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"disqusTitle": "No Boo? No Problem! A Singles Guide to Valentine's Day 2016",
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"content": "\u003cp>https://www.youtube.com/watch?v=IYzlVDlE72w\u003c/p>\n\u003cp>\u003cem> (Note: This post made its debut \u003ca href=\"http://blogs.kqed.org/pop/2013/02/12/no-boo-no-problem-a-singles-guide-to-valentines-day/\">three years ago today\u003c/a>! This is an updated version with brand new events so you don't end up showing up to that Icona Pop concert expecting an encore 1,095 days later.)\u003c/em>\u003c/p>\n\u003cp>So you don't have a boo. No biggie. Sure, it's fun to hold hands and have someone buy you an eclair for no reason and all that jazz. Loving someone else is super. But there's another form of love that predates loving someone else: the love you have for yourself a.k.a. The Greatest Love of All! So this Valentine's Day, let's not be so terribly obvious and transform into Bridget Jones. There's really no reason you need to cry while eating chocolate and singing Celine Dion ballads in your underwear. You're cute and fun and you should get out there and do cute and fun things! Here are a few ideas of ways to spend your Valentine's Day:\u003c/p>\n\u003ch3>\u003cstrong>1. TREAT YO' SELF\u003c/strong>\u003c/h3>\n\u003cp>\u003cimg class=\"aligncenter\" src=\"http://24.media.tumblr.com/tumblr_m2ug3vCqbd1rungpko1_500.gif\" alt=\"\">\u003c/p>\n\u003cp>You work hard and you deserve nice things. Forget about waiting around for someone to buy you something you've always wanted and treat yo' self! Some good ideas: sweaters, fragrances, massages, mimosas. You get the idea.\u003c/p>\n\u003ch3>\u003cstrong>2. CALL ALL THE SINGLE LADIES (all the single ladies)\u003c/strong>\u003c/h3>\n\u003cp>\u003cimg class=\"aligncenter\" src=\"http://25.media.tumblr.com/tumblr_mcoez1NsMW1rdhbryo1_500.gif\" alt=\"\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sometimes it might seem like you're the only person not living in Boo Land (favorite activities for residents include forgetting about their friends and saying annoying things like \"you'll have this someday, too!\"). But there are plenty of friends who are flying solo just like you. So call your favorite friends from this group and be each other's Valentines. Make a three course meal for each other. Or hit up a karaoke joint and sing love songs to each other. \u003ca href=\"http://ww2.kqed.org/pop/2013/01/25/karaoke-survival-guide-10-commandments/\" target=\"_blank\">Just make sure to follow the rules.\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>3. GO TO AN EVENT, EXHIBIT, OR SHOW\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=KrZHPOeOxQQ\u003c/p>\n\u003cp>There are always 101 things to do at any given moment in this town so surely there is something for you out there. Here are some friendly suggestions:\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Event:\u003c/span> If you have something to get off your chest, why not belt it out with a bunch of nostalgic randos? The Roxie Theater is hosting an \u003ca href=\"http://www.roxie.com/ai1ec_event/sf-indie-fest-power-ballad-sing-long/\" target=\"_blank\">'80s Power Ballad Sing-a-long\u003c/a> featured Journey, Bon Jovi, Guns N' Roses, and all those other bands your older sister teased her bangs to back in the day.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Exhibit\u003c/span>: \u003ca href=\"http://www.sfbotanicalgarden.org/garden/magnificent-magnolias-20141.html\">\u003cem>Magnificent Magnolias\u003c/em>\u003c/a> at the SF Botanical Gardens. They're blooming just in time for your hot date with yourself! If that isn't cute enough for you, head on over to the Academy of Sciences to \u003ca href=\"http://www.calacademy.org/events/special-events/penguin-valentines\" target=\"_blank\">watch biologists give Valentines\u003c/a> to African penguins.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Concert:\u003c/span> Spend the holiday showing love for early aughts power couple \u003ca href=\"http://ww2.kqed.org/pop/2016/02/03/ja-rule-and-ashanti-want-to-be-your-valentine-also-relevant-again/\" target=\"_blank\">Ashanti and Ja Rule\u003c/a> at 1015 Folsom. Or, if that's not your thing, local music makers are paying homage to dearly departed \u003ca href=\"http://ww2.kqed.org/pop/tag/david-bowie/\" target=\"_blank\">David Bowie\u003c/a> (miss you, boo!) at \u003ca href=\"http://www.rickshawstop.com/event/1068797-lets-dance-david-bowie-san-francisco/\" target=\"_blank\">Let's Dance: A David Bowie Tribute Party\u003c/a>.\u003c/p>\n\u003ch1 class=\"headliners summary\">\u003c/h1>\n\u003ch3>\u003cstrong>4. HOLLYWOOD CRUSH MARATHON\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_1197\" class=\"wp-caption aligncenter\" style=\"max-width: 333px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/02/12/no-boo-no-problem-a-singles-guide-to-valentines-day/6331185462_244649c8d2/\" rel=\"attachment wp-att-1197\">\u003cimg class=\"size-full wp-image-1197 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/6331185462_244649c8d2.jpg\" alt=\"Flickr | poldberg\" width=\"333\" height=\"500\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.flickr.com/photos/poldberg/6331185462/\">poldberg\u003c/a>, via Flickr\u003c/figcaption>\u003c/figure>\n\u003cp>If you don't feel like going out, why not watch a marathon starring your number one crush?\u003c/p>\n\u003cp>If you like boys, I suggest this Ryan Gosling triple feature:\u003c/p>\n\u003cp>\u003cem>Drive\u003c/em>\u003cbr>\n\u003cem>Lars and the Real Girl\u003c/em>\u003cbr>\n\u003cem>Half Nelson\u003c/em>\u003cbr>\n\u003cdel>\u003cem>Blue Valentine\u003c/em>\u003c/del> (tonight is not the night for this)\u003cbr>\n\u003cem>\u003cdel>The Notebook\u003c/del> \u003c/em>(or this)\u003c/p>\n\u003cp>If you like girls, I suggest this Winona Ryder triple feature:\u003c/p>\n\u003cp>\u003cem>Beetlejuice\u003c/em>\u003cbr>\n\u003cem>Heathers\u003c/em>\u003cbr>\n\u003cem>Reality Bites\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>5. OPEN YOUR THIRD EYE\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_11077\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/02/12/no-boo-no-problem-a-singles-guide-to-valentines-day-2014/kitten_headstand/\" rel=\"attachment wp-att-11077\">\u003cimg class=\"size-full wp-image-11077\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/kitten_headstand.jpg\" alt=\"Photo: That Cute Site\" width=\"600\" height=\"397\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/02/kitten_headstand.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2014/02/kitten_headstand-400x264.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.thatcutesite.com/kitten-doing-morning-exercises.html\">That Cute Site\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>Our society tends to stigmatize spending time by yourself. Loners are weird and wear trench coats and talk to themselves, right? Wrong. The ability to be alone without feeling lonely is something we should all strive for and the surest way to get there is by practicing yoga. Tune into your body, breathe and relax a little. If this really doesn't sound like fun, find comfort in the 96.7% probability that your bendy teacher will be a babe.\u003c/p>\n\u003ch3>\u003cstrong>6. SAN FRANCISCO IS YOUR LIFE PARTNER\u003c/strong>\u003c/h3>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://lisacongdon.com/blog/2012/07/san-francisco-i-love-you/\">\u003cimg class=\" \" src=\"http://lisacongdon.com/blog/wp-content/uploads/2012/07/sfiloveyou_lowres1.jpg\" alt=\"\" width=\"600\" height=\"408\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://lisacongdon.com/\">Lisa Congdon\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>Significant others come and go and often take your favorite records with them. But San Francisco is always there for you. Spend some time in a place in the city you love or maybe have never gotten around to visiting. And take a bottle of red, while you're at it (that's not weird, it's \u003cem>classy)\u003c/em>. I suggest biking to the Sutro Baths or climbing Bernal or losing yourself in \u003ca href=\"http://mntsutro.com/\">the little-known cloud forest on Mount Sutro\u003c/a>.\u003c/p>\n\u003ch3>\u003cstrong>7. AWAKEN YOUR INNER CHILD\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_11074\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/02/12/no-boo-no-problem-a-singles-guide-to-valentines-day-2014/attachment/163920399/\" rel=\"attachment wp-att-11074\">\u003cimg class=\" wp-image-11074 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/163920399-1024x1024.jpg\" alt=\"Photo: Getty\" width=\"402\" height=\"402\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Getty\u003c/figcaption>\u003c/figure>\n\u003cp>No one appreciates it when you bottle up your emotions and eventually turn into an insufferable jerk for no reason so take out some of that aggression in a healthy way by attending the \u003ca href=\"http://sf.funcheap.com/pillow-fight-san-francisco/\" target=\"_blank\">annual V-Day Pillow Fight\u003c/a>! It'll be like slumber parties from your past, only you can stay up as late as you want and you probably won't pee the bed this time.\u003c/p>\n\u003ch3>\u003cstrong>8. EXPRESS YOURSELF\u003c/strong>\u003c/h3>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 240px\">\u003cimg src=\"http://youvegotmail.warnerbros.com/img/ygmlogo.gif\" alt=\"\" width=\"240\" height=\"178\">\u003cfigcaption class=\"wp-caption-text\">Photo: Warner Bros.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Sure, Valentine's Day is a commercial invention, but it does serve as a reminder to tell those important to us that we appreciate and love them. Just 'cause you don't have arm candy this year doesn't mean you shouldn't send cute notes to friends, family members and that cutie who serves you tea every morning. Everyone loves mail so you can't go wrong. And try making a habit of expressing your adoration for the people that matter not just on Valentine's Day, but year round. Kumbaya.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IYzlVDlE72w'\n title='//www.youtube.com/embed/IYzlVDlE72w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem> (Note: This post made its debut \u003ca href=\"http://blogs.kqed.org/pop/2013/02/12/no-boo-no-problem-a-singles-guide-to-valentines-day/\">three years ago today\u003c/a>! This is an updated version with brand new events so you don't end up showing up to that Icona Pop concert expecting an encore 1,095 days later.)\u003c/em>\u003c/p>\n\u003cp>So you don't have a boo. No biggie. Sure, it's fun to hold hands and have someone buy you an eclair for no reason and all that jazz. Loving someone else is super. But there's another form of love that predates loving someone else: the love you have for yourself a.k.a. The Greatest Love of All! So this Valentine's Day, let's not be so terribly obvious and transform into Bridget Jones. There's really no reason you need to cry while eating chocolate and singing Celine Dion ballads in your underwear. You're cute and fun and you should get out there and do cute and fun things! Here are a few ideas of ways to spend your Valentine's Day:\u003c/p>\n\u003ch3>\u003cstrong>1. TREAT YO' SELF\u003c/strong>\u003c/h3>\n\u003cp>\u003cimg class=\"aligncenter\" src=\"http://24.media.tumblr.com/tumblr_m2ug3vCqbd1rungpko1_500.gif\" alt=\"\">\u003c/p>\n\u003cp>You work hard and you deserve nice things. Forget about waiting around for someone to buy you something you've always wanted and treat yo' self! Some good ideas: sweaters, fragrances, massages, mimosas. You get the idea.\u003c/p>\n\u003ch3>\u003cstrong>2. CALL ALL THE SINGLE LADIES (all the single ladies)\u003c/strong>\u003c/h3>\n\u003cp>\u003cimg class=\"aligncenter\" src=\"http://25.media.tumblr.com/tumblr_mcoez1NsMW1rdhbryo1_500.gif\" alt=\"\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sometimes it might seem like you're the only person not living in Boo Land (favorite activities for residents include forgetting about their friends and saying annoying things like \"you'll have this someday, too!\"). But there are plenty of friends who are flying solo just like you. So call your favorite friends from this group and be each other's Valentines. Make a three course meal for each other. Or hit up a karaoke joint and sing love songs to each other. \u003ca href=\"http://ww2.kqed.org/pop/2013/01/25/karaoke-survival-guide-10-commandments/\" target=\"_blank\">Just make sure to follow the rules.\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>3. GO TO AN EVENT, EXHIBIT, OR SHOW\u003c/strong>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KrZHPOeOxQQ'\n title='//www.youtube.com/embed/KrZHPOeOxQQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are always 101 things to do at any given moment in this town so surely there is something for you out there. Here are some friendly suggestions:\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Event:\u003c/span> If you have something to get off your chest, why not belt it out with a bunch of nostalgic randos? The Roxie Theater is hosting an \u003ca href=\"http://www.roxie.com/ai1ec_event/sf-indie-fest-power-ballad-sing-long/\" target=\"_blank\">'80s Power Ballad Sing-a-long\u003c/a> featured Journey, Bon Jovi, Guns N' Roses, and all those other bands your older sister teased her bangs to back in the day.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Exhibit\u003c/span>: \u003ca href=\"http://www.sfbotanicalgarden.org/garden/magnificent-magnolias-20141.html\">\u003cem>Magnificent Magnolias\u003c/em>\u003c/a> at the SF Botanical Gardens. They're blooming just in time for your hot date with yourself! If that isn't cute enough for you, head on over to the Academy of Sciences to \u003ca href=\"http://www.calacademy.org/events/special-events/penguin-valentines\" target=\"_blank\">watch biologists give Valentines\u003c/a> to African penguins.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Concert:\u003c/span> Spend the holiday showing love for early aughts power couple \u003ca href=\"http://ww2.kqed.org/pop/2016/02/03/ja-rule-and-ashanti-want-to-be-your-valentine-also-relevant-again/\" target=\"_blank\">Ashanti and Ja Rule\u003c/a> at 1015 Folsom. Or, if that's not your thing, local music makers are paying homage to dearly departed \u003ca href=\"http://ww2.kqed.org/pop/tag/david-bowie/\" target=\"_blank\">David Bowie\u003c/a> (miss you, boo!) at \u003ca href=\"http://www.rickshawstop.com/event/1068797-lets-dance-david-bowie-san-francisco/\" target=\"_blank\">Let's Dance: A David Bowie Tribute Party\u003c/a>.\u003c/p>\n\u003ch1 class=\"headliners summary\">\u003c/h1>\n\u003ch3>\u003cstrong>4. HOLLYWOOD CRUSH MARATHON\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_1197\" class=\"wp-caption aligncenter\" style=\"max-width: 333px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/02/12/no-boo-no-problem-a-singles-guide-to-valentines-day/6331185462_244649c8d2/\" rel=\"attachment wp-att-1197\">\u003cimg class=\"size-full wp-image-1197 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/6331185462_244649c8d2.jpg\" alt=\"Flickr | poldberg\" width=\"333\" height=\"500\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.flickr.com/photos/poldberg/6331185462/\">poldberg\u003c/a>, via Flickr\u003c/figcaption>\u003c/figure>\n\u003cp>If you don't feel like going out, why not watch a marathon starring your number one crush?\u003c/p>\n\u003cp>If you like boys, I suggest this Ryan Gosling triple feature:\u003c/p>\n\u003cp>\u003cem>Drive\u003c/em>\u003cbr>\n\u003cem>Lars and the Real Girl\u003c/em>\u003cbr>\n\u003cem>Half Nelson\u003c/em>\u003cbr>\n\u003cdel>\u003cem>Blue Valentine\u003c/em>\u003c/del> (tonight is not the night for this)\u003cbr>\n\u003cem>\u003cdel>The Notebook\u003c/del> \u003c/em>(or this)\u003c/p>\n\u003cp>If you like girls, I suggest this Winona Ryder triple feature:\u003c/p>\n\u003cp>\u003cem>Beetlejuice\u003c/em>\u003cbr>\n\u003cem>Heathers\u003c/em>\u003cbr>\n\u003cem>Reality Bites\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>5. OPEN YOUR THIRD EYE\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_11077\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/02/12/no-boo-no-problem-a-singles-guide-to-valentines-day-2014/kitten_headstand/\" rel=\"attachment wp-att-11077\">\u003cimg class=\"size-full wp-image-11077\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/kitten_headstand.jpg\" alt=\"Photo: That Cute Site\" width=\"600\" height=\"397\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/02/kitten_headstand.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2014/02/kitten_headstand-400x264.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.thatcutesite.com/kitten-doing-morning-exercises.html\">That Cute Site\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>Our society tends to stigmatize spending time by yourself. Loners are weird and wear trench coats and talk to themselves, right? Wrong. The ability to be alone without feeling lonely is something we should all strive for and the surest way to get there is by practicing yoga. Tune into your body, breathe and relax a little. If this really doesn't sound like fun, find comfort in the 96.7% probability that your bendy teacher will be a babe.\u003c/p>\n\u003ch3>\u003cstrong>6. SAN FRANCISCO IS YOUR LIFE PARTNER\u003c/strong>\u003c/h3>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://lisacongdon.com/blog/2012/07/san-francisco-i-love-you/\">\u003cimg class=\" \" src=\"http://lisacongdon.com/blog/wp-content/uploads/2012/07/sfiloveyou_lowres1.jpg\" alt=\"\" width=\"600\" height=\"408\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://lisacongdon.com/\">Lisa Congdon\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>Significant others come and go and often take your favorite records with them. But San Francisco is always there for you. Spend some time in a place in the city you love or maybe have never gotten around to visiting. And take a bottle of red, while you're at it (that's not weird, it's \u003cem>classy)\u003c/em>. I suggest biking to the Sutro Baths or climbing Bernal or losing yourself in \u003ca href=\"http://mntsutro.com/\">the little-known cloud forest on Mount Sutro\u003c/a>.\u003c/p>\n\u003ch3>\u003cstrong>7. AWAKEN YOUR INNER CHILD\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_11074\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/02/12/no-boo-no-problem-a-singles-guide-to-valentines-day-2014/attachment/163920399/\" rel=\"attachment wp-att-11074\">\u003cimg class=\" wp-image-11074 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/163920399-1024x1024.jpg\" alt=\"Photo: Getty\" width=\"402\" height=\"402\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Getty\u003c/figcaption>\u003c/figure>\n\u003cp>No one appreciates it when you bottle up your emotions and eventually turn into an insufferable jerk for no reason so take out some of that aggression in a healthy way by attending the \u003ca href=\"http://sf.funcheap.com/pillow-fight-san-francisco/\" target=\"_blank\">annual V-Day Pillow Fight\u003c/a>! It'll be like slumber parties from your past, only you can stay up as late as you want and you probably won't pee the bed this time.\u003c/p>\n\u003ch3>\u003cstrong>8. EXPRESS YOURSELF\u003c/strong>\u003c/h3>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 240px\">\u003cimg src=\"http://youvegotmail.warnerbros.com/img/ygmlogo.gif\" alt=\"\" width=\"240\" height=\"178\">\u003cfigcaption class=\"wp-caption-text\">Photo: Warner Bros.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Sure, Valentine's Day is a commercial invention, but it does serve as a reminder to tell those important to us that we appreciate and love them. Just 'cause you don't have arm candy this year doesn't mean you shouldn't send cute notes to friends, family members and that cutie who serves you tea every morning. Everyone loves mail so you can't go wrong. And try making a habit of expressing your adoration for the people that matter not just on Valentine's Day, but year round. Kumbaya.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the Venn diagram of dance and architecture, one might think the two circles have very little overlap. But in 1966, dance pioneer \u003ca href=\"http://ww2.kqed.org/spark/anna-halprin/\" target=\"_blank\" rel=\"noopener\">Anna Halprin\u003c/a> and her husband, landscape architect Lawrence Halprin, sought to intermingle the two in an experimental summer workshop for students of both disciplines. The workshops, led by the couple three times over the next five years, are captured in an exhibition of photographs, ephemera, video and drawings at San Francisco’s \u003ca href=\"http://www.californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener\">California Historical Society\u003c/a>. Originally exhibited at the Graham Foundation in Chicago, \u003ci>Experiments in Environment: The Halprin Workshops 1966-1971\u003c/i> brings its cross-disciplinary lesson plan back to the region of its own making.\u003c/p>\n\u003cfigure id=\"attachment_11316701\" class=\"wp-caption alignright\" style=\"max-width: 458px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11316701\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/AnnaLawrence640.jpg\" alt=\"Photographer unknonwn, Anna and Lawrence Halprin, circa 1940.\" width=\"458\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/AnnaLawrence640.jpg 458w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/AnnaLawrence640-400x559.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/AnnaLawrence640-429x600.jpg 429w\" sizes=\"(max-width: 458px) 100vw, 458px\">\u003cfigcaption class=\"wp-caption-text\">Photographer unknonwn, Anna and Lawrence Halprin, circa 1940. \u003ccite>(Courtesy of Anna Halprin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The couple’s “Experiments in Environment” were investigations into urban and natural environments and ways in which bodies move through them. Today the workshop descriptions set off all the buzzword alarms for new-agey, cringeworthy language, but the activities — from blindfolded walking to collective building projects to dances choreographed for city plazas — remain radical.\u003c/p>\n\u003cp>In fact, the current exhibition at the CHS inspires a not immodest amount of jealousy. While expanding notions of dance, architecture, community and environment, workshop participants had what looks like a hell of a lot of fun.\u003c/p>\n\u003cp>Those participants for the most part appear to be young, handsome architecture students, budding artists and dancers. A vitrine filled with applications from workshop hopefuls is priceless, including a letter from a 24-year-old \u003ca href=\"http://artsites.ucsc.edu/faculty/lord/\" target=\"_blank\" rel=\"noopener\">Chip Lord\u003c/a>, who would become known as one of the founders of the collective Ant Farm, “\u003ca href=\"http://ww2.kqed.org/arts/2015/03/20/kill-your-tv-how-bay-area-video-art-exploded-in-the-1970s/\" target=\"_blank\" rel=\"noopener\">court jesters of the Bay Area video arts scene\u003c/a>” in the 1970s.\u003c/p>\n\u003cp>“I feel that this experience will make clear personel (sic) concepts which have been clouded or repressed by inexperience and professional school rigidity,” Lord writes in his appeal.\u003c/p>\n\u003cfigure id=\"attachment_11316702\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11316702\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200.jpg\" alt=\"'Blindfold Walk,' Kentfield, CA. Experiments in Environment Workshop, July 2, 1968.\" width=\"1200\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200-960x646.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Blindfold Walk,’ Kentfield, CA. Experiments in Environment Workshop, July 2, 1968. \u003ccite>(Courtesy Lawrence Halprin Collection, The Architectural Archives, University of Pennsylvania)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another letter from a 32-year-old Joan Jonas (who went on to have her own star-studded career, most recently as the \u003ca href=\"http://joanjonasvenice2015.com/\" target=\"_blank\" rel=\"noopener\">United States’ representative at the 2015 Venice Biennale\u003c/a>) says, “I hope there is still room.” Based on the exhibition’s list of 1968 workshop participants, she didn’t make the cut.