexplored.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Creativity Explored\u003c/a>, \u003ca href=\"http://fusedspace.com/\" target=\"_blank\" rel=\"noopener noreferrer\">fusedspace\u003c/a>, \u003ca href=\"https://sfcb.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Center for the Book\u003c/a>, \u003ca href=\"http://www.wattis.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Wattis Institute for Contemporary Arts\u003c/a>, and \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">several\u003c/a> \u003ca href=\"http://www.briangrossfineart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">other\u003c/a> \u003ca href=\"http://www.hosfeltgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">galleries\u003c/a>.\u003c/p>\n\u003cp>MSP is close to Muni and Interstate 280, yet it can still feel like it’s tucked in a far-flung corner of the city. The 10 resident galleries will host first Saturday openings (the opening month is an exception), a critical mass that might be able to quash the neighborhood’s perceived remoteness. Prior to the neighborhood’s ongoing atrophy, many art enthusiasts dutifully found their way downtown, one Thursday night a month, to the many openings at 49 Geary. MSP possesses the potential to command similar attention with a compelling and diverse calendar of shows. Several MSP galleries are former downtown tenants, including \u003ca href=\"http://www.anglimgilbertgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anglim Gilbert Gallery\u003c/a>, \u003ca href=\"http://www.nancytoomeyfineart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nancy Toomey Fine Art\u003c/a> (formerly Toomey Tourell Fine Arts), \u003ca href=\"http://Rena%20Bransten%20Fine%20Art\" target=\"_blank\" rel=\"noopener noreferrer\">Rena Bransten Projects\u003c/a>, and \u003ca href=\"http://www.themesandprojects.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Themes + Projects\u003c/a> (formerly Modernbook).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Joining these established galleries are a number of artist-run and alternative art spaces whose long-term existence could depend on MSP’s alternative business model. In summer 2015, \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bass & Reiner Gallery\u003c/a> was \u003ca href=\"http://ww2.kqed.org/arts/2015/08/24/after-displacement-redlick-artists-rally-against-changing-mission/\" target=\"_blank\" rel=\"noopener noreferrer\">displaced from their Mission District location\u003c/a>. The gallery looked at other potential spaces, but found none with terms as favorable as MSP’s. “Moving into Minnesota Street Project has essentially made it possible for us to continue to exist,” says Emily Reynolds, one of Bass & Reiner’s four co-directors.\u003c/p>\n\u003cfigure id=\"attachment_11406041\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11406041\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Minnesota_08.jpg\" alt=\"Courtesy of Minnesota Street Project\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_08.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_08-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Minnesota Street Project\u003c/figcaption>\u003c/figure>\n\u003cp>For Bass & Reiner, the move isn’t just about survival but the prospect of thriving. “As a standalone gallery that visitors needed to buzz into and then take an elevator to reach,” Reynolds says of the gallery’s former space within Studio 17 at Mission and 17th Streets, “we could only convince the most adventurous art lovers to come see what we were doing.” At MSP, she’s looking forward to brighter prospects.\u003c/p>\n\u003cp>“It’s comforting to be in a building where I know I’m protected by landlords that are passionate about the arts,” says Andrew McClintock, director of \u003ca href=\"http://sfaq.us/ever-gold-projects/\" target=\"_blank\" rel=\"noopener noreferrer\">Ever Gold [Projects]\u003c/a> (formerly Ever Gold Gallery), which is moving to MSP from the Tenderloin. But McClintock sees increased opportunity beyond the agreeable rent. He says his new gallery will be bigger and cleaner, and that the Dogpatch in general has more room “to think and breathe” — and to park.\u003c/p>\n\u003cp>The proximity of established galleries to artist-run spaces is exciting; the potential within these combinations will be on display during the opening night. Anglim Gilbert Gallery shows work by San Francisco-based \u003ca href=\"http://enriquechagoya.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Enrique Chagoya\u003c/a>, an established painter and printmaker whose art is included in major museum collections across the country. A group show at Rena Bransten Projects includes work from prominent visual artists like \u003ca href=\"http://www.doughallstudio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Doug Hall\u003c/a>, \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>, \u003ca href=\"http://artsites.ucsc.edu/faculty/lord/\" target=\"_blank\" rel=\"noopener noreferrer\">Chip Lord\u003c/a>, and \u003ca href=\"http://www.dreamlandnews.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.etaletc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Et al. etc.\u003c/a> (a second gallery from Chinatown’s Et al.) shows work by \u003ca href=\"http://jacquelinegordon.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Jacqueline Gordon\u003c/a> and \u003ca href=\"http://www.margowolowiec.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Margo Wolowiec\u003c/a>. Bass & Reiner inaugurates their new space with a site-specific installation by \u003ca href=\"http://www.miemogensen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mie Hørlyck Mogensen\u003c/a> and \u003ca href=\"http://www.maycwilson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">May Wilson\u003c/a>. Gordon, Mogensen, Wilson and Wolowiec are all relatively recent art school graduates, a category the 18 California College of the Arts MFA candidates showing in the MSP gallery reserved for outside institutions and curators will soon join.\u003c/p>\n\u003cfigure id=\"attachment_11411805\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11411805\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/bassreiner-398x600.jpg\" alt=\"Mie Hørlyck Mogensen, Untitled (detail), installation at Bass & Reiner Gallery, 2016. Photo: Chris Grunder\" width=\"398\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner-400x603.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner.jpg 610w\" sizes=\"auto, (max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">Mie Hørlyck Mogensen, \u003ci>Untitled (detail)\u003c/i>, installation at Bass & Reiner Gallery, 2016. Photo: Chris Grunder\u003c/figcaption>\u003c/figure>\n\u003cp>MSP’s artist studio program also values professional integration. Early-career artists and designers like \u003ca href=\"http://bethabrahamson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Abrahamson\u003c/a>, \u003ca href=\"http://brittanyatkinsonphotography.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brittany Atkinson\u003c/a>, and \u003ca href=\"http://www.hennavainio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Henna Vainio\u003c/a> will share facilities with an impressive roster of mid-career and established artists, including \u003ca href=\"http://www.lynnhershman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lynn Hershman Leeson\u003c/a>, \u003ca href=\"http://sean-mcfarland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean McFarland\u003c/a>, \u003ca href=\"http://www.ratio3.org/artists/mitzi-pederson\" target=\"_blank\" rel=\"noopener noreferrer\">Mitzi Pederson\u003c/a>, and \u003ca href=\"http://www.taranehhemami.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Taraneh Hemami\u003c/a>. Various sources have described these studios as renting at or just below market rates, but with terms, facilities, and landlords that would be difficult to find elsewhere.\u003c/p>\n\u003cp>MSP is not a nonprofit organization, despite its benevolent aims. The Rappaports say that a for-profit structure affords them the flexibility to act quickly. It also allows them to offer services, such as a 100,000-cubic-foot museum-quality art storage facility, that subsidizes the galleries and studios. Cautionary skepticism of this business model is not inappropriate: for-profit business practices regularly push galleries and artists out of the Bay Area, and there will almost always be a venture more profitable than contemporary art. But if the actions of landlords speak to their values, optimism like Reynolds’ and McClintock’s may be warranted.\u003c/p>\n\u003cp>See you at the opening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Minnesota Street Project\u003c/strong> and its 10 gallery tenants celebrate their grand opening Friday, March 18, 6-10pm. Visit \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">minnesotastreetproject.com\u003c/a> for more information.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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