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 1968 workshop is the most thoroughly represented in the material on view at the CHS. From July 1-24 of that year, 20 dancers, 14 architects and 8 faculty members moved between San Francisco, the Halprins’ home in Kentfield and the Sonoma coastal community at Sea Ranch (which Lawrence Halprin designed). The 24 days were filled with exercises like “Sensory Walk,” “Ritual Group Drawing” and “Manipulating Bodies.” At the CHS, a large-scale horizontal sepia print \u003ci>Score for a 24-Day Workshop\u003c/i> details the complete daily activities of the group, filled from morning to night.\u003c/p>\n\u003cfigure id=\"attachment_11316704\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11316704\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Lunch1200.jpg\" alt=\"Lawrence Halprin, illustrator, 'Lunch, Score for a Dance by Anna Halprin,' 1968.\" width=\"1200\" height=\"940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200-400x313.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200-766x600.jpg 766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200-1180x924.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200-960x752.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lawrence Halprin, illustrator, ‘Lunch, Score for a Dance by Anna Halprin,’ 1968. \u003ccite>(Lawrence Halprin, illustrator, 'Lunch, Score for a Dance by Anna Halprin,' 1968.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearby vitrines contain the Halprins’ “scores,” directions for activities that are both specific and open-ended, providing participants with comfort-zone expanding guidelines for exploring their surroundings.\u003c/p>\n\u003cp>Some scores are theatrical. “Skyscraper Event” tells participants to travel between two San Francisco skyscrapers with an adopted personality. “Interact with the people in these buildings,” the score says. “Notice how you experience the environment and the people you contact.”\u003c/p>\n\u003cp>Other scores look inwards. “Sensory Walk” decrees: “Focus on each sense isolated from the others long enough so you are really digging it with that one sense before using the next sense.”\u003c/p>\n\u003cfigure id=\"attachment_11316934\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11316934\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200.jpg\" alt=\"'Ritual Group Drawing,' Sea Ranch, CA. Experiments in Environment Workshop, July 8, 1968.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200-960x641.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Ritual Group Drawing,’ Sea Ranch, CA. Experiments in Environment Workshop, July 8, 1968. \u003ccite>(Courtesy Lawrence Halprin Collection, The Architetural Archives, University of Pennsylvania)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is the cringeworthy buzzword alarm ringing? Shed for a moment preconceived notions of aimless wandering and “finding oneself” in the assembly of a driftwood city (another all-day workshop activity). The Halprin workshops were part of a movement too often distilled down to Timothy Leary’s misunderstood exhortation to “\u003ca href=\"https://en.wikipedia.org/wiki/Turn_on,_tune_in,_drop_out\" target=\"_blank\" rel=\"noopener\">Turn on, tune in, drop out.\u003c/a>”\u003c/p>\n\u003cp>An accompanying display of material from the CHS’s collection gives context to the era through a number of countercultural artistic and lifestyle movements, including objects relating to the \u003ca href=\"http://www.diggers.org/\" target=\"_blank\" rel=\"noopener\">Diggers\u003c/a>, the \u003ca href=\"http://www.diggers.org/kaliflower/kf.htm\" target=\"_blank\" rel=\"noopener\">Kaliflower Commune\u003c/a>, \u003ca href=\"http://www.alivinglibrary.org/Sprouts_Crossroads.html\" target=\"_blank\" rel=\"noopener\">Crossroads Community (The Farm)\u003c/a>, the \u003ca href=\"https://en.wikipedia.org/wiki/Black_Panther_Party\" target=\"_blank\" rel=\"noopener\">Black Panther Party\u003c/a> and the \u003ca href=\"https://en.wikipedia.org/wiki/Free_Speech_Movement\" target=\"_blank\" rel=\"noopener\">Free Speech Movement\u003c/a>.\u003c/p>\n\u003cp>The Halprin workshops, as demonstrated throughout the exhibition, were highly organized, carefully crafted learning environments that purposely abandoned classrooms, tangible outcomes and professorial authority.\u003c/p>\n\u003cp>The radical “transformative” effect of this approach was felt by even the organizers. Lawrence Halprin, in his own evaluation of the 1968 workshop, wrote, “I, once again, believe deeply in process.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Experiments in Environment: The Halprin Workshops 1966-1971\u003c/b>\u003c/i> is on view at the California Historical Society in San Francisco through July 3, 2016. For more information visit \u003ca href=\"http://experiments.californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener\">experiments.californiahistoricalsociety.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the Venn diagram of dance and architecture, one might think the two circles have very little overlap. But in 1966, dance pioneer \u003ca href=\"http://ww2.kqed.org/spark/anna-halprin/\" target=\"_blank\" rel=\"noopener\">Anna Halprin\u003c/a> and her husband, landscape architect Lawrence Halprin, sought to intermingle the two in an experimental summer workshop for students of both disciplines. The workshops, led by the couple three times over the next five years, are captured in an exhibition of photographs, ephemera, video and drawings at San Francisco’s \u003ca href=\"http://www.californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener\">California Historical Society\u003c/a>. Originally exhibited at the Graham Foundation in Chicago, \u003ci>Experiments in Environment: The Halprin Workshops 1966-1971\u003c/i> brings its cross-disciplinary lesson plan back to the region of its own making.\u003c/p>\n\u003cfigure id=\"attachment_11316701\" class=\"wp-caption alignright\" style=\"max-width: 458px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11316701\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/AnnaLawrence640.jpg\" alt=\"Photographer unknonwn, Anna and Lawrence Halprin, circa 1940.\" width=\"458\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/AnnaLawrence640.jpg 458w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/AnnaLawrence640-400x559.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/AnnaLawrence640-429x600.jpg 429w\" sizes=\"(max-width: 458px) 100vw, 458px\">\u003cfigcaption class=\"wp-caption-text\">Photographer unknonwn, Anna and Lawrence Halprin, circa 1940. \u003ccite>(Courtesy of Anna Halprin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The couple’s “Experiments in Environment” were investigations into urban and natural environments and ways in which bodies move through them. Today the workshop descriptions set off all the buzzword alarms for new-agey, cringeworthy language, but the activities — from blindfolded walking to collective building projects to dances choreographed for city plazas — remain radical.\u003c/p>\n\u003cp>In fact, the current exhibition at the CHS inspires a not immodest amount of jealousy. While expanding notions of dance, architecture, community and environment, workshop participants had what looks like a hell of a lot of fun.\u003c/p>\n\u003cp>Those participants for the most part appear to be young, handsome architecture students, budding artists and dancers. A vitrine filled with applications from workshop hopefuls is priceless, including a letter from a 24-year-old \u003ca href=\"http://artsites.ucsc.edu/faculty/lord/\" target=\"_blank\" rel=\"noopener\">Chip Lord\u003c/a>, who would become known as one of the founders of the collective Ant Farm, “\u003ca href=\"http://ww2.kqed.org/arts/2015/03/20/kill-your-tv-how-bay-area-video-art-exploded-in-the-1970s/\" target=\"_blank\" rel=\"noopener\">court jesters of the Bay Area video arts scene\u003c/a>” in the 1970s.\u003c/p>\n\u003cp>“I feel that this experience will make clear personel (sic) concepts which have been clouded or repressed by inexperience and professional school rigidity,” Lord writes in his appeal.\u003c/p>\n\u003cfigure id=\"attachment_11316702\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11316702\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200.jpg\" alt=\"'Blindfold Walk,' Kentfield, CA. Experiments in Environment Workshop, July 2, 1968.\" width=\"1200\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200-960x646.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Blindfold Walk,’ Kentfield, CA. Experiments in Environment Workshop, July 2, 1968. \u003ccite>(Courtesy Lawrence Halprin Collection, The Architectural Archives, University of Pennsylvania)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another letter from a 32-year-old Joan Jonas (who went on to have her own star-studded career, most recently as the \u003ca href=\"http://joanjonasvenice2015.com/\" target=\"_blank\" rel=\"noopener\">United States’ representative at the 2015 Venice Biennale\u003c/a>) says, “I hope there is still room.” Based on the exhibition’s list of 1968 workshop participants, she didn’t make the cut.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 1968 workshop is the most thoroughly represented in the material on view at the CHS. From July 1-24 of that year, 20 dancers, 14 architects and 8 faculty members moved between San Francisco, the Halprins’ home in Kentfield and the Sonoma coastal community at Sea Ranch (which Lawrence Halprin designed). The 24 days were filled with exercises like “Sensory Walk,” “Ritual Group Drawing” and “Manipulating Bodies.” At the CHS, a large-scale horizontal sepia print \u003ci>Score for a 24-Day Workshop\u003c/i> details the complete daily activities of the group, filled from morning to night.\u003c/p>\n\u003cfigure id=\"attachment_11316704\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11316704\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Lunch1200.jpg\" alt=\"Lawrence Halprin, illustrator, 'Lunch, Score for a Dance by Anna Halprin,' 1968.\" width=\"1200\" height=\"940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200-400x313.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200-766x600.jpg 766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200-1180x924.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200-960x752.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lawrence Halprin, illustrator, ‘Lunch, Score for a Dance by Anna Halprin,’ 1968. \u003ccite>(Lawrence Halprin, illustrator, 'Lunch, Score for a Dance by Anna Halprin,' 1968.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearby vitrines contain the Halprins’ “scores,” directions for activities that are both specific and open-ended, providing participants with comfort-zone expanding guidelines for exploring their surroundings.\u003c/p>\n\u003cp>Some scores are theatrical. “Skyscraper Event” tells participants to travel between two San Francisco skyscrapers with an adopted personality. “Interact with the people in these buildings,” the score says. “Notice how you experience the environment and the people you contact.”\u003c/p>\n\u003cp>Other scores look inwards. “Sensory Walk” decrees: “Focus on each sense isolated from the others long enough so you are really digging it with that one sense before using the next sense.”\u003c/p>\n\u003cfigure id=\"attachment_11316934\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11316934\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200.jpg\" alt=\"'Ritual Group Drawing,' Sea Ranch, CA. Experiments in Environment Workshop, July 8, 1968.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200-960x641.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Ritual Group Drawing,’ Sea Ranch, CA. Experiments in Environment Workshop, July 8, 1968. \u003ccite>(Courtesy Lawrence Halprin Collection, The Architetural Archives, University of Pennsylvania)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is the cringeworthy buzzword alarm ringing? Shed for a moment preconceived notions of aimless wandering and “finding oneself” in the assembly of a driftwood city (another all-day workshop activity). The Halprin workshops were part of a movement too often distilled down to Timothy Leary’s misunderstood exhortation to “\u003ca href=\"https://en.wikipedia.org/wiki/Turn_on,_tune_in,_drop_out\" target=\"_blank\" rel=\"noopener\">Turn on, tune in, drop out.\u003c/a>”\u003c/p>\n\u003cp>An accompanying display of material from the CHS’s collection gives context to the era through a number of countercultural artistic and lifestyle movements, including objects relating to the \u003ca href=\"http://www.diggers.org/\" target=\"_blank\" rel=\"noopener\">Diggers\u003c/a>, the \u003ca href=\"http://www.diggers.org/kaliflower/kf.htm\" target=\"_blank\" rel=\"noopener\">Kaliflower Commune\u003c/a>, \u003ca href=\"http://www.alivinglibrary.org/Sprouts_Crossroads.html\" target=\"_blank\" rel=\"noopener\">Crossroads Community (The Farm)\u003c/a>, the \u003ca href=\"https://en.wikipedia.org/wiki/Black_Panther_Party\" target=\"_blank\" rel=\"noopener\">Black Panther Party\u003c/a> and the \u003ca href=\"https://en.wikipedia.org/wiki/Free_Speech_Movement\" target=\"_blank\" rel=\"noopener\">Free Speech Movement\u003c/a>.\u003c/p>\n\u003cp>The Halprin workshops, as demonstrated throughout the exhibition, were highly organized, carefully crafted learning environments that purposely abandoned classrooms, tangible outcomes and professorial authority.\u003c/p>\n\u003cp>The radical “transformative” effect of this approach was felt by even the organizers. Lawrence Halprin, in his own evaluation of the 1968 workshop, wrote, “I, once again, believe deeply in process.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Experiments in Environment: The Halprin Workshops 1966-1971\u003c/b>\u003c/i> is on view at the California Historical Society in San Francisco through July 3, 2016. For more information visit \u003ca href=\"http://experiments.californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener\">experiments.californiahistoricalsociety.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "how-two-santa-cruz-artists-changed-the-course-of-environmental-history",
"title": "How Two Santa Cruz Artists Changed the Course of Environmental History",
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"content": "\u003cp>At the University of California Berkeley’s \u003ca href=\"http://www.ucnrs.org/reserves/sagehen-creek-field-station.html\" target=\"_blank\" rel=\"noopener\">Sagehen Creek Field Station\u003c/a> in the Eastern Sierra Nevada, small groups of plant species weather out a harsh winter under several feet of snow. There’s not much to see, let alone anything that resembles art. But hard though it may be to believe, the specimens are in fact part of the latest game-changing ecological art project by \u003ca href=\"http://theharrisonstudio.net/\" target=\"_blank\" rel=\"noopener\">Helen Mayer Harrison and Newton Harrison\u003c/a>.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/246555541″ 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\u003cfigure id=\"attachment_11317173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11317173\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-800x402.jpg\" alt='One of the Harrisons many eye-catching maps: \"The Sagehen ecosystem and experimental sites\"' width=\"800\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-800x402.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-400x201.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-768x386.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-1180x593.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-960x482.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990.jpg 1346w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the Harrisons many eye-catching maps: “The Sagehen ecosystem and experimental sites” \u003ccite>(Photo: Courtesy of The Harrison Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Widely known as the parents of the eco-art movement, the Harrisons have become world-renowned for using art to tackle environmental problems on a massive, global scale. Over more than four decades, the Santa Cruz-based husband-and-wife team have inspired the public to get behind environmental issues, from climate change to the impact of urbanization on the ecosystem — and on occasion have even successfully helped to bring about high-level environmental policy change.\u003c/p>\n\u003cp>“These are million-square-kilometer problems,” says Newton of the issues that he and Helen address with their work.\u003cbr>\n“What we have to be concerned about is what is happening to the entire planet,” Helen says. “What we are concerned about is the survival of the people and all living things.”\u003c/p>\n\u003cp>The Harrisons’ acclaim is so great that a few years ago the Getty Research Institute and Stanford University both expressed interest in housing their archives. \u003ca href=\"https://lib.stanford.edu/art-architecture-library/four-decades-selections-helen-and-newton-harrison-papers\" target=\"_blank\" rel=\"noopener\">Stanford won\u003c/a>. “We are delighted that the Helen and Newton Harrison archive came to Stanford University,” says Peter Blank, Senior Librarian at Stanford’s Bowes Art & Architecture Library. “Their engagement with the hard questions of our day — what are our shared responsibilities on a planet fraught with ecological uncertainties — and the manner in which they integrate the arts and sciences has resulted in a remarkably rich body of work.” And now the artists, who are both in their eighties, are the subject of a kaleidoscopic book, which Random House will put out later this year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>A 50-year-long project in the Sierra Nevada\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11314288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11314288\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-800x535.jpg\" alt=\"Under deep snow at UC Berkeley Sagehen Creek Field Station in the Eastern Sierra Nevada, groups of plant species hibernate as part of a 50-year-long environmental art project implemented by The Harrisons in collaboration with scientists and members of the Washoe Tribe.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-1920x1285.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-960x642.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Under deep snow at UC Berkeley Sagehen Creek Field Station in the Eastern Sierra Nevada, groups of plant species hibernate as part of a 50-year-long environmental art project implemented by The Harrisons in collaboration with scientists and members of the Washoe Tribe. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Sagehen, the Harrisons are collaborating with a small team of scientists and members of the Washoe Tribe on a 50-year-long project. It involves physically moving groups of plant species like wild rose and red fir to higher ground with the aim of helping the seedlings become resilient both to the warming effects of climate change and at different altitudes. The Sagehen investigation is part of an even bigger project, entitled \u003cem>The Force Majeure\u003c/em>, which looks at finding solutions to two problems through conducting experiments in four different parts of the world — encroaching water levels and rising temperatures.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“These are two vast forces that we have speeded up to say the least,” Newton says of co-opting the legal term “force majeure” which means a huge power that cannot be controlled, kind of like an act of god. “We consider them a force majeure. Why? G\u003c/span>\u003cspan style=\"font-weight: 400\">o ahead and stop them if you can. But there may be a counter-force on the horizon and that is what we search for.”\u003c/span>\u003c/p>\n\u003cp>The Harrisons’ deep interest in involving people of the Washoe Tribe — who for thousands of years \u003cspan style=\"font-weight: 400\">have called the Sagehen area and beyond their ancestral home\u003c/span> — adds an important dimension to the project because of the Native Americans’ deep knowledge of the local ecosystem and its indigenous species. Tribal elder Benny Fillmore says this is the first time he’s ever been asked by anyone outside of his tribe to collaborate on an art project. “I think it’s really rare in this day and age as tribal members to be given a hand in such a big project,” Fillmore says.\u003c/p>\n\u003cfigure id=\"attachment_11314392\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11314392\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-800x549.jpg\" alt='UC Berkeley Sagehen Creek Field Station scientists Jeff Brown and Faerthen Felix. The scientists are collaborating with Newton and Helen Harrison on one part of their massive, global \"Force Majeure\" project. Here we see them posing in front of another site-specific art project on site at Sagehen.' width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-400x274.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-1180x809.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-1920x1317.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-960x658.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">UC Berkeley Sagehen Creek Field Station managers Jeff Brown and Faerthen Felix. Sagehen is collaborating with Newton and Helen Harrison on one part of their massive, global “Force Majeure” project. Here we see them posing in front of another site-specific art project on site at Sagehen, “Invisible Barn”. \u003ccite>(Photo: Chloe Veltman/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Harrisons’ ability to connect people and ideas that normally wouldn’t come into contact with one another is one of their greatest assets. Sagehen field station manager, Faerthen Felix, says the station’s relationship with the Harrisons is helping to find a wider audience for important but usually dry scientific data. “The problem is that science is by nature a non-emotional process,” Felix says. “You have to be dispassionate. The data has to speak for itself. But that’s not what humans are like. Emotion is what drives us. And emotion is the raw material that artists use.”\u003c/p>\n\u003cp>Felix’s colleague, Jeff Brown, says the Harrisons’ art — for instance, the huge, colorful, topographical maps they create for many of their projects — helps transform cold science into a meaningful story. “They’re allowed to get visceral,” Brown says. “They’re allowed to get emotive. They’re allowed to connect with people in ways science just can’t.”\u003c/p>\n\u003cp>\u003cstrong>Shaping environmental policy in Holland\u003c/strong>\u003c/p>\n\u003cp>This quality has enabled the Harrisons to shape environmental policy. In the mid-1990s, a branch of the Dutch government challenged the artists to solve an enormous urban planning problem: how to build hundreds of thousands of new houses while protecting the country’s lush green lowlands. The Harrisons created beautiful aerial landscape videos to bewitch the initially skeptical officials. They also audaciously exhibited a big map of Holland — printed backwards. “The planners got mad at us and they said, ‘Why have you done this?’ Newton recalls. “And we said, ‘Well you’re planning your country backwards, so we printed your map backwards.’”\u003c/p>\n\u003cfigure id=\"attachment_11318892\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11318892\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Green_Heart_LEFT_SIDE-1.jpg\" alt=\"To get their message across to the Dutch authorities, the Harrisons audaciously created and exhibited a map of Holland --printed backwards \" width=\"600\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Green_Heart_LEFT_SIDE-1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Green_Heart_LEFT_SIDE-1-400x323.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">To get their message across to the Dutch authorities, the Harrisons audaciously created and exhibited a map of Holland –printed backwards \u003ccite>(Courtesy: The Harrison Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It wasn’t that easy to convince the politicians,” says Adriaan De Regt, who was a cultural official for South Holland at the time the Harrisons undertook their \u003cem>\u003ca href=\"http://theharrisonstudio.net/?page_id=534\" target=\"_blank\" rel=\"noopener\">Green Heart of Holland\u003c/a>\u003c/em> project. “It took some time before they saw that the plan from the Harrisons was a good idea.”\u003c/p>\n\u003cp>The American couple eventually won over the Dutch officials, who adopted their vision. Bill Fox, who runs the \u003ca href=\"https://www.nevadaart.org/ae/\" target=\"_blank\" rel=\"noopener\">Center for Art and the Environment at the Museum of Nevada\u003c/a> and has worked closely with the Harrisons in recent years, says the Harrisons’ work is persuasive because it successfully bridges the worlds of politics and science. “They create these beautiful maps and poetic texts, and do these exhibitions about the problem that really creates empathy for a place,” Fox says. “Once you begin to care about place, you will care about what happens to that place.”\u003c/p>\n\u003cp>\u003cstrong>Fomenting environmental activism in San Diego\u003c/strong>\u003c/p>\n\u003cp>The Harrisons first met in 1950 at Helen’s family farm in Connecticut. Newton was a budding sculptor still in his teens, and Helen, a few years his senior, a teacher, philosopher and student of English literature. The couple didn’t formally start working on art projects together until 1969, when they both landed jobs at the University of California, San Diego. Newton taught art and Helen ran educational programs.\u003c/p>\n\u003cp>It was a combination of biological research and the publication of \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Silent_Spring\" target=\"_blank\" rel=\"noopener\">Silent Spring\u003c/a>\u003c/em>, Rachel Carson’s seminal book about environmental destruction, that pushed them towards working on art projects in service of the environment together. “We made a decision to do no work that didn’t benefit the ecology, as neither of us could face that alone,” says Newton. “That’s how our collaboration began.”\u003c/p>\n\u003cp>\u003cstrong>Electrocuting catfish in London\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11317170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11317170\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/8-2R-800x531.jpg\" alt=\"People exploring the Harrisons' "Portable Fish Farm" installation in 1971\" width=\"800\" height=\"531\">\u003cfigcaption class=\"wp-caption-text\">People exploring the Harrisons’ “Portable Fish Farm” installation in 1971 \u003ccite>(Photo: Courtesy of Ronald Feldman Fine Arts, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes the couple’s art has gotten them into trouble. In 1971, the Harrisons were part of a high-profile exhibition at London’s Hayward Gallery. For their \u003ca href=\"http://theharrisonstudio.net/?page_id=192\" target=\"_blank\" rel=\"noopener\">installation about the sustainability of farming practices\u003c/a>, they electrocuted catfish and made stew for museumgoers. It caused an uproar. Helen says that although the fish were humanely killed, many people couldn’t see past the shock value. “People wanted the government to cancel our show,” she says. The tabloid press went berserk. Newton lights up at the memory. “Helen made a weird version of bouillabaisse,” he says. “It smelled so good that nobody went to the other exhibitions.”\u003c/p>\n\u003cp>Composer Edward Lambert even turned the debacle into a chamber opera entitled \u003cem>\u003ca href=\"http://www.tete-a-tete.org.uk/catfish-conundrum/\" target=\"_blank\" rel=\"noopener\">The Catfish Conundrum\u003c/a>\u003c/em> two years ago, with Newton Harrison and the catfish among the characters represented on stage.\u003c/p>\n\u003cp>\u003cem>Watch a video of the entire opera, performed in 2014 by The Music Troupe of London:\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Catfish Conundrum\" src=\"https://player.vimeo.com/video/113147541?dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\">\u003c/iframe>\u003c/p>\n\u003cp>It wasn’t just audiences that balked at the Harrisons’ work in the early days. Because of the couple’s scientific leanings, the art establishment was also fairly hostile towards them in the early years. “It took a while for museums to decide that artists could work in these fields and be artists,” says the Harrisons’ longtime New York dealer Ronald Feldman. “So they had a rough road to get attention for their work as artwork.”\u003c/p>\n\u003cp>Today, things are different. The Harrisons’ maps, videos and other visual artifacts can fetch up to hundreds of thousands of dollars on the art market, according to Feldman. And Newton and Helen are considered trailblazers. “Many artists work very well with the sciences,” Feldman says. “Newton and Helen have opened that door for everybody.”\u003c/p>\n\u003cp>The Harrisons aren’t as mobile as they used to be and Helen’s health is particularly fragile. They’re still doggedly focused on their ecological mission, though Newton cautions it’s not up to him and Helen to save the Earth. “You need a big community,” he says. “And that community is slowly forming and the question is will it form quickly enough? Or is mass extinction a fact?”\u003c/p>\n\u003cfigure id=\"attachment_11318771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11318771\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-800x549.png\" alt=\"Helen Mayer Harrison and Newton Harrison with Laura and Benny Fillmore of the Washoe Tribe\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-800x549.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-400x275.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-768x527.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-960x659.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663.png 1079w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helen Mayer Harrison and Newton Harrison with Benny Fillmore of the Washoe Tribe and his daughter, Helen. \u003ccite>(Photo: Courtesy of Laura Fillmore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"headline": "How Two Santa Cruz Artists Changed the Course of Environmental History",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the University of California Berkeley’s \u003ca href=\"http://www.ucnrs.org/reserves/sagehen-creek-field-station.html\" target=\"_blank\" rel=\"noopener\">Sagehen Creek Field Station\u003c/a> in the Eastern Sierra Nevada, small groups of plant species weather out a harsh winter under several feet of snow. There’s not much to see, let alone anything that resembles art. But hard though it may be to believe, the specimens are in fact part of the latest game-changing ecological art project by \u003ca href=\"http://theharrisonstudio.net/\" target=\"_blank\" rel=\"noopener\">Helen Mayer Harrison and Newton Harrison\u003c/a>.\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/246555541″&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/246555541″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_11317173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11317173\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-800x402.jpg\" alt='One of the Harrisons many eye-catching maps: \"The Sagehen ecosystem and experimental sites\"' width=\"800\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-800x402.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-400x201.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-768x386.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-1180x593.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-960x482.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990.jpg 1346w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the Harrisons many eye-catching maps: “The Sagehen ecosystem and experimental sites” \u003ccite>(Photo: Courtesy of The Harrison Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Widely known as the parents of the eco-art movement, the Harrisons have become world-renowned for using art to tackle environmental problems on a massive, global scale. Over more than four decades, the Santa Cruz-based husband-and-wife team have inspired the public to get behind environmental issues, from climate change to the impact of urbanization on the ecosystem — and on occasion have even successfully helped to bring about high-level environmental policy change.\u003c/p>\n\u003cp>“These are million-square-kilometer problems,” says Newton of the issues that he and Helen address with their work.\u003cbr>\n“What we have to be concerned about is what is happening to the entire planet,” Helen says. “What we are concerned about is the survival of the people and all living things.”\u003c/p>\n\u003cp>The Harrisons’ acclaim is so great that a few years ago the Getty Research Institute and Stanford University both expressed interest in housing their archives. \u003ca href=\"https://lib.stanford.edu/art-architecture-library/four-decades-selections-helen-and-newton-harrison-papers\" target=\"_blank\" rel=\"noopener\">Stanford won\u003c/a>. “We are delighted that the Helen and Newton Harrison archive came to Stanford University,” says Peter Blank, Senior Librarian at Stanford’s Bowes Art & Architecture Library. “Their engagement with the hard questions of our day — what are our shared responsibilities on a planet fraught with ecological uncertainties — and the manner in which they integrate the arts and sciences has resulted in a remarkably rich body of work.” And now the artists, who are both in their eighties, are the subject of a kaleidoscopic book, which Random House will put out later this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A 50-year-long project in the Sierra Nevada\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11314288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11314288\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-800x535.jpg\" alt=\"Under deep snow at UC Berkeley Sagehen Creek Field Station in the Eastern Sierra Nevada, groups of plant species hibernate as part of a 50-year-long environmental art project implemented by The Harrisons in collaboration with scientists and members of the Washoe Tribe.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-1920x1285.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-960x642.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Under deep snow at UC Berkeley Sagehen Creek Field Station in the Eastern Sierra Nevada, groups of plant species hibernate as part of a 50-year-long environmental art project implemented by The Harrisons in collaboration with scientists and members of the Washoe Tribe. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Sagehen, the Harrisons are collaborating with a small team of scientists and members of the Washoe Tribe on a 50-year-long project. It involves physically moving groups of plant species like wild rose and red fir to higher ground with the aim of helping the seedlings become resilient both to the warming effects of climate change and at different altitudes. The Sagehen investigation is part of an even bigger project, entitled \u003cem>The Force Majeure\u003c/em>, which looks at finding solutions to two problems through conducting experiments in four different parts of the world — encroaching water levels and rising temperatures.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“These are two vast forces that we have speeded up to say the least,” Newton says of co-opting the legal term “force majeure” which means a huge power that cannot be controlled, kind of like an act of god. “We consider them a force majeure. Why? G\u003c/span>\u003cspan style=\"font-weight: 400\">o ahead and stop them if you can. But there may be a counter-force on the horizon and that is what we search for.”\u003c/span>\u003c/p>\n\u003cp>The Harrisons’ deep interest in involving people of the Washoe Tribe — who for thousands of years \u003cspan style=\"font-weight: 400\">have called the Sagehen area and beyond their ancestral home\u003c/span> — adds an important dimension to the project because of the Native Americans’ deep knowledge of the local ecosystem and its indigenous species. Tribal elder Benny Fillmore says this is the first time he’s ever been asked by anyone outside of his tribe to collaborate on an art project. “I think it’s really rare in this day and age as tribal members to be given a hand in such a big project,” Fillmore says.\u003c/p>\n\u003cfigure id=\"attachment_11314392\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11314392\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-800x549.jpg\" alt='UC Berkeley Sagehen Creek Field Station scientists Jeff Brown and Faerthen Felix. The scientists are collaborating with Newton and Helen Harrison on one part of their massive, global \"Force Majeure\" project. Here we see them posing in front of another site-specific art project on site at Sagehen.' width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-400x274.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-1180x809.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-1920x1317.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-960x658.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">UC Berkeley Sagehen Creek Field Station managers Jeff Brown and Faerthen Felix. Sagehen is collaborating with Newton and Helen Harrison on one part of their massive, global “Force Majeure” project. Here we see them posing in front of another site-specific art project on site at Sagehen, “Invisible Barn”. \u003ccite>(Photo: Chloe Veltman/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Harrisons’ ability to connect people and ideas that normally wouldn’t come into contact with one another is one of their greatest assets. Sagehen field station manager, Faerthen Felix, says the station’s relationship with the Harrisons is helping to find a wider audience for important but usually dry scientific data. “The problem is that science is by nature a non-emotional process,” Felix says. “You have to be dispassionate. The data has to speak for itself. But that’s not what humans are like. Emotion is what drives us. And emotion is the raw material that artists use.”\u003c/p>\n\u003cp>Felix’s colleague, Jeff Brown, says the Harrisons’ art — for instance, the huge, colorful, topographical maps they create for many of their projects — helps transform cold science into a meaningful story. “They’re allowed to get visceral,” Brown says. “They’re allowed to get emotive. They’re allowed to connect with people in ways science just can’t.”\u003c/p>\n\u003cp>\u003cstrong>Shaping environmental policy in Holland\u003c/strong>\u003c/p>\n\u003cp>This quality has enabled the Harrisons to shape environmental policy. In the mid-1990s, a branch of the Dutch government challenged the artists to solve an enormous urban planning problem: how to build hundreds of thousands of new houses while protecting the country’s lush green lowlands. The Harrisons created beautiful aerial landscape videos to bewitch the initially skeptical officials. They also audaciously exhibited a big map of Holland — printed backwards. “The planners got mad at us and they said, ‘Why have you done this?’ Newton recalls. “And we said, ‘Well you’re planning your country backwards, so we printed your map backwards.’”\u003c/p>\n\u003cfigure id=\"attachment_11318892\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11318892\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Green_Heart_LEFT_SIDE-1.jpg\" alt=\"To get their message across to the Dutch authorities, the Harrisons audaciously created and exhibited a map of Holland --printed backwards \" width=\"600\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Green_Heart_LEFT_SIDE-1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Green_Heart_LEFT_SIDE-1-400x323.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">To get their message across to the Dutch authorities, the Harrisons audaciously created and exhibited a map of Holland –printed backwards \u003ccite>(Courtesy: The Harrison Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It wasn’t that easy to convince the politicians,” says Adriaan De Regt, who was a cultural official for South Holland at the time the Harrisons undertook their \u003cem>\u003ca href=\"http://theharrisonstudio.net/?page_id=534\" target=\"_blank\" rel=\"noopener\">Green Heart of Holland\u003c/a>\u003c/em> project. “It took some time before they saw that the plan from the Harrisons was a good idea.”\u003c/p>\n\u003cp>The American couple eventually won over the Dutch officials, who adopted their vision. Bill Fox, who runs the \u003ca href=\"https://www.nevadaart.org/ae/\" target=\"_blank\" rel=\"noopener\">Center for Art and the Environment at the Museum of Nevada\u003c/a> and has worked closely with the Harrisons in recent years, says the Harrisons’ work is persuasive because it successfully bridges the worlds of politics and science. “They create these beautiful maps and poetic texts, and do these exhibitions about the problem that really creates empathy for a place,” Fox says. “Once you begin to care about place, you will care about what happens to that place.”\u003c/p>\n\u003cp>\u003cstrong>Fomenting environmental activism in San Diego\u003c/strong>\u003c/p>\n\u003cp>The Harrisons first met in 1950 at Helen’s family farm in Connecticut. Newton was a budding sculptor still in his teens, and Helen, a few years his senior, a teacher, philosopher and student of English literature. The couple didn’t formally start working on art projects together until 1969, when they both landed jobs at the University of California, San Diego. Newton taught art and Helen ran educational programs.\u003c/p>\n\u003cp>It was a combination of biological research and the publication of \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Silent_Spring\" target=\"_blank\" rel=\"noopener\">Silent Spring\u003c/a>\u003c/em>, Rachel Carson’s seminal book about environmental destruction, that pushed them towards working on art projects in service of the environment together. “We made a decision to do no work that didn’t benefit the ecology, as neither of us could face that alone,” says Newton. “That’s how our collaboration began.”\u003c/p>\n\u003cp>\u003cstrong>Electrocuting catfish in London\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11317170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11317170\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/8-2R-800x531.jpg\" alt=\"People exploring the Harrisons' "Portable Fish Farm" installation in 1971\" width=\"800\" height=\"531\">\u003cfigcaption class=\"wp-caption-text\">People exploring the Harrisons’ “Portable Fish Farm” installation in 1971 \u003ccite>(Photo: Courtesy of Ronald Feldman Fine Arts, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes the couple’s art has gotten them into trouble. In 1971, the Harrisons were part of a high-profile exhibition at London’s Hayward Gallery. For their \u003ca href=\"http://theharrisonstudio.net/?page_id=192\" target=\"_blank\" rel=\"noopener\">installation about the sustainability of farming practices\u003c/a>, they electrocuted catfish and made stew for museumgoers. It caused an uproar. Helen says that although the fish were humanely killed, many people couldn’t see past the shock value. “People wanted the government to cancel our show,” she says. The tabloid press went berserk. Newton lights up at the memory. “Helen made a weird version of bouillabaisse,” he says. “It smelled so good that nobody went to the other exhibitions.”\u003c/p>\n\u003cp>Composer Edward Lambert even turned the debacle into a chamber opera entitled \u003cem>\u003ca href=\"http://www.tete-a-tete.org.uk/catfish-conundrum/\" target=\"_blank\" rel=\"noopener\">The Catfish Conundrum\u003c/a>\u003c/em> two years ago, with Newton Harrison and the catfish among the characters represented on stage.\u003c/p>\n\u003cp>\u003cem>Watch a video of the entire opera, performed in 2014 by The Music Troupe of London:\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Catfish Conundrum\" src=\"https://player.vimeo.com/video/113147541?dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\">\u003c/iframe>\u003c/p>\n\u003cp>It wasn’t just audiences that balked at the Harrisons’ work in the early days. Because of the couple’s scientific leanings, the art establishment was also fairly hostile towards them in the early years. “It took a while for museums to decide that artists could work in these fields and be artists,” says the Harrisons’ longtime New York dealer Ronald Feldman. “So they had a rough road to get attention for their work as artwork.”\u003c/p>\n\u003cp>Today, things are different. The Harrisons’ maps, videos and other visual artifacts can fetch up to hundreds of thousands of dollars on the art market, according to Feldman. And Newton and Helen are considered trailblazers. “Many artists work very well with the sciences,” Feldman says. “Newton and Helen have opened that door for everybody.”\u003c/p>\n\u003cp>The Harrisons aren’t as mobile as they used to be and Helen’s health is particularly fragile. They’re still doggedly focused on their ecological mission, though Newton cautions it’s not up to him and Helen to save the Earth. “You need a big community,” he says. “And that community is slowly forming and the question is will it form quickly enough? Or is mass extinction a fact?”\u003c/p>\n\u003cfigure id=\"attachment_11318771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11318771\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-800x549.png\" alt=\"Helen Mayer Harrison and Newton Harrison with Laura and Benny Fillmore of the Washoe Tribe\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-800x549.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-400x275.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-768x527.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-960x659.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663.png 1079w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helen Mayer Harrison and Newton Harrison with Benny Fillmore of the Washoe Tribe and his daughter, Helen. \u003ccite>(Photo: Courtesy of Laura Fillmore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "For the Love of Art: Bay Area-Themed Valentines for 2016",
"headTitle": "For the Love of Art: Bay Area-Themed Valentines for 2016 | KQED",
"content": "\u003cp>Valentine’s Day is upon us once again. And in the Bay Area, if you’ve had time to buy Valentine’s gifts, then you’re not working hard enough.\u003c/p>\n\u003cp>Last year we commissioned \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/got-you-covered-valentines-day-cards-for-the-bay-area/\" target=\"_blank\" rel=\"noopener\">six Bay Area-themed valentines from six different local artists\u003c/a> and the results were phenomenal. This year we worked with five artists — one from last year and four new ones — to bring you six more valentines that are just as fantastic.\u003c/p>\n\u003cp>Please share with your art-loving friends…or your lazy ones who you know won’t have their sh*t together in time for the big day.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317055\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/KQED-ventines-day.jpg\" alt=\"KQED ventines day\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>First is “I left my art in San Francisco” by San Francisco’s own Aaron Zonka, an artist with large portfolio of paintings, comics and even concert flyers. You can see his work at \u003ca href=\"http://aaronzonka.com/\" target=\"_blank\" rel=\"noopener\">aaronzonka.com.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317056\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine.jpg\" alt=\"MikaylaButchart_valentine\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>A Santa Rosa native and a long-time resident of San Francisco’s Russian Hill, Mikayla Butchart provided us this valentine while she’s earning her MFA in illustration at the School of Visual Arts (but her heart is still in San Francisco). See more of her work at \u003ca href=\"http://www.mikaylabutchart.com/\" target=\"_blank\" rel=\"noopener\">mikaylabutchart.com.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317057\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/seal-of-approval.jpg\" alt=\"seal of approval\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Painter, illustrator, and designer Rebecca Silvers, a San Francisco native, provided us with this “Seal of Approval.” Check out more of her work at \u003ca href=\"http://rebeccasilvers.weebly.com/\" target=\"_blank\" rel=\"noopener\">rebeccasilvers.com\u003c/a>. (She also happens to be the sister of KQED Pop reporter \u003ca href=\"http://ww2.kqed.org/pop/author/esilvers/\" target=\"_blank\" rel=\"noopener\">Emma Silvers\u003c/a>.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317490\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/caneedsrain2.jpg\" alt=\"caneedsrain2\" width=\"627\" height=\"849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/caneedsrain2.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/caneedsrain2-400x542.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/caneedsrain2-443x600.jpg 443w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003c/p>\n\u003cp>And then we have the return of Jeff Meadows, local artist and sign painter, who provided us with “I Totes Love You” last year and “California Needs Rain” this year (though thankfully we are finally getting some damn rain.) More of his work can be seen at \u003ca href=\"http://jeff-meadows.com/\" target=\"_blank\" rel=\"noopener\">jeff-meadows.com.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Fog-heart.jpg\" alt=\"Fog heart\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>These next two cards are from Katherine Streeter, a New York City-based collage artist who has been illustrating for various markets worldwide for a long time, and can be seen in publications like \u003cem>American Illustration\u003c/em>, \u003cem>Communication Arts\u003c/em>, and \u003cem>3×3 Illustration Annual\u003c/em>. (She also provided collages for KQED’s \u003ca href=\"http://ww2.kqed.org/news/category/arts-and-culture/love-in-the-digital-age\" target=\"_blank\" rel=\"noopener\">\u003ci>Love in the Digital Age\u003c/i>\u003c/a> podcast.) See more of her work at \u003ca href=\"http://katherinestreeter.tumblr.com/\" target=\"_blank\" rel=\"noopener\">katherinestreeter.tumblr.com\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317058\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/The-Rock.jpg\" alt=\"The Rock\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>If you would like to create a Valentine for 2017, please email \u003ca href=\"mailto:kjones@kqed.org\" target=\"_blank\" rel=\"noopener\">kjones(at)kqed.org\u003c/a> with “Valentine 2017” in the subject.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Valentine’s Day is upon us once again. And in the Bay Area, if you’ve had time to buy Valentine’s gifts, then you’re not working hard enough.\u003c/p>\n\u003cp>Last year we commissioned \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/got-you-covered-valentines-day-cards-for-the-bay-area/\" target=\"_blank\" rel=\"noopener\">six Bay Area-themed valentines from six different local artists\u003c/a> and the results were phenomenal. This year we worked with five artists — one from last year and four new ones — to bring you six more valentines that are just as fantastic.\u003c/p>\n\u003cp>Please share with your art-loving friends…or your lazy ones who you know won’t have their sh*t together in time for the big day.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317055\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/KQED-ventines-day.jpg\" alt=\"KQED ventines day\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>First is “I left my art in San Francisco” by San Francisco’s own Aaron Zonka, an artist with large portfolio of paintings, comics and even concert flyers. You can see his work at \u003ca href=\"http://aaronzonka.com/\" target=\"_blank\" rel=\"noopener\">aaronzonka.com.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317056\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine.jpg\" alt=\"MikaylaButchart_valentine\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>A Santa Rosa native and a long-time resident of San Francisco’s Russian Hill, Mikayla Butchart provided us this valentine while she’s earning her MFA in illustration at the School of Visual Arts (but her heart is still in San Francisco). See more of her work at \u003ca href=\"http://www.mikaylabutchart.com/\" target=\"_blank\" rel=\"noopener\">mikaylabutchart.com.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317057\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/seal-of-approval.jpg\" alt=\"seal of approval\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Painter, illustrator, and designer Rebecca Silvers, a San Francisco native, provided us with this “Seal of Approval.” Check out more of her work at \u003ca href=\"http://rebeccasilvers.weebly.com/\" target=\"_blank\" rel=\"noopener\">rebeccasilvers.com\u003c/a>. (She also happens to be the sister of KQED Pop reporter \u003ca href=\"http://ww2.kqed.org/pop/author/esilvers/\" target=\"_blank\" rel=\"noopener\">Emma Silvers\u003c/a>.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317490\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/caneedsrain2.jpg\" alt=\"caneedsrain2\" width=\"627\" height=\"849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/caneedsrain2.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/caneedsrain2-400x542.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/caneedsrain2-443x600.jpg 443w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003c/p>\n\u003cp>And then we have the return of Jeff Meadows, local artist and sign painter, who provided us with “I Totes Love You” last year and “California Needs Rain” this year (though thankfully we are finally getting some damn rain.) More of his work can be seen at \u003ca href=\"http://jeff-meadows.com/\" target=\"_blank\" rel=\"noopener\">jeff-meadows.com.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Fog-heart.jpg\" alt=\"Fog heart\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>These next two cards are from Katherine Streeter, a New York City-based collage artist who has been illustrating for various markets worldwide for a long time, and can be seen in publications like \u003cem>American Illustration\u003c/em>, \u003cem>Communication Arts\u003c/em>, and \u003cem>3×3 Illustration Annual\u003c/em>. (She also provided collages for KQED’s \u003ca href=\"http://ww2.kqed.org/news/category/arts-and-culture/love-in-the-digital-age\" target=\"_blank\" rel=\"noopener\">\u003ci>Love in the Digital Age\u003c/i>\u003c/a> podcast.) See more of her work at \u003ca href=\"http://katherinestreeter.tumblr.com/\" target=\"_blank\" rel=\"noopener\">katherinestreeter.tumblr.com\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317058\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/The-Rock.jpg\" alt=\"The Rock\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>If you would like to create a Valentine for 2017, please email \u003ca href=\"mailto:kjones@kqed.org\" target=\"_blank\" rel=\"noopener\">kjones(at)kqed.org\u003c/a> with “Valentine 2017” in the subject.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "how-pottery-makes-all-the-difference-to-a-stressed-out-milpitas-mother-of-7",
"title": "How Pottery Makes All the Difference to a Stressed-out, Milpitas Mother of 7",
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"headTitle": "How Pottery Makes All the Difference to a Stressed-out, Milpitas Mother of 7 | KQED",
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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>A couple of years ago, Shauna Samora drove by a ceramics studio in downtown San Jose and decided on a whim that it was time to take up pottery again. She hadn’t been at the wheel in 24 years.\u003c/p>\n\u003cp>Samora’s artistic passion provides a much needed break away from the challenges of running a big household. She lives on the border of Milpitas and San Jose with her husband and seven children aged between 10 and 21.\u003c/p>\n\u003cp>“I’ve always loved the fact that when I sit down at the wheel, it takes all of my concentration,” Samora says. “I can’t think of any stray thoughts. I have to become one with that clay. I have to be stable for it and watch it form.”\u003c/p>\n\u003cfigure id=\"attachment_11713537\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_4868-1-1180x885.jpg\" alt=\"Shauna Samora is the mother of seven children, four of whom she adopted when she married her husband. \" width=\"640\" height=\"480\" class=\"size-large wp-image-11713537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shauna Samora is the mother of seven children, four of whom she adopted when she married her husband. \u003ccite>(Photo: Courtesy of Shauna Samora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Samora attends\u003ca href=\"http://www.higherfirestudios.com/\" target=\"_blank\" rel=\"noopener\"> Higher Fire Clayspace\u003c/a> in downtown San Jose sometimes as often as once a week. She’s even taught some of her children to throw at the wheel so that they can cultivate a creative and therapeutic practice of working with clay. Samora calls her art form “clay therapy.”\u003c/p>\n\u003cp>Listen to Samora’s personal narrative about how she returned to pottery after a long absence and how the art form has changed her life:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/246322668″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=’450′ iframe=”true” /]\u003c/p>\n\u003ch2>Wanna learn to throw a pot?\u003c/h2>\n\u003cp>“Working on the wheel takes people out of their daily routine,” says Dan Dermer, who owns Higher Fire Clayspace, a pottery studio in Downtown San Jose’s SOFA District. “You learn how to focus and concentrate.”\u003c/p>\n\u003cfigure id=\"attachment_11314520\" class=\"wp-caption alignright\" style=\"max-width: 434px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11314520 \" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/DSC_0975-400x268.jpg\" alt=\"DSC_0975\" width=\"434\" height=\"291\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-1920x1285.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-960x643.jpg 960w\" sizes=\"(max-width: 434px) 100vw, 434px\">\u003cfigcaption class=\"wp-caption-text\">Dan Dermer is a full-time potter, instructor and studio owner at Higher Fire Clayspace in Downtown San Jose’s SOFA District. \u003ccite>(Courtesy of Dan Dermer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the last year, Dermer says, people have become pretty interested in \u003ca href=\"http://www.nytimes.com/2015/12/17/fashion/why-handmade-ceramics-are-white-hot.html\" target=\"_blank\" rel=\"noopener\">handmade ceramics \u003c/a>. And he’s got a few tips for those who are ready to sink their hands into some clay, but haven’t walked into the studio just yet.\u003c/p>\n\u003cp>\u003cstrong>1. Take the Leap: \u003c/strong>“Go ahead and try it, take a class,” Dermer says. “A lot of people have trouble at first. But throwing clay is like any new skill, it only gets more fun if you stick with it.”\u003c/p>\n\u003cp>\u003cstrong>2. Be Patient: \u003c/strong>“Initially she wasn’t doing very well on the wheel and was frustrated,” Dermer says of one of his students. “I sat down with her and we did a tune up.” Teacher and student worked on some of the basics like centering the clay (moving the clay to the middle of the wheel head so you can throw it), using just the right amount of water, and pulling up the wall (that’s when you raise up the sides of the clay using your hands). “After that tune up, she went on to make close to 100 pieces for Thanksgiving dinner at a homeless shelter,” Dermer says.\u003c/p>\n\u003cp>\u003cstrong>3. Practice, practice, practice:\u003c/strong> “When you practice, you slowly get familiar with the material, how much water to use, where your hands need to be and what details you need to pay attention to,” Dermer says. “You might throw 25 to 30 bowls but only take home 10.”\u003c/p>\n\u003cp>Feeling inspired? Here are some places in the Bay Area where you can learn how to throw your own pot.\u003c/p>\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>\u003ca href=\"http://www.higherfirestudios.com/\" target=\"_blank\" rel=\"noopener\">Higher Fire Clayspace and Gallery\u003c/a>, San Jose\u003c/strong>\u003cbr>\nA teaching studio and ceramics gallery in Downtown San Jose’s SOFA District.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://thecrucible.org/classes/departments/ceramics-fall/\" target=\"_blank\" rel=\"noopener\">The Crucible\u003c/a>, Oakland\u003c/strong>\u003cbr>\nFor serious makers. This place offers a wide array of classes in the industrial arts, including ceramics.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.berkeleypottersstudio.com/\" target=\"_blank\" rel=\"noopener\">The Potter’s Studio\u003c/a>, Berkeley\u003c/strong>\u003cbr>\nProvides ceramics trainings for serious artists such as how to fire electric and gas kilns and how to mix glazes\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.theclayunderground.com/\" target=\"_blank\" rel=\"noopener\">The Clay Underground\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nWhere pros and amateurs intermingle. Offers plenty of intro classes, plus a BYOB Friday night clay sesh that’s open to all levels.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://sfclayworks.com/\" target=\"_blank\" rel=\"noopener\">sfclayworks\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nA communal place to make art with classes and private studios. Started by a group of clay artists from the former San Francisco art space, The Clay Studio.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://millvalleypottersstudio.com/\" target=\"_blank\" rel=\"noopener\">Mill Valley Potter’s Studio\u003c/a>, Mill Valley\u003c/strong>\u003cbr>\nOffers a wide range of classes for adults, youth, and families as well as workshops taught by guest artists.\u003c/p>\n\n",
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"title": "How Pottery Makes All the Difference to a Stressed-out, Milpitas Mother of 7 | KQED",
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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>A couple of years ago, Shauna Samora drove by a ceramics studio in downtown San Jose and decided on a whim that it was time to take up pottery again. She hadn’t been at the wheel in 24 years.\u003c/p>\n\u003cp>Samora’s artistic passion provides a much needed break away from the challenges of running a big household. She lives on the border of Milpitas and San Jose with her husband and seven children aged between 10 and 21.\u003c/p>\n\u003cp>“I’ve always loved the fact that when I sit down at the wheel, it takes all of my concentration,” Samora says. “I can’t think of any stray thoughts. I have to become one with that clay. I have to be stable for it and watch it form.”\u003c/p>\n\u003cfigure id=\"attachment_11713537\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_4868-1-1180x885.jpg\" alt=\"Shauna Samora is the mother of seven children, four of whom she adopted when she married her husband. \" width=\"640\" height=\"480\" class=\"size-large wp-image-11713537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shauna Samora is the mother of seven children, four of whom she adopted when she married her husband. \u003ccite>(Photo: Courtesy of Shauna Samora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Samora attends\u003ca href=\"http://www.higherfirestudios.com/\" target=\"_blank\" rel=\"noopener\"> Higher Fire Clayspace\u003c/a> in downtown San Jose sometimes as often as once a week. She’s even taught some of her children to throw at the wheel so that they can cultivate a creative and therapeutic practice of working with clay. Samora calls her art form “clay therapy.”\u003c/p>\n\u003cp>Listen to Samora’s personal narrative about how she returned to pottery after a long absence and how the art form has changed her life:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='’450′'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/246322668″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/246322668″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch2>Wanna learn to throw a pot?\u003c/h2>\n\u003cp>“Working on the wheel takes people out of their daily routine,” says Dan Dermer, who owns Higher Fire Clayspace, a pottery studio in Downtown San Jose’s SOFA District. “You learn how to focus and concentrate.”\u003c/p>\n\u003cfigure id=\"attachment_11314520\" class=\"wp-caption alignright\" style=\"max-width: 434px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11314520 \" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/DSC_0975-400x268.jpg\" alt=\"DSC_0975\" width=\"434\" height=\"291\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-1920x1285.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-960x643.jpg 960w\" sizes=\"(max-width: 434px) 100vw, 434px\">\u003cfigcaption class=\"wp-caption-text\">Dan Dermer is a full-time potter, instructor and studio owner at Higher Fire Clayspace in Downtown San Jose’s SOFA District. \u003ccite>(Courtesy of Dan Dermer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the last year, Dermer says, people have become pretty interested in \u003ca href=\"http://www.nytimes.com/2015/12/17/fashion/why-handmade-ceramics-are-white-hot.html\" target=\"_blank\" rel=\"noopener\">handmade ceramics \u003c/a>. And he’s got a few tips for those who are ready to sink their hands into some clay, but haven’t walked into the studio just yet.\u003c/p>\n\u003cp>\u003cstrong>1. Take the Leap: \u003c/strong>“Go ahead and try it, take a class,” Dermer says. “A lot of people have trouble at first. But throwing clay is like any new skill, it only gets more fun if you stick with it.”\u003c/p>\n\u003cp>\u003cstrong>2. Be Patient: \u003c/strong>“Initially she wasn’t doing very well on the wheel and was frustrated,” Dermer says of one of his students. “I sat down with her and we did a tune up.” Teacher and student worked on some of the basics like centering the clay (moving the clay to the middle of the wheel head so you can throw it), using just the right amount of water, and pulling up the wall (that’s when you raise up the sides of the clay using your hands). “After that tune up, she went on to make close to 100 pieces for Thanksgiving dinner at a homeless shelter,” Dermer says.\u003c/p>\n\u003cp>\u003cstrong>3. Practice, practice, practice:\u003c/strong> “When you practice, you slowly get familiar with the material, how much water to use, where your hands need to be and what details you need to pay attention to,” Dermer says. “You might throw 25 to 30 bowls but only take home 10.”\u003c/p>\n\u003cp>Feeling inspired? Here are some places in the Bay Area where you can learn how to throw your own pot.\u003c/p>\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>\u003ca href=\"http://www.higherfirestudios.com/\" target=\"_blank\" rel=\"noopener\">Higher Fire Clayspace and Gallery\u003c/a>, San Jose\u003c/strong>\u003cbr>\nA teaching studio and ceramics gallery in Downtown San Jose’s SOFA District.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://thecrucible.org/classes/departments/ceramics-fall/\" target=\"_blank\" rel=\"noopener\">The Crucible\u003c/a>, Oakland\u003c/strong>\u003cbr>\nFor serious makers. This place offers a wide array of classes in the industrial arts, including ceramics.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.berkeleypottersstudio.com/\" target=\"_blank\" rel=\"noopener\">The Potter’s Studio\u003c/a>, Berkeley\u003c/strong>\u003cbr>\nProvides ceramics trainings for serious artists such as how to fire electric and gas kilns and how to mix glazes\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.theclayunderground.com/\" target=\"_blank\" rel=\"noopener\">The Clay Underground\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nWhere pros and amateurs intermingle. Offers plenty of intro classes, plus a BYOB Friday night clay sesh that’s open to all levels.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://sfclayworks.com/\" target=\"_blank\" rel=\"noopener\">sfclayworks\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nA communal place to make art with classes and private studios. Started by a group of clay artists from the former San Francisco art space, The Clay Studio.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://millvalleypottersstudio.com/\" target=\"_blank\" rel=\"noopener\">Mill Valley Potter’s Studio\u003c/a>, Mill Valley\u003c/strong>\u003cbr>\nOffers a wide range of classes for adults, youth, and families as well as workshops taught by guest artists.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://www.browercenter.org/exhibitions/vanishing-ice\" target=\"_blank\" rel=\"noopener\">Vanishing Ice: Alpine and Polar Landscapes in Art, 1775-2002\u003c/a>\u003c/em>, a new exhibition at the David Brower Center in Berkeley, explores the way artists since the late 18th century have depicted the frozen parts of our planet. It’s a show that forces people to stop seeing the polar ice caps as bleak, alien landscapes, and instead as delicate ecosystems full of life and color -– all of it under threat as a result of climate change.\u003c/p>\n\u003cp>The show features a couple of Bay Area artists, including photographer \u003ca href=\"http://www.camilleseaman.com/\" target=\"_blank\" rel=\"noopener\">Camille Seaman\u003c/a> of Richmond. Seaman didn’t start out as a climate change activist. As a member of a small Native American tribe on the East Coast called the Shinnecock, Seaman grew up with a healthy respect for nature. But she might have never visited the Arctic if it weren’t for a fortuitous offer from Alaska Airlines when she was flying out of Oakland back in the 1990s: The airline offered the artist a free flight anywhere in its network in exchange for being bumped from a flight. Yes, airlines used to offer that perk.\u003c/p>\n\u003cp>“I was like, alright, I’ll do it,” says Seaman, who lives in Richmond. “I think a lot of people are offered that chance, but they never actually use the ticket.”\u003c/p>\n\u003cp>At least, not the way Seaman used it. She chose one of the most remote places Alaska Airlines flies: Kotzebue, a tiny city on the far western coast of Alaska, not far from Siberia.\u003c/p>\n\u003cdiv id=\"res461483149\" class=\"bucketwrap statichtml\" style=\"padding-left: 100px\" align=\"left\">[googlemaps https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d25670037.166096758!2d161.63446142787365!3d66.87781448240352!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x50cd16e62470ba35%3A0x4e402d9312ad1bb5!2sKotzebue%2C+AK+99752!5e0!3m2!1sen!2sus!4v1452209621080&w=630&h=450]\u003c/div>\n\u003cp>“I chose Kotzebue because it’s situated on the supposed Bering land bridge,” Seaman says. “I was curious about this idea that we had migrated over this land bridge during the last ice age and somehow populated America.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seaman had no idea she was embarking on a 16-year love affair with the Arctic, and then the Antarctic, too. \u003cspan style=\"line-height: 1.5\">“There are no two icebergs alike,” Seaman says. “They have their own unique personalities. Some do kind of glow like that. Others are like ‘Eeeeeh. Don’t look at me! I’m having a bad ice day!’ They have so much personality.”\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/rmyrow/where-the-ice-ends-and-the-sea-begins?si=56c1e826906246d8bb02a13e6967a853&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing\">\u003cstrong>Hear more about Seaman’s Adventures on Ice.\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Seaman’s photos of icebergs are spectacular, jaw-dropping meditations in shades of blue and gray. The ice often looks lit from within, beckoning the viewer to step inside the photograph. The artist obtained access to parts of the world most people don’t go by traveling with polar expeditions, photographing penguins, icebergs, and over time, climate change, along the way.\u003c/p>\n\u003cp>“There’s no place for apathy anymore,” Seaman says, her voice trembling with emotion. What started on a whim for the artist became a passion, and then a cause. “I think for too long we’ve allowed ourselves as citizens of this planet to think that it’s a right to be able to do what we want to it.”\u003c/p>\n\u003cp>Seaman’s photo “Grand Pinnacle,” is just one of the striking pieces in \u003cem>\u003ca href=\"http://www.vanishing-ice.org\" target=\"_blank\" rel=\"noopener\">Vanishing Ice\u003c/a>\u003c/em>, a traveling exhibition from Washington State that covers more than 200 years of artistic engagement with Arctic and alpine landscapes.\u003c/p>\n\u003cp>The curator, Dr. Barbara Matilsky of the \u003ca href=\"https://whatcommuseum.org/\" target=\"_blank\" rel=\"noopener\">Whatcom Museum\u003c/a> in Bellingham, Washington, has spent a lot of her career thinking about the way artists like Seaman have followed the work of scientists and popularized their research, “getting people to appreciate the beauty and majesty of these regions,” as she puts it, “so that they would be inspired to protect them.”\u003c/p>\n\u003cp>The original exhibition, featuring 80 works from artists all over the world, premiered at the \u003ca href=\"https://whatcommuseum.org/\" target=\"_blank\" rel=\"noopener\">Whatcom Museum\u003c/a> in March 2014, and has continued on to \u003ca href=\"http://www.elpasoartmuseum.org/\" target=\"_blank\" rel=\"noopener\">The El Paso Museum of Art\u003c/a> and the \u003ca href=\"http://www.mcmichael.com/\" target=\"_blank\" rel=\"noopener\">McMicael Canadian Art Collection\u003c/a> in Kleinburg, Ontario.\u003c/p>\n\u003cp>As with Seaman’s body of work, \u003cem>Vanishing Ice\u003c/em> also serves as a record of climate change over the centuries, showing audiences what the world looked like even before cameras came along. “It’s an ‘a ha!’ moment when you see these works,” Matilsky says, “because it becomes very clear that this is just not these sporadic events happening here and there, but the actual results of this climatic phenomenon.”\u003c/p>\n\u003cp>The David Brower Center in Berkeley is presenting an abbreviated version of the exhibition, featuring around 25 works. But the venue is also hosting a series of \u003ca href=\"http://www.browercenter.org/exhibitions/vanishing-ice/events\" target=\"_blank\" rel=\"noopener\">related events\u003c/a>, like a talk with Matilsky in February, and an evening of music with \u003ca href=\"http://www.otherminds.org/\" target=\"_blank\" rel=\"noopener\">Other Minds\u003c/a> in May, featuring San Francisco composer \u003ca href=\"http://www.allwaysnorth.com/\" target=\"_blank\" rel=\"noopener\">Cheryl Leonard\u003c/a>.\u003c/p>\n\u003cp>Leonard has written several pieces using natural objects found in polar regions that will be performed at the concert . In \u003cem>Melt Water\u003c/em>, her instruments are icicles, hung so as to drip into scientific glass ware.\u003c/p>\n\u003cp>Like Seaman, Leonard sees her work as a form of documentation, as well as art. “The sonic landscape in these places will change and perhaps these sounds will become extinct,” Leonard says.\u003c/p>\n\u003cp>Stanford University Professor \u003ca href=\"http://climatepublicopinion.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Jon Krosnick\u003c/a>, who’s studied American attitudes about climate change for two decades, believes that Americans are really starting to understand the impact of global warming.\u003c/p>\n\u003cp>“We’re used to seeing the country split 50-50 on many issues,” Krosnick says. “In about 25 surveys, conducted over two decades, most people believe the earth has been growing warmer over the last century. Between about 75 and 80 percent of Americans say they believe that’s probably been happening.”\u003c/p>\n\u003cp>Museum curators reflect this shift in awareness, in part, reflecting the interest of artists they build shows around. It’s hard to spit without hitting an exhibition that touches on climate change. Some, like the one at 1337 Gallery in San Rafael, are simply called \u003ca href=\"http://www.artworksdowntown.org/exhibits/current/1337-current\" target=\"_blank\" rel=\"noopener\">Climate Change\u003c/a>. Others, like \u003ca href=\"http://hammer.ucla.edu/exhibitions/2015/the-idea-of-north-the-paintings-of-lawren-harris/\" target=\"_blank\" rel=\"noopener\">The Idea of North\u003c/a>, just finished at the Hammer Museum in Los Angeles, broadly hint at the subject.\u003c/p>\n\u003cp>Can these public conversations move people to take meaningful action? Krosnick is optimistic in this regard. “The world’s most important photographs are typically pictures that powerfully communicate the agony of people far away from us in a way that makes it human,” Krosnick says. “That highlights the potential for artists to activate our emotions in ways that make a real difference in how we think about very concrete, very everyday issues.”\u003c/p>\n\u003cp>\u003cstrong>More Icebergs, Including One That Rolls\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://embed-ssl.ted.com/talks/camille_seaman_haunting_photos_of_ice.html\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://www.browercenter.org/exhibitions/vanishing-ice\" target=\"_blank\" rel=\"noopener\">Vanishing Ice: Alpine and Polar Landscapes in Art, 1775-2002\u003c/a>\u003c/em>, a new exhibition at the David Brower Center in Berkeley, explores the way artists since the late 18th century have depicted the frozen parts of our planet. It’s a show that forces people to stop seeing the polar ice caps as bleak, alien landscapes, and instead as delicate ecosystems full of life and color -– all of it under threat as a result of climate change.\u003c/p>\n\u003cp>The show features a couple of Bay Area artists, including photographer \u003ca href=\"http://www.camilleseaman.com/\" target=\"_blank\" rel=\"noopener\">Camille Seaman\u003c/a> of Richmond. Seaman didn’t start out as a climate change activist. As a member of a small Native American tribe on the East Coast called the Shinnecock, Seaman grew up with a healthy respect for nature. But she might have never visited the Arctic if it weren’t for a fortuitous offer from Alaska Airlines when she was flying out of Oakland back in the 1990s: The airline offered the artist a free flight anywhere in its network in exchange for being bumped from a flight. Yes, airlines used to offer that perk.\u003c/p>\n\u003cp>“I was like, alright, I’ll do it,” says Seaman, who lives in Richmond. “I think a lot of people are offered that chance, but they never actually use the ticket.”\u003c/p>\n\u003cp>At least, not the way Seaman used it. She chose one of the most remote places Alaska Airlines flies: Kotzebue, a tiny city on the far western coast of Alaska, not far from Siberia.\u003c/p>\n\u003cdiv id=\"res461483149\" class=\"bucketwrap statichtml\" style=\"padding-left: 100px\" align=\"left\">\u003c/p>\u003cp>\u003ciframe\n src='https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d25670037.166096758!2d161.63446142787365!3d66.87781448240352!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x50cd16e62470ba35%3A0x4e402d9312ad1bb5!2sKotzebue%2C+AK+99752!5e0!3m2!1sen!2sus!4v1452209621080&w=630&h=450'\n title='https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d25670037.166096758!2d161.63446142787365!3d66.87781448240352!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x50cd16e62470ba35%3A0x4e402d9312ad1bb5!2sKotzebue%2C+AK+99752!5e0!3m2!1sen!2sus!4v1452209621080&w=630&h=450'\n width='630'\n height='450'\n scrolling='no'\n frameborder='no'>\u003c/iframe>\u003c/p>\u003cp>\u003c/div>\n\u003cp>“I chose Kotzebue because it’s situated on the supposed Bering land bridge,” Seaman says. “I was curious about this idea that we had migrated over this land bridge during the last ice age and somehow populated America.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seaman had no idea she was embarking on a 16-year love affair with the Arctic, and then the Antarctic, too. \u003cspan style=\"line-height: 1.5\">“There are no two icebergs alike,” Seaman says. “They have their own unique personalities. Some do kind of glow like that. Others are like ‘Eeeeeh. Don’t look at me! I’m having a bad ice day!’ They have so much personality.”\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/rmyrow/where-the-ice-ends-and-the-sea-begins?si=56c1e826906246d8bb02a13e6967a853&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing\">\u003cstrong>Hear more about Seaman’s Adventures on Ice.\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Seaman’s photos of icebergs are spectacular, jaw-dropping meditations in shades of blue and gray. The ice often looks lit from within, beckoning the viewer to step inside the photograph. The artist obtained access to parts of the world most people don’t go by traveling with polar expeditions, photographing penguins, icebergs, and over time, climate change, along the way.\u003c/p>\n\u003cp>“There’s no place for apathy anymore,” Seaman says, her voice trembling with emotion. What started on a whim for the artist became a passion, and then a cause. “I think for too long we’ve allowed ourselves as citizens of this planet to think that it’s a right to be able to do what we want to it.”\u003c/p>\n\u003cp>Seaman’s photo “Grand Pinnacle,” is just one of the striking pieces in \u003cem>\u003ca href=\"http://www.vanishing-ice.org\" target=\"_blank\" rel=\"noopener\">Vanishing Ice\u003c/a>\u003c/em>, a traveling exhibition from Washington State that covers more than 200 years of artistic engagement with Arctic and alpine landscapes.\u003c/p>\n\u003cp>The curator, Dr. Barbara Matilsky of the \u003ca href=\"https://whatcommuseum.org/\" target=\"_blank\" rel=\"noopener\">Whatcom Museum\u003c/a> in Bellingham, Washington, has spent a lot of her career thinking about the way artists like Seaman have followed the work of scientists and popularized their research, “getting people to appreciate the beauty and majesty of these regions,” as she puts it, “so that they would be inspired to protect them.”\u003c/p>\n\u003cp>The original exhibition, featuring 80 works from artists all over the world, premiered at the \u003ca href=\"https://whatcommuseum.org/\" target=\"_blank\" rel=\"noopener\">Whatcom Museum\u003c/a> in March 2014, and has continued on to \u003ca href=\"http://www.elpasoartmuseum.org/\" target=\"_blank\" rel=\"noopener\">The El Paso Museum of Art\u003c/a> and the \u003ca href=\"http://www.mcmichael.com/\" target=\"_blank\" rel=\"noopener\">McMicael Canadian Art Collection\u003c/a> in Kleinburg, Ontario.\u003c/p>\n\u003cp>As with Seaman’s body of work, \u003cem>Vanishing Ice\u003c/em> also serves as a record of climate change over the centuries, showing audiences what the world looked like even before cameras came along. “It’s an ‘a ha!’ moment when you see these works,” Matilsky says, “because it becomes very clear that this is just not these sporadic events happening here and there, but the actual results of this climatic phenomenon.”\u003c/p>\n\u003cp>The David Brower Center in Berkeley is presenting an abbreviated version of the exhibition, featuring around 25 works. But the venue is also hosting a series of \u003ca href=\"http://www.browercenter.org/exhibitions/vanishing-ice/events\" target=\"_blank\" rel=\"noopener\">related events\u003c/a>, like a talk with Matilsky in February, and an evening of music with \u003ca href=\"http://www.otherminds.org/\" target=\"_blank\" rel=\"noopener\">Other Minds\u003c/a> in May, featuring San Francisco composer \u003ca href=\"http://www.allwaysnorth.com/\" target=\"_blank\" rel=\"noopener\">Cheryl Leonard\u003c/a>.\u003c/p>\n\u003cp>Leonard has written several pieces using natural objects found in polar regions that will be performed at the concert . In \u003cem>Melt Water\u003c/em>, her instruments are icicles, hung so as to drip into scientific glass ware.\u003c/p>\n\u003cp>Like Seaman, Leonard sees her work as a form of documentation, as well as art. “The sonic landscape in these places will change and perhaps these sounds will become extinct,” Leonard says.\u003c/p>\n\u003cp>Stanford University Professor \u003ca href=\"http://climatepublicopinion.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Jon Krosnick\u003c/a>, who’s studied American attitudes about climate change for two decades, believes that Americans are really starting to understand the impact of global warming.\u003c/p>\n\u003cp>“We’re used to seeing the country split 50-50 on many issues,” Krosnick says. “In about 25 surveys, conducted over two decades, most people believe the earth has been growing warmer over the last century. Between about 75 and 80 percent of Americans say they believe that’s probably been happening.”\u003c/p>\n\u003cp>Museum curators reflect this shift in awareness, in part, reflecting the interest of artists they build shows around. It’s hard to spit without hitting an exhibition that touches on climate change. Some, like the one at 1337 Gallery in San Rafael, are simply called \u003ca href=\"http://www.artworksdowntown.org/exhibits/current/1337-current\" target=\"_blank\" rel=\"noopener\">Climate Change\u003c/a>. Others, like \u003ca href=\"http://hammer.ucla.edu/exhibitions/2015/the-idea-of-north-the-paintings-of-lawren-harris/\" target=\"_blank\" rel=\"noopener\">The Idea of North\u003c/a>, just finished at the Hammer Museum in Los Angeles, broadly hint at the subject.\u003c/p>\n\u003cp>Can these public conversations move people to take meaningful action? Krosnick is optimistic in this regard. “The world’s most important photographs are typically pictures that powerfully communicate the agony of people far away from us in a way that makes it human,” Krosnick says. “That highlights the potential for artists to activate our emotions in ways that make a real difference in how we think about very concrete, very everyday issues.”\u003c/p>\n\u003cp>\u003cstrong>More Icebergs, Including One That Rolls\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "luncheon-in-fur-the-surrealist-teacup-that-stirred-the-art-world",
"title": "'Luncheon In Fur': The Surrealist Teacup that Stirred the Art World",
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"headTitle": "‘Luncheon In Fur’: The Surrealist Teacup that Stirred the Art World | KQED",
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"content": "\u003cp>As the world celebrates one hundred years of dadaism, it is worth looking at how this “anti-art” art movement that started in a café in Zurich during World War I resulted in an iconic artwork involving that most humble object of tableware: the teacup.\u003c/p>\n\u003cp>In 1936, a 23-year-old Swiss artist named Meret Oppenheim bought a teacup, saucer and spoon from a department store in Paris and wrapped them in the cream-and-tan pelt of a Chinese gazelle. Her hirsute little offering became a defining artifact of surrealism — the art movement that sprang from dadaism’s flamboyant entrails.\u003c/p>\n\u003cp>Part of the sculpture’s appeal lay in the conversation that led to its creation.\u003c/p>\n\u003cp>One day in 1936, Oppenheim met her friends Pablo Picasso and his new lover, Dora Maar, at the Café de Flore, the modish Paris coffeehouse that was a regular haunt of artists. Beautiful, witty and fiercely independent, Oppenheim had been living in Paris for the last four years. She had scarcely managed to sell her art, but made a modest income by designing jewelry and accessories for the trailblazing fashion designer Elsa Schiaparelli, known for her shoe-shaped hats and telephone-shaped purses. As part of the surrealist set, Oppenheim had posed nude for Man Ray’s camera and had recently ended a passionate yearlong love affair with the German painter Max Ernst, suddenly calling it off over lunch at a café.\u003c/p>\n\u003cp>Cafes would play an important role in her life. The story goes that at the Café de Flore, Picasso commented on Oppenheim’s bracelet – a broad round brass cuff wrapped in ocelot fur that she had designed the previous year for Schiaparelli. Picasso remarked that one could cover anything with fur. “Even this plate and this cup here,” Oppenheim replied. Then, when she found that her tea was cooling, she jokingly asked the waiter for “\u003cem>un peu plus de fourrure\u003c/em>” — or “a little more fur” — to swaddle her cup.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shortly afterward, Oppenheim went to the department store in what would become the most famous shopping trip of her career. In her studio, she artfully wrapped the items in such a way that the tan formed a dark border around the teacup’s outer rim to match the saucer, while the body of the cup itself was offset in creamy white.\u003c/p>\n\u003cp>André Breton, the founder of surrealism, was enchanted. Here was an artwork that chimed with his declaration that “beauty will be convulsive or will not be at all.” He called it \u003cem>Le Déjeuner en fourrure\u003c/em> (\u003cem>L\u003c/em>\u003cem>uncheon\u003c/em>\u003cem> in Fur\u003c/em>, though in English it is also known as \u003cem>Breakfast in Fur\u003c/em>) and exhibited it that year at the first surrealist exhibition dedicated to objects.\u003c/p>\n\u003cp>As the talking point of the show, the sculpture became the receptacle of all kinds of theories, fears and longings. This being the age of Freud, a gastro-sexual interpretation was inescapable: the spoon was phallic, the cup vaginal, the hair pubic. For some, the tongue-shaped spoon brought to mind unpleasant sensations of a furry tongue. Others experienced unease at seeing a graceful item of the tea table transformed into something decadent and animalistic; some gagged at the thought of getting a hair or damp tea leaves in their mouth; still others wanted to stroke it.\u003c/p>\n\u003cp>Oppenheim’s friend and mentor Marcel Duchamp had achieved something similar in 1919, when he took a postcard picture of the Mona Lisa and crayoned a black mustache and beard on her smooth face. But while his hairy additions had a comical effect, Oppenheim’s were creepier, more visceral.\u003c/p>\n\u003cp>Among those impressed was Alfred J. Barr Jr., the young director of New York’s newly established Museum of Modern Art. When Oppenheim expressed a willingness to sell the work for a thousand French francs, he offered roughly half that amount, $50, and she agreed. Since this was the first work by a woman the museum acquired, Oppenheim is playfully called the First Lady of MoMA.\u003c/p>\n\u003cp>For Oppenheim, the unexpected success had mixed results. The fur cup became “her prison,” according to her niece, Lisa Wenger. The next year, having run out of funds – $50 didn’t last very long – and with the Nazis on the rise, Oppenheim went back to Switzerland. “She lives in Basel, bloody hates it,” Wenger said at a \u003ca href=\"https://www.youtube.com/watch?v=XShlnmkwbck\">talk\u003c/a> she gave at the 2013 Art Basel fair. “It was small compared to Paris, and conventional; people think she’s weird because she wears one green and one red stocking.”\u003c/p>\n\u003cp>It was the start of a 17-year-long depression, according to Wenger. Oppenheim was in any case vulnerable to bouts of anxiety and melancholy, and in the year before she created her fur cup, she had been sent by her doctor father to consult the great Carl Jung. His assessment, as he wrote to her father, was that Oppenheim reflected the “youthful disorientation of our era” and did not appear to have “any neurotic complication.”\u003c/p>\n\u003cp>As part of MoMA’s permanent collection, Oppenheim’s furry – if balding — ensemble continues to trigger reactions that are as intense as those elicited all those years ago in Paris.\u003c/p>\n\u003cfigure id=\"attachment_11314054\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187.jpg\" alt=\"A picture of Meret Oppenheim's September 1935 design notes for the prototype of her brass and ocelot fur bracelet. Pablo Picasso's comment about the bracelet may have inspired Oppenheim to wrap a teacup, saucer and spoon in fur as well\" width=\"960\" height=\"258\" class=\"size-full wp-image-11314054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187-400x108.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187-800x215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187-768x206.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">A picture of Meret Oppenheim’s September 1935 design notes for the prototype of her brass and ocelot fur bracelet. Pablo Picasso’s comment about the bracelet may have inspired Oppenheim to wrap a teacup, saucer and spoon in fur as well \u003ccite>(Courtesy: Hans-Jörg Walter/Gems and Ladders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the art critic Will Gompertz writes in his 2012 book \u003cem>What Are You Looking At?,\u003c/em> “Two incompatible materials have been brought together to create one troubling vessel. Fur is pleasing to touch, but horrible when you put it in your mouth. You want to drink from the cup and eat from the spoon — that is their purpose — but the sensation of the fur is too repulsive. It’s a maddening cycle.”\u003c/p>\n\u003cp>At the MoMa, the sculpture is known by the unadorned title that Oppenheim gave it: \u003cem>Object \u003c/em>\u003cem> \u003c/em>\u003cem>—\u003c/em> not \u003cem>Luncheon in Fur,\u003c/em> which was the sensual name Breton chose. His idea was to reference not only Edouard Manet’s famous painting \u003cem>Le Déjeuner\u003c/em> \u003cem>sur l’herbe\u003c/em> (“\u003ca href=\"https://en.wikipedia.org/wiki/Le_D%C3%A9jeuner_sur_l%E2%80%99herbe\">The Luncheon on the Grass\u003c/a>“), but also, more cannily, \u003cem>Venus in Furs, \u003c/em>the 1870 sadomasochistic novella by the Austrian writer Leopold von Sacher-Masoch (whose surname is the root of the word masochistic).\u003c/p>\n\u003cp>Oppenheim, no prude by any standard, maintained that she had neither whips nor chains in mind when she was dressing up her tea things. All she had wanted was to take something familiar and make it strange.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Fortunately, she didn’t design \u003cem>Object\u003c/em> today. It might have been called \u003cem>Fifty Shades of Earl Grey.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Luncheon+In+Fur%27%3A+The+Surrealist+Teacup+That+Stirred+The+Art+World+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the world celebrates one hundred years of dadaism, it is worth looking at how this “anti-art” art movement that started in a café in Zurich during World War I resulted in an iconic artwork involving that most humble object of tableware: the teacup.\u003c/p>\n\u003cp>In 1936, a 23-year-old Swiss artist named Meret Oppenheim bought a teacup, saucer and spoon from a department store in Paris and wrapped them in the cream-and-tan pelt of a Chinese gazelle. Her hirsute little offering became a defining artifact of surrealism — the art movement that sprang from dadaism’s flamboyant entrails.\u003c/p>\n\u003cp>Part of the sculpture’s appeal lay in the conversation that led to its creation.\u003c/p>\n\u003cp>One day in 1936, Oppenheim met her friends Pablo Picasso and his new lover, Dora Maar, at the Café de Flore, the modish Paris coffeehouse that was a regular haunt of artists. Beautiful, witty and fiercely independent, Oppenheim had been living in Paris for the last four years. She had scarcely managed to sell her art, but made a modest income by designing jewelry and accessories for the trailblazing fashion designer Elsa Schiaparelli, known for her shoe-shaped hats and telephone-shaped purses. As part of the surrealist set, Oppenheim had posed nude for Man Ray’s camera and had recently ended a passionate yearlong love affair with the German painter Max Ernst, suddenly calling it off over lunch at a café.\u003c/p>\n\u003cp>Cafes would play an important role in her life. The story goes that at the Café de Flore, Picasso commented on Oppenheim’s bracelet – a broad round brass cuff wrapped in ocelot fur that she had designed the previous year for Schiaparelli. Picasso remarked that one could cover anything with fur. “Even this plate and this cup here,” Oppenheim replied. Then, when she found that her tea was cooling, she jokingly asked the waiter for “\u003cem>un peu plus de fourrure\u003c/em>” — or “a little more fur” — to swaddle her cup.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shortly afterward, Oppenheim went to the department store in what would become the most famous shopping trip of her career. In her studio, she artfully wrapped the items in such a way that the tan formed a dark border around the teacup’s outer rim to match the saucer, while the body of the cup itself was offset in creamy white.\u003c/p>\n\u003cp>André Breton, the founder of surrealism, was enchanted. Here was an artwork that chimed with his declaration that “beauty will be convulsive or will not be at all.” He called it \u003cem>Le Déjeuner en fourrure\u003c/em> (\u003cem>L\u003c/em>\u003cem>uncheon\u003c/em>\u003cem> in Fur\u003c/em>, though in English it is also known as \u003cem>Breakfast in Fur\u003c/em>) and exhibited it that year at the first surrealist exhibition dedicated to objects.\u003c/p>\n\u003cp>As the talking point of the show, the sculpture became the receptacle of all kinds of theories, fears and longings. This being the age of Freud, a gastro-sexual interpretation was inescapable: the spoon was phallic, the cup vaginal, the hair pubic. For some, the tongue-shaped spoon brought to mind unpleasant sensations of a furry tongue. Others experienced unease at seeing a graceful item of the tea table transformed into something decadent and animalistic; some gagged at the thought of getting a hair or damp tea leaves in their mouth; still others wanted to stroke it.\u003c/p>\n\u003cp>Oppenheim’s friend and mentor Marcel Duchamp had achieved something similar in 1919, when he took a postcard picture of the Mona Lisa and crayoned a black mustache and beard on her smooth face. But while his hairy additions had a comical effect, Oppenheim’s were creepier, more visceral.\u003c/p>\n\u003cp>Among those impressed was Alfred J. Barr Jr., the young director of New York’s newly established Museum of Modern Art. When Oppenheim expressed a willingness to sell the work for a thousand French francs, he offered roughly half that amount, $50, and she agreed. Since this was the first work by a woman the museum acquired, Oppenheim is playfully called the First Lady of MoMA.\u003c/p>\n\u003cp>For Oppenheim, the unexpected success had mixed results. The fur cup became “her prison,” according to her niece, Lisa Wenger. The next year, having run out of funds – $50 didn’t last very long – and with the Nazis on the rise, Oppenheim went back to Switzerland. “She lives in Basel, bloody hates it,” Wenger said at a \u003ca href=\"https://www.youtube.com/watch?v=XShlnmkwbck\">talk\u003c/a> she gave at the 2013 Art Basel fair. “It was small compared to Paris, and conventional; people think she’s weird because she wears one green and one red stocking.”\u003c/p>\n\u003cp>It was the start of a 17-year-long depression, according to Wenger. Oppenheim was in any case vulnerable to bouts of anxiety and melancholy, and in the year before she created her fur cup, she had been sent by her doctor father to consult the great Carl Jung. His assessment, as he wrote to her father, was that Oppenheim reflected the “youthful disorientation of our era” and did not appear to have “any neurotic complication.”\u003c/p>\n\u003cp>As part of MoMA’s permanent collection, Oppenheim’s furry – if balding — ensemble continues to trigger reactions that are as intense as those elicited all those years ago in Paris.\u003c/p>\n\u003cfigure id=\"attachment_11314054\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187.jpg\" alt=\"A picture of Meret Oppenheim's September 1935 design notes for the prototype of her brass and ocelot fur bracelet. Pablo Picasso's comment about the bracelet may have inspired Oppenheim to wrap a teacup, saucer and spoon in fur as well\" width=\"960\" height=\"258\" class=\"size-full wp-image-11314054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187-400x108.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187-800x215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/meret_enl-5e2d6b46be21fd6655d07a453bd5c5242d432187-768x206.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">A picture of Meret Oppenheim’s September 1935 design notes for the prototype of her brass and ocelot fur bracelet. Pablo Picasso’s comment about the bracelet may have inspired Oppenheim to wrap a teacup, saucer and spoon in fur as well \u003ccite>(Courtesy: Hans-Jörg Walter/Gems and Ladders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the art critic Will Gompertz writes in his 2012 book \u003cem>What Are You Looking At?,\u003c/em> “Two incompatible materials have been brought together to create one troubling vessel. Fur is pleasing to touch, but horrible when you put it in your mouth. You want to drink from the cup and eat from the spoon — that is their purpose — but the sensation of the fur is too repulsive. It’s a maddening cycle.”\u003c/p>\n\u003cp>At the MoMa, the sculpture is known by the unadorned title that Oppenheim gave it: \u003cem>Object \u003c/em>\u003cem> \u003c/em>\u003cem>—\u003c/em> not \u003cem>Luncheon in Fur,\u003c/em> which was the sensual name Breton chose. His idea was to reference not only Edouard Manet’s famous painting \u003cem>Le Déjeuner\u003c/em> \u003cem>sur l’herbe\u003c/em> (“\u003ca href=\"https://en.wikipedia.org/wiki/Le_D%C3%A9jeuner_sur_l%E2%80%99herbe\">The Luncheon on the Grass\u003c/a>“), but also, more cannily, \u003cem>Venus in Furs, \u003c/em>the 1870 sadomasochistic novella by the Austrian writer Leopold von Sacher-Masoch (whose surname is the root of the word masochistic).\u003c/p>\n\u003cp>Oppenheim, no prude by any standard, maintained that she had neither whips nor chains in mind when she was dressing up her tea things. All she had wanted was to take something familiar and make it strange.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fortunately, she didn’t design \u003cem>Object\u003c/em> today. It might have been called \u003cem>Fifty Shades of Earl Grey.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Luncheon+In+Fur%27%3A+The+Surrealist+Teacup+That+Stirred+The+Art+World+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland Native Documents ‘The Power of Melanin’ In Photographs",
"headTitle": "Oakland Native Documents ‘The Power of Melanin’ In Photographs | KQED",
"content": "\u003cp>\u003cem>Text by Niema Jordan, video by Debora Silva.\u003c/em>\u003c/p>\n\u003cp>“\u003cem>Forgotten Cities\u003c/em> is for the people who feel hopeless, voiceless,” says photographer \u003ca href=\"http://brittsense.com/\" target=\"_blank\" rel=\"noopener\">Brittani “BRITTSENSE” Sensabaugh\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11311319\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11311319\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/SenseProfile620.jpg\" alt='Brittani \"BRITTSENSE\" Sensabaugh.' width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseProfile620.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseProfile620-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Brittani “BRITTSENSE” Sensabaugh. \u003ccite>(Photo by Nema Etebar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The images are striking. Photographs of young girls with afro-puffs and intricately designed cornrows sit next to pictures of women with multi-colored sponge rollers and acrylic nails. A father with his daughter perched atop his shoulders. A young woman dancing on the corner of West 116th Street in Harlem, a bright pink wall contrasting with her black leotard.\u003c/p>\n\u003cp>Since 2013 Sensabaugh has documented the daily experiences of people living cities and neighborhoods deemed too dangerous by some. For her, they are communities shining with examples of unconditional love and resilience. \u003cem>#222ForgottenCities: The Power of Melanin\u003c/em>, Sensabaugh’s first solo exhibition in her hometown, opened Feb. 5 at Betti Ono in Oakland. I asked her a few questions before her homecoming debut.\u003c/p>\n\u003cfigure id=\"attachment_11311326\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11311326\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/SenseRollers1200.jpg\" alt=\"BRITTSENSE, from the series '#222ForgottenCities: The Power of Melanin.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseRollers1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseRollers1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseRollers1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseRollers1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseRollers1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseRollers1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">BRITTSENSE, from the series ‘#222ForgottenCities: The Power of Melanin.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>When did you become a photographer?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My first love was journalism. I always wanted to write for magazines. My older brother saw my writings and told me that I needed to put some imagery behind it. I was open to it, but I was really just comfortable with writing. At my graduation he gave me a Kodak camera. Two years later he died in his sleep. I just remember saying to myself, will I be able to live out my dreams? He died at such a young age. I didn’t talk for months, didn’t leave the bed. I woke up one day and saw the camera and was like this was a way for me to connect with him, so I started shooting.\u003c/p>\n\u003cfigure id=\"attachment_11311324\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11311324\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/SenseGroup1200.jpg\" alt=\"BRITTSENSE, from the series '#222ForgottenCities: The Power of Melanin.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGroup1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGroup1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGroup1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGroup1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGroup1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGroup1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">BRITTSENSE, from the series ‘#222ForgottenCities: The Power of Melanin.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>When you moved to New York City, you were doing fashion photography. Why did you make the switch to the type of work you are doing now?\u003c/strong>\u003c/p>\n\u003cp>I felt myself being more attracted to the person that was wearing the garment than the garment. I want to know the reason you put it on. Is it because your mom dressed a certain way? I always like to get to the root of things — and fashion, especially in New York, is all about the trends. I wasn’t interested in the trends, I was interested in the art of it. Moving to New York to do fashion photography because it was the fashion capital took the fun out of it. I felt myself drifting away from it.\u003c/p>\n\u003cfigure id=\"attachment_11311322\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11311322\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/SenseDoor1200.jpg\" alt=\"BRITTSENSE, from the series '#222ForgottenCities: The Power of Melanin.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseDoor1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseDoor1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseDoor1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseDoor1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseDoor1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseDoor1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">BRITTSENSE, from the series ‘#222ForgottenCities: The Power of Melanin.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did \u003cem>#222ForgottenCities\u003c/em> come about? \u003c/strong>\u003c/p>\n\u003cp>I was on the A train in New York. I had on an Oakland hoodie. This elderly white lady pointed to the hoodie and said, “Don’t ever go to that place. There’s nothing but drug dealers there and thugs.” I let her go on but I stopped her before I got off the train and said, “You know, I’m none of those things and I’m from there.” I remember getting off the train and feeling really angry and I said to myself, “I need to change the perception.”\u003c/p>\n\u003cfigure id=\"attachment_11311320\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11311320\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/SenseBraids1200.jpg\" alt=\"BRITTSENSE, from the series '#222ForgottenCities: The Power of Melanin.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseBraids1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseBraids1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseBraids1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseBraids1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseBraids1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseBraids1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">BRITTSENSE, from the series ‘#222ForgottenCities: The Power of Melanin.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you connect with Betti Ono?\u003c/strong>\u003c/p>\n\u003cp>Anyka Barber came to New York for \u003ca href=\"http://afropunkfest.com/\" target=\"_blank\" rel=\"noopener\">AFROPUNK\u003c/a>. She came and met me when I was documenting the Tompkins Projects in Brooklyn and we talked for two hours. Anyka is a very beautiful woman, her energy is warm and her energy was very uplifting. What I admired about her was that she walked in the trenches with me. So I was down for it.\u003c/p>\n\u003cfigure id=\"attachment_11311321\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11311321\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/SenseCleaners1200.jpg\" alt=\"BRITTSENSE, from the series '#222ForgottenCities: The Power of Melanin.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseCleaners1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseCleaners1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseCleaners1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseCleaners1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseCleaners1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseCleaners1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">BRITTSENSE, from the series ‘#222ForgottenCities: The Power of Melanin.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you want people to feel when they come into this exhibit? \u003c/strong>\u003c/p>\n\u003cp>I want people to come into the space and feel comfortable. I want them to see themselves. Every day is a challenge. We are beautiful though. We are warriors. I want them to come in and feel that unconditional love. I want them to feel the power of melanin that they have within them.\u003c/p>\n\u003cfigure id=\"attachment_11311323\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11311323\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/SenseGirls1200.jpg\" alt=\"BRITTSENSE, from the series '#222ForgottenCities: The Power of Melanin.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGirls1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGirls1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGirls1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGirls1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGirls1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGirls1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">BRITTSENSE, from the series ‘#222ForgottenCities: The Power of Melanin.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>#222ForgottenCities: The Power of Melanin\u003c/em>\u003c/strong> is on view at Betti Ono in Oakland through April 16, 2016. For more information visit \u003ca href=\"http://www.bettiono.com/\" target=\"_blank\" rel=\"noopener\">bettiono.com\u003c/a>\u003c/p>\n\n",
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"excerpt": "Photographer Brittani \"BRITTSENSE\" Sensabaugh gives voice to the voiceless in a striking solo show at Betti Ono.",
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"description": "Photographer Brittani "BRITTSENSE" Sensabaugh gives voice to the voiceless in a striking solo show at Betti Ono.",
"title": "Oakland Native Documents ‘The Power of Melanin’ In Photographs | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Text by Niema Jordan, video by Debora Silva.\u003c/em>\u003c/p>\n\u003cp>“\u003cem>Forgotten Cities\u003c/em> is for the people who feel hopeless, voiceless,” says photographer \u003ca href=\"http://brittsense.com/\" target=\"_blank\" rel=\"noopener\">Brittani “BRITTSENSE” Sensabaugh\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11311319\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11311319\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/SenseProfile620.jpg\" alt='Brittani \"BRITTSENSE\" Sensabaugh.' width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseProfile620.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseProfile620-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Brittani “BRITTSENSE” Sensabaugh. \u003ccite>(Photo by Nema Etebar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The images are striking. Photographs of young girls with afro-puffs and intricately designed cornrows sit next to pictures of women with multi-colored sponge rollers and acrylic nails. A father with his daughter perched atop his shoulders. A young woman dancing on the corner of West 116th Street in Harlem, a bright pink wall contrasting with her black leotard.\u003c/p>\n\u003cp>Since 2013 Sensabaugh has documented the daily experiences of people living cities and neighborhoods deemed too dangerous by some. For her, they are communities shining with examples of unconditional love and resilience. \u003cem>#222ForgottenCities: The Power of Melanin\u003c/em>, Sensabaugh’s first solo exhibition in her hometown, opened Feb. 5 at Betti Ono in Oakland. I asked her a few questions before her homecoming debut.\u003c/p>\n\u003cfigure id=\"attachment_11311326\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11311326\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/SenseRollers1200.jpg\" alt=\"BRITTSENSE, from the series '#222ForgottenCities: The Power of Melanin.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseRollers1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseRollers1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseRollers1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseRollers1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseRollers1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseRollers1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">BRITTSENSE, from the series ‘#222ForgottenCities: The Power of Melanin.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>When did you become a photographer?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My first love was journalism. I always wanted to write for magazines. My older brother saw my writings and told me that I needed to put some imagery behind it. I was open to it, but I was really just comfortable with writing. At my graduation he gave me a Kodak camera. Two years later he died in his sleep. I just remember saying to myself, will I be able to live out my dreams? He died at such a young age. I didn’t talk for months, didn’t leave the bed. I woke up one day and saw the camera and was like this was a way for me to connect with him, so I started shooting.\u003c/p>\n\u003cfigure id=\"attachment_11311324\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11311324\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/SenseGroup1200.jpg\" alt=\"BRITTSENSE, from the series '#222ForgottenCities: The Power of Melanin.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGroup1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGroup1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGroup1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGroup1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGroup1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGroup1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">BRITTSENSE, from the series ‘#222ForgottenCities: The Power of Melanin.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>When you moved to New York City, you were doing fashion photography. Why did you make the switch to the type of work you are doing now?\u003c/strong>\u003c/p>\n\u003cp>I felt myself being more attracted to the person that was wearing the garment than the garment. I want to know the reason you put it on. Is it because your mom dressed a certain way? I always like to get to the root of things — and fashion, especially in New York, is all about the trends. I wasn’t interested in the trends, I was interested in the art of it. Moving to New York to do fashion photography because it was the fashion capital took the fun out of it. I felt myself drifting away from it.\u003c/p>\n\u003cfigure id=\"attachment_11311322\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11311322\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/SenseDoor1200.jpg\" alt=\"BRITTSENSE, from the series '#222ForgottenCities: The Power of Melanin.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseDoor1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseDoor1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseDoor1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseDoor1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseDoor1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseDoor1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">BRITTSENSE, from the series ‘#222ForgottenCities: The Power of Melanin.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did \u003cem>#222ForgottenCities\u003c/em> come about? \u003c/strong>\u003c/p>\n\u003cp>I was on the A train in New York. I had on an Oakland hoodie. This elderly white lady pointed to the hoodie and said, “Don’t ever go to that place. There’s nothing but drug dealers there and thugs.” I let her go on but I stopped her before I got off the train and said, “You know, I’m none of those things and I’m from there.” I remember getting off the train and feeling really angry and I said to myself, “I need to change the perception.”\u003c/p>\n\u003cfigure id=\"attachment_11311320\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11311320\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/SenseBraids1200.jpg\" alt=\"BRITTSENSE, from the series '#222ForgottenCities: The Power of Melanin.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseBraids1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseBraids1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseBraids1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseBraids1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseBraids1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseBraids1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">BRITTSENSE, from the series ‘#222ForgottenCities: The Power of Melanin.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you connect with Betti Ono?\u003c/strong>\u003c/p>\n\u003cp>Anyka Barber came to New York for \u003ca href=\"http://afropunkfest.com/\" target=\"_blank\" rel=\"noopener\">AFROPUNK\u003c/a>. She came and met me when I was documenting the Tompkins Projects in Brooklyn and we talked for two hours. Anyka is a very beautiful woman, her energy is warm and her energy was very uplifting. What I admired about her was that she walked in the trenches with me. So I was down for it.\u003c/p>\n\u003cfigure id=\"attachment_11311321\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11311321\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/SenseCleaners1200.jpg\" alt=\"BRITTSENSE, from the series '#222ForgottenCities: The Power of Melanin.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseCleaners1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseCleaners1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseCleaners1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseCleaners1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseCleaners1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseCleaners1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">BRITTSENSE, from the series ‘#222ForgottenCities: The Power of Melanin.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you want people to feel when they come into this exhibit? \u003c/strong>\u003c/p>\n\u003cp>I want people to come into the space and feel comfortable. I want them to see themselves. Every day is a challenge. We are beautiful though. We are warriors. I want them to come in and feel that unconditional love. I want them to feel the power of melanin that they have within them.\u003c/p>\n\u003cfigure id=\"attachment_11311323\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11311323\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/SenseGirls1200.jpg\" alt=\"BRITTSENSE, from the series '#222ForgottenCities: The Power of Melanin.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGirls1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGirls1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGirls1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGirls1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGirls1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/SenseGirls1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">BRITTSENSE, from the series ‘#222ForgottenCities: The Power of Melanin.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>#222ForgottenCities: The Power of Melanin\u003c/em>\u003c/strong> is on view at Betti Ono in Oakland through April 16, 2016. For more information visit \u003ca href=\"http://www.bettiono.com/\" target=\"_blank\" rel=\"noopener\">bettiono.com\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bailey Hikawa’s ‘Empty Temple’ Full of Uncanny Sculpture and Sensation",
"headTitle": "Bailey Hikawa’s ‘Empty Temple’ Full of Uncanny Sculpture and Sensation | KQED",
"content": "\u003cp>Outside \u003ca href=\"http://citylimitsgallery.com/\" target=\"_blank\" rel=\"noopener\">City Limits\u003c/a>’ gallery doors, four wall clocks display the time in four different cities: Oakland, New York, London and Dubai. The ticking clocks illustrate a world of hustle and bustle — a place where the global economy, business deals and international phone calls depend on a solid understanding of an eight-hour difference between time zones. \u003c/p>\n\u003cfigure id=\"attachment_11311636\" class=\"wp-caption alignright\" style=\"max-width: 495px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Bread640.jpg\" alt=\"Bailey Hikawa, 'Sacrifice,' 2016.\" width=\"495\" height=\"640\" class=\"size-full wp-image-11311636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Bread640.jpg 495w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Bread640-400x517.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Bread640-464x600.jpg 464w\" sizes=\"(max-width: 495px) 100vw, 495px\">\u003cfigcaption class=\"wp-caption-text\">Bailey Hikawa, ‘Sacrifice,’ 2016.\u003c/figcaption>\u003c/figure>\n\u003cp>But across the gallery threshold, that hustle and bustle becomes muffled. Time melts away. Feet relax. \u003ca href=\"http://baileyhikawa.com/\" target=\"_blank\" rel=\"noopener\">Bailey Hikawa\u003c/a>’s \u003ci>The Empty Temple\u003c/i> asks something of viewers even before they enter the solo show, with a polite sign requesting that shoes be removed.\u003c/p>\n\u003cp>Inside, the gallery floor is covered with pieces of solid-colored, differently textured carpet and artificial turf. Strips of black carpet outline a circuitous path of right angles that leads visitors on a preordained journey through the gallery. \u003ci>The Empty Temple\u003c/i> at once resembles a cat’s version of heaven, an agoraphobic’s garden and a meditation center’s waiting room. \u003c/p>\n\u003cp>Evenly spaced throughout the “maze” are Hikawa’s carefully crafted sculptures, sitting on the carpeted floor and on carpet-covered pedestals and mounted to the gallery walls. The objects are as inexplicable as they are mesmerizing, including a peach ceramic cone, a totem-like structure wrapped in black pleather and a stuffed goose hanging upside down from one corner of the ceiling.\u003c/p>\n\u003cfigure id=\"attachment_11311637\" class=\"wp-caption alignright\" style=\"max-width: 495px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Ear640.jpg\" alt=\"Bailey Hikawa, 'Ear,' 2016.\" width=\"495\" height=\"640\" class=\"size-full wp-image-11311637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ear640.jpg 495w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ear640-400x517.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ear640-464x600.jpg 464w\" sizes=\"(max-width: 495px) 100vw, 495px\">\u003cfigcaption class=\"wp-caption-text\">Bailey Hikawa, ‘Ear,’ 2016. \u003ccite>(Courtesy City Limits)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dissonance between shoeless feet softly crunching on artificial turf and the sight of an oversized latex rubber ear is both a treat for the senses and a starting point for absurd conjecture. Is this a prosthesis for Van Gogh? Is there a Mr. Potato Head somewhere missing a crucial part? \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite its banal, soothing tones of cream, Band-Aid beige and dark green, the path through \u003ci>The Empty Temple\u003c/i> is tinged with horror. \u003ci>Sacrifice\u003c/i>, a column of stacked slices of white bread, is unsettling for its excess of gluten. \u003ci>The Pointer\u003c/i>, an oversized, elongated white ceramic hand on a black shag pedestal, boasts three fleshy plastic fingers.\u003c/p>\n\u003cfigure id=\"attachment_11311638\" class=\"wp-caption alignright\" style=\"max-width: 495px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Pointer640.jpg\" alt=\"Bailey Hikawa, 'The Pointer,' 2016.\" width=\"495\" height=\"640\" class=\"size-full wp-image-11311638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Pointer640.jpg 495w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Pointer640-400x517.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Pointer640-464x600.jpg 464w\" sizes=\"(max-width: 495px) 100vw, 495px\">\u003cfigcaption class=\"wp-caption-text\">Bailey Hikawa, ‘The Pointer,’ 2016. \u003ccite>(Courtesy City Limits)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another hand, this one cast from latex rubber, lies inert on the floor, conjuring images of \u003ci>The Addams Family\u003c/i>’s Thing or Ash’s murderous appendage in \u003ci>The Evil Dead\u003c/i>. And mounted in the wall nearby is \u003ci>The Void\u003c/i>, a single fake eyeball that peers bloodshot and lidless into the gallery. Its stare is final proof this plush and contemplative setting is just a staging area for horrors yet to come. White carpet, after all, always spells future disaster.\u003c/p>\n\u003cp>\u003ci>The Empty Temple\u003c/i> requires visitors to fully engage with the installation through touch, sight and (if you’re finely tuned to the aroma of stale bread) scent. Body parts and other elements of the uncanny further the exhibition’s otherworldly atmosphere, creating a hermetic environment somewhere between \u003ci>The Secret Garden\u003c/i> and \u003ci>The Shining\u003c/i>. \u003c/p>\n\u003cp>You don’t have to tread the preordained path within Hikawa’s \u003ci>Empty Temple\u003c/i> — in fact, if you do, you’ll miss some wonderful underfoot textures — but you should ignore the relentless ticking of those four entryway clocks and spend some quality time in this carefully crafted installation. You’ll find it’s far from empty.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Empty Temple\u003c/i> is on view through Feb. 20, 2016 at City Limits in Oakland. For more information visit \u003ca href=\"http://www.citylimitsgallery.com/exhibitions/baileyhikawa/\" target=\"_blank\" rel=\"noopener\">citylimitsgallery.com\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Outside \u003ca href=\"http://citylimitsgallery.com/\" target=\"_blank\" rel=\"noopener\">City Limits\u003c/a>’ gallery doors, four wall clocks display the time in four different cities: Oakland, New York, London and Dubai. The ticking clocks illustrate a world of hustle and bustle — a place where the global economy, business deals and international phone calls depend on a solid understanding of an eight-hour difference between time zones. \u003c/p>\n\u003cfigure id=\"attachment_11311636\" class=\"wp-caption alignright\" style=\"max-width: 495px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Bread640.jpg\" alt=\"Bailey Hikawa, 'Sacrifice,' 2016.\" width=\"495\" height=\"640\" class=\"size-full wp-image-11311636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Bread640.jpg 495w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Bread640-400x517.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Bread640-464x600.jpg 464w\" sizes=\"(max-width: 495px) 100vw, 495px\">\u003cfigcaption class=\"wp-caption-text\">Bailey Hikawa, ‘Sacrifice,’ 2016.\u003c/figcaption>\u003c/figure>\n\u003cp>But across the gallery threshold, that hustle and bustle becomes muffled. Time melts away. Feet relax. \u003ca href=\"http://baileyhikawa.com/\" target=\"_blank\" rel=\"noopener\">Bailey Hikawa\u003c/a>’s \u003ci>The Empty Temple\u003c/i> asks something of viewers even before they enter the solo show, with a polite sign requesting that shoes be removed.\u003c/p>\n\u003cp>Inside, the gallery floor is covered with pieces of solid-colored, differently textured carpet and artificial turf. Strips of black carpet outline a circuitous path of right angles that leads visitors on a preordained journey through the gallery. \u003ci>The Empty Temple\u003c/i> at once resembles a cat’s version of heaven, an agoraphobic’s garden and a meditation center’s waiting room. \u003c/p>\n\u003cp>Evenly spaced throughout the “maze” are Hikawa’s carefully crafted sculptures, sitting on the carpeted floor and on carpet-covered pedestals and mounted to the gallery walls. The objects are as inexplicable as they are mesmerizing, including a peach ceramic cone, a totem-like structure wrapped in black pleather and a stuffed goose hanging upside down from one corner of the ceiling.\u003c/p>\n\u003cfigure id=\"attachment_11311637\" class=\"wp-caption alignright\" style=\"max-width: 495px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Ear640.jpg\" alt=\"Bailey Hikawa, 'Ear,' 2016.\" width=\"495\" height=\"640\" class=\"size-full wp-image-11311637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ear640.jpg 495w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ear640-400x517.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ear640-464x600.jpg 464w\" sizes=\"(max-width: 495px) 100vw, 495px\">\u003cfigcaption class=\"wp-caption-text\">Bailey Hikawa, ‘Ear,’ 2016. \u003ccite>(Courtesy City Limits)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dissonance between shoeless feet softly crunching on artificial turf and the sight of an oversized latex rubber ear is both a treat for the senses and a starting point for absurd conjecture. Is this a prosthesis for Van Gogh? Is there a Mr. Potato Head somewhere missing a crucial part? \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite its banal, soothing tones of cream, Band-Aid beige and dark green, the path through \u003ci>The Empty Temple\u003c/i> is tinged with horror. \u003ci>Sacrifice\u003c/i>, a column of stacked slices of white bread, is unsettling for its excess of gluten. \u003ci>The Pointer\u003c/i>, an oversized, elongated white ceramic hand on a black shag pedestal, boasts three fleshy plastic fingers.\u003c/p>\n\u003cfigure id=\"attachment_11311638\" class=\"wp-caption alignright\" style=\"max-width: 495px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Pointer640.jpg\" alt=\"Bailey Hikawa, 'The Pointer,' 2016.\" width=\"495\" height=\"640\" class=\"size-full wp-image-11311638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Pointer640.jpg 495w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Pointer640-400x517.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Pointer640-464x600.jpg 464w\" sizes=\"(max-width: 495px) 100vw, 495px\">\u003cfigcaption class=\"wp-caption-text\">Bailey Hikawa, ‘The Pointer,’ 2016. \u003ccite>(Courtesy City Limits)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another hand, this one cast from latex rubber, lies inert on the floor, conjuring images of \u003ci>The Addams Family\u003c/i>’s Thing or Ash’s murderous appendage in \u003ci>The Evil Dead\u003c/i>. And mounted in the wall nearby is \u003ci>The Void\u003c/i>, a single fake eyeball that peers bloodshot and lidless into the gallery. Its stare is final proof this plush and contemplative setting is just a staging area for horrors yet to come. White carpet, after all, always spells future disaster.\u003c/p>\n\u003cp>\u003ci>The Empty Temple\u003c/i> requires visitors to fully engage with the installation through touch, sight and (if you’re finely tuned to the aroma of stale bread) scent. Body parts and other elements of the uncanny further the exhibition’s otherworldly atmosphere, creating a hermetic environment somewhere between \u003ci>The Secret Garden\u003c/i> and \u003ci>The Shining\u003c/i>. \u003c/p>\n\u003cp>You don’t have to tread the preordained path within Hikawa’s \u003ci>Empty Temple\u003c/i> — in fact, if you do, you’ll miss some wonderful underfoot textures — but you should ignore the relentless ticking of those four entryway clocks and spend some quality time in this carefully crafted installation. You’ll find it’s far from empty.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Empty Temple\u003c/i> is on view through Feb. 20, 2016 at City Limits in Oakland. For more information visit \u003ca href=\"http://www.citylimitsgallery.com/exhibitions/baileyhikawa/\" target=\"_blank\" rel=\"noopener\">citylimitsgallery.com\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "in-central-valley-park-graffitis-no-crime",
"title": "Wall in Fresno Park a Canvas for Graffiti Artists’ Tribute",
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"headTitle": "Wall in Fresno Park a Canvas for Graffiti Artists’ Tribute | KQED",
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"content": "\u003cp>There aren’t many places in California that boast long, legal, public walls open to graffiti artists. But in southeast Fresno, in the unincorporated community of Calwa, there’s a quarter-mile cinderblock wall that’s open to street artists year-round.\u003c/p>\n\u003cp>“This wall is special,” says \u003ca href=\"http://www.rickywatts.com/\">Ricky Watts\u003c/a>, an aerosol artist from Sebastopol. “This is one of the few places in the state of California where they have a wall like this, this size. There’s no other place like this, really.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/246106574″ 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>And every year, for the past three years, Watts and other members of a graffiti crew called Lords have come from all over the state for a daylong festival in late January memorializing their founder. It’s called the \u003ca href=\"https://www.facebook.com/events/1154648487899512/\">Bizare Art Festival\u003c/a>, named after Salvador “Bizare” Lujan. Bizare started the crew 30 years ago in San Jose when he was just a teenager.\u003c/p>\n\u003cp>“A lot of guys here have been inspired by him,” says Bizare’s sister, Serena Lujan. “They were taken off the streets, taken away from gangs, to be a part of this crew that didn’t have anything to do with that type of lifestyle.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Serena says Bizare was a gentle character who wanted to unite his friends around something positive and creative — art, music and dance. “He was more of a quiet type, but he had a lot to say,” she adds.\u003c/p>\n\u003cfigure id=\"attachment_10858484\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RickyWatts-800x794.jpg\" alt=\"Aerosol artist Ricky Watts.\" width=\"800\" height=\"794\" class=\"size-medium wp-image-10858484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-1440x1429.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-1180x1171.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-960x953.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aerosol artist Ricky Watts. \u003ccite>(Alice Daniel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bizare died of a heart attack three years ago when he was just 44. And that’s when Serena started this yearly festival.\u003c/p>\n\u003cp>“Instead of being at home mourning his passing, I’d rather be here celebrating his life,” she says.\u003c/p>\n\u003cp>About 80 artists typically paint the wall for the festival, including a tattoo artist from San Diego, whose graffiti name is Payne. But before he draws long lines of spray paint on a black surface, he shakes up one of his cans to make sure it has a good spray.\u003c/p>\n\u003cp>“This might be an old can,” he says. “I might need to get a different tip.” He searches through a box of caps and changes out the old one.\u003c/p>\n\u003cp>“Sometimes they take a little work, and also weather’s playing a part. It’s kind of cold out. Cans like to be warm,” he says with a laugh.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘We just have graffiti in our blood. This is the medium, it’s larger than life.’\u003ccite>Payne\u003c/cite>\u003c/aside>\n\u003cp>Like the other artists here, Payne is putting up his name in huge, colorful letters. He calls it a Payne piece, as in masterpiece. Although the crew started in San Jose, Payne says it has spread to other parts of the state and beyond.\u003c/p>\n\u003cp>“Now we’re all the way down south, across the pond and into Europe,” he says. “We got members all over the world now. It’s a big crew.”\u003c/p>\n\u003cp>He says it’s mostly made up of working-class guys who like hip-hop, letters, music and dancing.\u003c/p>\n\u003cfigure id=\"attachment_10858520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/PayneUp-800x541.jpg\" alt=\"Artist Payne puts up what he calls a ‘Payne Piece.’\" width=\"800\" height=\"541\" class=\"size-medium wp-image-10858520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-1440x974.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-960x650.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Payne puts up what he calls a ‘Payne Piece.’ \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We just have graffiti in our blood. We like to paint. We’re artists. This is the medium, it’s larger than life,” he says.\u003c/p>\n\u003cp>To become a crew member, you have to get noticed, he says. “Just kind of show dedication,” he says. “I won’t talk too much about exploits. But you know, it’s a lot of cred. What you do on the street. You know, just putting up the crew and representing.”\u003c/p>\n\u003cp>[contextly_sidebar id=”KQqEPm7fduo6mTbAsuLReVSY0R65Hdl3″]\u003c/p>\n\u003cp>Payne’s been putting up the crew for 20 years. He’s 44 now and owns a tattoo parlor in San Diego, so he treads a little more gently these days.\u003c/p>\n\u003cp>“I tend to keep it more legal. I have a family, I’ve got two little girls, I’ve got a business, you know, so I’m not trying to go out and kill it the way I did when I was a kid. But I still love to do it and as much as I can,” he says.\u003c/p>\n\u003cp>Farther down the wall, Match, a musician from the Bay Area, explains why choosing a graffiti name is important.\u003c/p>\n\u003cfigure id=\"attachment_10858529\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/Match-800x1067.jpg\" alt=\"Match says graffiti artists spend years mastering their letters.\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-10858529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-1440x1920.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-960x1280.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Match says graffiti artists spend years mastering their letters. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every one of us painting the wall today has a great appreciation of typography and fonts and letters in general,” he says.\u003c/p>\n\u003cp>Like everyone else here, he’s kind of secretive. He won’t tell his real name or the name of his band, or even what town he lives in.\u003c/p>\n\u003cp>He says good street art means mastering your letters. “We write them over and over again like crazy people on pads of paper from the day we start until the day we die. I’ve probably spent at least two hours every day of my life writing my name over and over again, destroying paperwork, scrap papers and phone books and Bibles in hotels.”\u003c/p>\n\u003cp>Forty-five-year-old Quake is a few spots down the wall from Match. He started writing graffiti some 30 years ago. He says he’s been caught for painting in illegal spots.\u003c/p>\n\u003cp>“I think I got busted for the first time big in 1989,” he says. “I got a lot of hours, 200 community service hours, $4,000 in fines. That’s actually what got me into the piecing aspect.”\u003c/p>\n\u003cp>Piecing is more labor intensive, more complex. It comes from the word masterpiece. “The essence of graffiti is through the tag,” Quake says. “You basically make it bigger, start adding fancy, pretty colors and people appreciate it a little more, I guess. It’s more acceptable.”\u003c/p>\n\u003cp>Today Quake owns an art and apparel company, but his background is in logistics. He worked in the corporate world for years, a kind of dual life, he says. These days, he still paints lots of illegal spots near his home in the East Bay.\u003c/p>\n\u003cfigure id=\"attachment_10858469\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/LordBiz-800x460.jpg\" alt=\"Aerosol artist RIcky Watts pays tribute to his crew founder, Bizare.\" width=\"800\" height=\"460\" class=\"size-medium wp-image-10858469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-800x460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-400x230.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-1440x828.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-960x552.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aerosol artist RIcky Watts pays tribute to his crew founder, Bizare. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Spillways, bridges, stuff like that. I just basically go where I can’t be bothered. I’m not really looking to do this to make money. It’s just my hobby. It’s something for me to release. All the frustrations of day-to-day life, I take them out on the wall.”\u003c/p>\n\u003cp>But others do make money using spray paint as their medium. Ricky Watts is a fine artist, muralist and illustrator. His most recent work was a huge mural on the old YMCA building in St. Petersburg, Florida.\u003c/p>\n\u003cp>He says he used to sneak out at night as a teenager to paint graffiti, but what he loved most was art.\u003c/p>\n\u003cp>“I knew early on I loved using spray paint. I wasn’t interested in the vandalism side of it, you know. I really wanted to do big colorful artistic pieces.”\u003c/p>\n\u003cp>And today, the colorful piece he’s doing is a tribute to Bizare.\u003c/p>\n\u003cp>“I’m doing these large simple letters that are going to be very readable, and then inside the letters, I’m gonna take Bizare’s old sketches, and I’m gonna sketch out his letters inside the big letters,” Watts says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s the kind of perspective Bizare would appreciate. Ricky Watts and other Lords crew members’ work can currently be seen on display at the \u003ca href=\"http://oaklandterminalartgallery.bigcartel.com/\">Oakland Terminal Gallery.\u003c/a>\u003c/p>\n\n",
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"excerpt": "Artists from across the state pay annual homage to Bizare, founder of the Lords crew, at a legal graffiti wall.",
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"title": "Wall in Fresno Park a Canvas for Graffiti Artists’ Tribute | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There aren’t many places in California that boast long, legal, public walls open to graffiti artists. But in southeast Fresno, in the unincorporated community of Calwa, there’s a quarter-mile cinderblock wall that’s open to street artists year-round.\u003c/p>\n\u003cp>“This wall is special,” says \u003ca href=\"http://www.rickywatts.com/\">Ricky Watts\u003c/a>, an aerosol artist from Sebastopol. “This is one of the few places in the state of California where they have a wall like this, this size. There’s no other place like this, really.”\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/246106574″&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/246106574″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And every year, for the past three years, Watts and other members of a graffiti crew called Lords have come from all over the state for a daylong festival in late January memorializing their founder. It’s called the \u003ca href=\"https://www.facebook.com/events/1154648487899512/\">Bizare Art Festival\u003c/a>, named after Salvador “Bizare” Lujan. Bizare started the crew 30 years ago in San Jose when he was just a teenager.\u003c/p>\n\u003cp>“A lot of guys here have been inspired by him,” says Bizare’s sister, Serena Lujan. “They were taken off the streets, taken away from gangs, to be a part of this crew that didn’t have anything to do with that type of lifestyle.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Serena says Bizare was a gentle character who wanted to unite his friends around something positive and creative — art, music and dance. “He was more of a quiet type, but he had a lot to say,” she adds.\u003c/p>\n\u003cfigure id=\"attachment_10858484\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RickyWatts-800x794.jpg\" alt=\"Aerosol artist Ricky Watts.\" width=\"800\" height=\"794\" class=\"size-medium wp-image-10858484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-1440x1429.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-1180x1171.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-960x953.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aerosol artist Ricky Watts. \u003ccite>(Alice Daniel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bizare died of a heart attack three years ago when he was just 44. And that’s when Serena started this yearly festival.\u003c/p>\n\u003cp>“Instead of being at home mourning his passing, I’d rather be here celebrating his life,” she says.\u003c/p>\n\u003cp>About 80 artists typically paint the wall for the festival, including a tattoo artist from San Diego, whose graffiti name is Payne. But before he draws long lines of spray paint on a black surface, he shakes up one of his cans to make sure it has a good spray.\u003c/p>\n\u003cp>“This might be an old can,” he says. “I might need to get a different tip.” He searches through a box of caps and changes out the old one.\u003c/p>\n\u003cp>“Sometimes they take a little work, and also weather’s playing a part. It’s kind of cold out. Cans like to be warm,” he says with a laugh.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘We just have graffiti in our blood. This is the medium, it’s larger than life.’\u003ccite>Payne\u003c/cite>\u003c/aside>\n\u003cp>Like the other artists here, Payne is putting up his name in huge, colorful letters. He calls it a Payne piece, as in masterpiece. Although the crew started in San Jose, Payne says it has spread to other parts of the state and beyond.\u003c/p>\n\u003cp>“Now we’re all the way down south, across the pond and into Europe,” he says. “We got members all over the world now. It’s a big crew.”\u003c/p>\n\u003cp>He says it’s mostly made up of working-class guys who like hip-hop, letters, music and dancing.\u003c/p>\n\u003cfigure id=\"attachment_10858520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/PayneUp-800x541.jpg\" alt=\"Artist Payne puts up what he calls a ‘Payne Piece.’\" width=\"800\" height=\"541\" class=\"size-medium wp-image-10858520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-1440x974.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-960x650.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Payne puts up what he calls a ‘Payne Piece.’ \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We just have graffiti in our blood. We like to paint. We’re artists. This is the medium, it’s larger than life,” he says.\u003c/p>\n\u003cp>To become a crew member, you have to get noticed, he says. “Just kind of show dedication,” he says. “I won’t talk too much about exploits. But you know, it’s a lot of cred. What you do on the street. You know, just putting up the crew and representing.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Payne’s been putting up the crew for 20 years. He’s 44 now and owns a tattoo parlor in San Diego, so he treads a little more gently these days.\u003c/p>\n\u003cp>“I tend to keep it more legal. I have a family, I’ve got two little girls, I’ve got a business, you know, so I’m not trying to go out and kill it the way I did when I was a kid. But I still love to do it and as much as I can,” he says.\u003c/p>\n\u003cp>Farther down the wall, Match, a musician from the Bay Area, explains why choosing a graffiti name is important.\u003c/p>\n\u003cfigure id=\"attachment_10858529\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/Match-800x1067.jpg\" alt=\"Match says graffiti artists spend years mastering their letters.\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-10858529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-1440x1920.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-960x1280.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Match says graffiti artists spend years mastering their letters. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every one of us painting the wall today has a great appreciation of typography and fonts and letters in general,” he says.\u003c/p>\n\u003cp>Like everyone else here, he’s kind of secretive. He won’t tell his real name or the name of his band, or even what town he lives in.\u003c/p>\n\u003cp>He says good street art means mastering your letters. “We write them over and over again like crazy people on pads of paper from the day we start until the day we die. I’ve probably spent at least two hours every day of my life writing my name over and over again, destroying paperwork, scrap papers and phone books and Bibles in hotels.”\u003c/p>\n\u003cp>Forty-five-year-old Quake is a few spots down the wall from Match. He started writing graffiti some 30 years ago. He says he’s been caught for painting in illegal spots.\u003c/p>\n\u003cp>“I think I got busted for the first time big in 1989,” he says. “I got a lot of hours, 200 community service hours, $4,000 in fines. That’s actually what got me into the piecing aspect.”\u003c/p>\n\u003cp>Piecing is more labor intensive, more complex. It comes from the word masterpiece. “The essence of graffiti is through the tag,” Quake says. “You basically make it bigger, start adding fancy, pretty colors and people appreciate it a little more, I guess. It’s more acceptable.”\u003c/p>\n\u003cp>Today Quake owns an art and apparel company, but his background is in logistics. He worked in the corporate world for years, a kind of dual life, he says. These days, he still paints lots of illegal spots near his home in the East Bay.\u003c/p>\n\u003cfigure id=\"attachment_10858469\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/LordBiz-800x460.jpg\" alt=\"Aerosol artist RIcky Watts pays tribute to his crew founder, Bizare.\" width=\"800\" height=\"460\" class=\"size-medium wp-image-10858469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-800x460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-400x230.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-1440x828.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-960x552.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aerosol artist RIcky Watts pays tribute to his crew founder, Bizare. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Spillways, bridges, stuff like that. I just basically go where I can’t be bothered. I’m not really looking to do this to make money. It’s just my hobby. It’s something for me to release. All the frustrations of day-to-day life, I take them out on the wall.”\u003c/p>\n\u003cp>But others do make money using spray paint as their medium. Ricky Watts is a fine artist, muralist and illustrator. His most recent work was a huge mural on the old YMCA building in St. Petersburg, Florida.\u003c/p>\n\u003cp>He says he used to sneak out at night as a teenager to paint graffiti, but what he loved most was art.\u003c/p>\n\u003cp>“I knew early on I loved using spray paint. I wasn’t interested in the vandalism side of it, you know. I really wanted to do big colorful artistic pieces.”\u003c/p>\n\u003cp>And today, the colorful piece he’s doing is a tribute to Bizare.\u003c/p>\n\u003cp>“I’m doing these large simple letters that are going to be very readable, and then inside the letters, I’m gonna take Bizare’s old sketches, and I’m gonna sketch out his letters inside the big letters,” Watts says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s the kind of perspective Bizare would appreciate. Ricky Watts and other Lords crew members’ work can currently be seen on display at the \u003ca href=\"http://oaklandterminalartgallery.bigcartel.com/\">Oakland Terminal Gallery.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://abdulnassergharem.com/\" target=\"_blank\" rel=\"noopener\">Abdulnasser Gharem\u003c/a> doesn’t have the background you might expect for a successful artist – let alone one famous for edgy work from Saudi Arabia. He was once a lieutenant colonel in the Saudi army. He went to high school with two of the 9/11 hijackers.\u003c/p>\n\u003cp>But his first major art work sold for a whopping $842,500 at a Christie’s auction in Dubai. It’s\u003ca href=\"http://www.christies.com/lotfinder/installations-video-art/abdulnasser-gharem-messagemessenger-5422852-details.aspx\" target=\"_blank\" rel=\"noopener\"> a glittering dome\u003c/a> symbolizing the Dome of the Rock, set on its edge, capturing a dove.\u003c/p>\n\u003cp>In Saudi Arabia, a new generation of artists is pushing boundaries amid a growing art scene. Art galleries and daring visual artists, all unheard of just a few years ago, are thriving. Contemporary artists like Gharem have become a critical voice in the conservative kingdom, where open calls for reform are a criminal offense.\u003c/p>\n\u003cp>Gharem says he doesn’t care about fame. “I must focus on my own mission,” he says with an exasperated laugh at the suggestion that he is the highest selling artist in the region. “I want to play my own role in the society, which will make me happy, and I can see the result.”\u003c/p>\n\u003cp>In his busy Riyadh workshop, musicians play traditional music in the kitchen; a photographer is arranging images on a white wall in the next room. Here, Gharem, 41, gives young artists the help and guidance he never got.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I was struggling as a kid, I want[ed] to see the museum, I want to see the real paintings, I want to talk to the artists, how they are thinking,” he says.\u003c/p>\n\u003cp>The Internet opened him to the larger art world as a young artist. He started an art foundation in 2013 with the money he earned from his first sale. Gharem took more than a dozen \u003ca href=\"http://www.npr.org/sections/parallels/2016/02/04/465574953/asiahouse.org/events/gharem-studio-presents-ricochet\" target=\"_blank\" rel=\"noopener\">young artists to London last year\u003c/a> to display their work, and this year, he and a group of young Saudi artists will launch an art tour across the U.S.\u003c/p>\n\u003cp>There is plenty of talent in Saudi Arabia, he says. “But the problem is they don’t know how to deal with it. They don’t have a strategy, they don’t have even the guidance, what to do? So, that’s my mission, you know.”\u003c/p>\n\u003cp>He aims to show Saudis how to see and how to think critically. He knows the dangers of extremism firsthand because of his high school classmates turned terrorists. He insists art is an answer, a way to pose sensitive questions about ideology and religion.\u003c/p>\n\u003cfigure id=\"attachment_11310420\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/img_2698edit_custom-4950da3518d0fa25d2efe72e6780b2f4589e01cd.jpg\" alt=\"The work of Saudi artist Njoud Alanbari focuses on issues surrounding female education.\" width=\"200\" height=\"189\" class=\"size-full wp-image-11310420\">\u003cfigcaption class=\"wp-caption-text\">The work of Saudi artist Njoud Alanbari focuses on issues surrounding female education. \u003ccite>(Photo: Deborah Amos/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If you’ll give them a space where at least they can speak freely — that’s the beginning, and I think that’s what’s missing in this country,” he says. “If you go to school, you cannot say what you want. If you go to mosque, you cannot say what you want [because of] family pressure, society pressure.”\u003c/p>\n\u003cp>In a free space, an artistic space, he says, “You will see how they became different.”\u003c/p>\n\u003cp>The art produced here is different. It’s a daring visual critique of Saudi culture.\u003c/p>\n\u003cp>Performance videos play on a TV at the workshop. One is a satire of Saudi Arabia’s ultra-religious culture, in which sketching human figures is forbidden: A group of solemn Saudi men sketch a plastic mannequin, a nude female. This act is so taboo in Saudi Arabia that the mannequin had to be shipped from Dubai and cut up into numbered pieces to get past Saudi customs officials.\u003c/p>\n\u003cp>The one woman at the workshop is Njoud Alanbari. Her art focuses on problems in female education. The government-approved posters found in public schools, which are mostly in pink, inspire her work. But the messages are harsh. “The colors are so twisted,” she says. The posters list “proper” behavior and include a long list of no’s.\u003c/p>\n\u003cp>“No music, no pornography, don’t travel,” Alanbari says, and raises an eyebrow. “Actually, as a kid, I didn’t know what pornography is.” The posters are in every public school. “It’s so intense,” she says. “It’s everywhere.”\u003c/p>\n\u003cp>A drawing of a sword underlines every “no.” Alanbari plays with these official images — in one instance, replacing a female silhouette with a monkey’s head, forcing a viewer to take a fresh look.\u003c/p>\n\u003cp>“You need someone to come and tell you, ‘Look at this,'” she says. “Because people are so used to it, it’s now common.”\u003c/p>\n\u003cp>Another performance video called “Traditional Pain Treatment” shows a fellow artist with a map of the Middle East inked across his back enduring traditional bloodletting via \u003ca href=\"http://www.bbc.com/news/health-32653971\">cupping\u003c/a>, with glass cups that are heated and placed on his skin. “So we said, we need to take the bad blood from all the countries – the bad ideology, the bad politics, the bad economics. Everywhere.”\u003c/p>\n\u003cp>Conceptual art is new in Saudi Arabia — a visual language that is easily understood by a young generation steeped in Internet culture, but flies just as easily past Saudi censors. Gharem and his band of young artists push the boundaries of critical speech now, not with words but with images.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Visually, you can say it, because no one can accuse you with an image,” says Gharem. “But if you are going to write or text or say something, it’s easy to accuse you.” With a picture, he says, “If you don’t like it, you can put it down.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+New+Generation+Of+Saudi+Artists+Pushes+The+Boundaries&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://abdulnassergharem.com/\" target=\"_blank\" rel=\"noopener\">Abdulnasser Gharem\u003c/a> doesn’t have the background you might expect for a successful artist – let alone one famous for edgy work from Saudi Arabia. He was once a lieutenant colonel in the Saudi army. He went to high school with two of the 9/11 hijackers.\u003c/p>\n\u003cp>But his first major art work sold for a whopping $842,500 at a Christie’s auction in Dubai. It’s\u003ca href=\"http://www.christies.com/lotfinder/installations-video-art/abdulnasser-gharem-messagemessenger-5422852-details.aspx\" target=\"_blank\" rel=\"noopener\"> a glittering dome\u003c/a> symbolizing the Dome of the Rock, set on its edge, capturing a dove.\u003c/p>\n\u003cp>In Saudi Arabia, a new generation of artists is pushing boundaries amid a growing art scene. Art galleries and daring visual artists, all unheard of just a few years ago, are thriving. Contemporary artists like Gharem have become a critical voice in the conservative kingdom, where open calls for reform are a criminal offense.\u003c/p>\n\u003cp>Gharem says he doesn’t care about fame. “I must focus on my own mission,” he says with an exasperated laugh at the suggestion that he is the highest selling artist in the region. “I want to play my own role in the society, which will make me happy, and I can see the result.”\u003c/p>\n\u003cp>In his busy Riyadh workshop, musicians play traditional music in the kitchen; a photographer is arranging images on a white wall in the next room. Here, Gharem, 41, gives young artists the help and guidance he never got.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I was struggling as a kid, I want[ed] to see the museum, I want to see the real paintings, I want to talk to the artists, how they are thinking,” he says.\u003c/p>\n\u003cp>The Internet opened him to the larger art world as a young artist. He started an art foundation in 2013 with the money he earned from his first sale. Gharem took more than a dozen \u003ca href=\"http://www.npr.org/sections/parallels/2016/02/04/465574953/asiahouse.org/events/gharem-studio-presents-ricochet\" target=\"_blank\" rel=\"noopener\">young artists to London last year\u003c/a> to display their work, and this year, he and a group of young Saudi artists will launch an art tour across the U.S.\u003c/p>\n\u003cp>There is plenty of talent in Saudi Arabia, he says. “But the problem is they don’t know how to deal with it. They don’t have a strategy, they don’t have even the guidance, what to do? So, that’s my mission, you know.”\u003c/p>\n\u003cp>He aims to show Saudis how to see and how to think critically. He knows the dangers of extremism firsthand because of his high school classmates turned terrorists. He insists art is an answer, a way to pose sensitive questions about ideology and religion.\u003c/p>\n\u003cfigure id=\"attachment_11310420\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/img_2698edit_custom-4950da3518d0fa25d2efe72e6780b2f4589e01cd.jpg\" alt=\"The work of Saudi artist Njoud Alanbari focuses on issues surrounding female education.\" width=\"200\" height=\"189\" class=\"size-full wp-image-11310420\">\u003cfigcaption class=\"wp-caption-text\">The work of Saudi artist Njoud Alanbari focuses on issues surrounding female education. \u003ccite>(Photo: Deborah Amos/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If you’ll give them a space where at least they can speak freely — that’s the beginning, and I think that’s what’s missing in this country,” he says. “If you go to school, you cannot say what you want. If you go to mosque, you cannot say what you want [because of] family pressure, society pressure.”\u003c/p>\n\u003cp>In a free space, an artistic space, he says, “You will see how they became different.”\u003c/p>\n\u003cp>The art produced here is different. It’s a daring visual critique of Saudi culture.\u003c/p>\n\u003cp>Performance videos play on a TV at the workshop. One is a satire of Saudi Arabia’s ultra-religious culture, in which sketching human figures is forbidden: A group of solemn Saudi men sketch a plastic mannequin, a nude female. This act is so taboo in Saudi Arabia that the mannequin had to be shipped from Dubai and cut up into numbered pieces to get past Saudi customs officials.\u003c/p>\n\u003cp>The one woman at the workshop is Njoud Alanbari. Her art focuses on problems in female education. The government-approved posters found in public schools, which are mostly in pink, inspire her work. But the messages are harsh. “The colors are so twisted,” she says. The posters list “proper” behavior and include a long list of no’s.\u003c/p>\n\u003cp>“No music, no pornography, don’t travel,” Alanbari says, and raises an eyebrow. “Actually, as a kid, I didn’t know what pornography is.” The posters are in every public school. “It’s so intense,” she says. “It’s everywhere.”\u003c/p>\n\u003cp>A drawing of a sword underlines every “no.” Alanbari plays with these official images — in one instance, replacing a female silhouette with a monkey’s head, forcing a viewer to take a fresh look.\u003c/p>\n\u003cp>“You need someone to come and tell you, ‘Look at this,'” she says. “Because people are so used to it, it’s now common.”\u003c/p>\n\u003cp>Another performance video called “Traditional Pain Treatment” shows a fellow artist with a map of the Middle East inked across his back enduring traditional bloodletting via \u003ca href=\"http://www.bbc.com/news/health-32653971\">cupping\u003c/a>, with glass cups that are heated and placed on his skin. “So we said, we need to take the bad blood from all the countries – the bad ideology, the bad politics, the bad economics. Everywhere.”\u003c/p>\n\u003cp>Conceptual art is new in Saudi Arabia — a visual language that is easily understood by a young generation steeped in Internet culture, but flies just as easily past Saudi censors. Gharem and his band of young artists push the boundaries of critical speech now, not with words but with images.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Visually, you can say it, because no one can accuse you with an image,” says Gharem. “But if you are going to write or text or say something, it’s easy to accuse you.” With a picture, he says, “If you don’t like it, you can put it down.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+New+Generation+Of+Saudi+Artists+Pushes+The+Boundaries&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Babette: Artful Food at the New BAMPFA in Downtown Berkeley",
"title": "Babette: Artful Food at the New BAMPFA in Downtown Berkeley",
"headTitle": "Bay Area Bites | KQED Food",
"content": "\u003cp>The lush film \u003ca href=\"http://www.imdb.com/title/tt0092603/\" target=\"_blank\">Babette’s Feast\u003c/a> (1987) is about, among other things, the centrality of food in our lives. \u003ca href=\"http://babettecafe.com/\" target=\"_blank\">Babette\u003c/a>, the Berkeley café named after the Danish masterpiece, embodies the same values. When the new \u003ca href=\"http://www.bampfa.berkeley.edu/\" target=\"_blank\">BAMPFA\u003c/a> (Berkeley Art Museum and Pacific Film Archive) opened in downtown Berkeley last week, the café that has served both museum-goers and local residents for many years accompanied it into the exquisite Diller Scofidio + Renfro-designed space. Incorporated into the existing brutalist architecture is a clean, thoroughly contemporary, and aesthetically spare beauty.\u003c/p>\n\u003cfigure id=\"attachment_106771\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/02/diners-architecture1.jpg\" alt=\"Long view of Babette, in the new BAMPFA.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-106771\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/02/diners-architecture1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/diners-architecture1-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/diners-architecture1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/diners-architecture1-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/diners-architecture1-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/diners-architecture1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/diners-architecture1-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Long view of Babette, in the new BAMPFA. \u003ccite>(Kim Westerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_106773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/02/museum-steps.jpg\" alt=\"The museum’s dramatic entryway.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-106773\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/02/museum-steps.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/museum-steps-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/museum-steps-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/museum-steps-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/museum-steps-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/museum-steps-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/museum-steps-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The museum’s dramatic entryway. \u003ccite>(Kim Westerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much has been written about the new museum, and Babette deserves equal attention. Owned and run by husband-and-wife-team Joan Ellis and Patrick Hooker, the space is inviting and meditative. On the second floor, long and narrow, with generously spaced tables, the café is a respite from the buzz of all the heady art below, and the food is a wonderful combination of elegant and homey.\u003c/p>\n\u003cfigure id=\"attachment_106774\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/02/owners.jpg\" alt=\"Babette chef-owners Joan Ellis and Patrick Hooker.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-106774\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Babette chef-owners Joan Ellis and Patrick Hooker. \u003ccite>(Kim Westerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the signature dishes from the former location made its way onto the new menu: a trio of salads that changes monthly. You can order them separately or as a combo. The current trio is a roasted carrot, harissa and olive salad with chickpeas and cilantro, with a nice kick of heat; winter tabouleh of barley, feta cheese, cashews and parsley; and roasted beets with apples, walnuts, chicories, with pomegranate vinaigrette. All are flavor-saturated and speak to all the senses.\u003c/p>\n\u003cfigure id=\"attachment_106780\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/02/salads.jpg\" alt=\"A trio of salads.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-106780\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/02/salads.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/salads-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/salads-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/salads-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/salads-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/salads-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/salads-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A trio of salads. \u003ccite>(Kim Westerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Main courses are small and satisfying. We ordered the tamarind-glazed lamb riblets, which Ellis recounts she and Hooker invented on a recent drive up to Wine Country. The beautifully fatty ribs, finger food, are plated with broccolini with sriracha vinaigrette, a nice counterpoint to the sweet tanginess of the tamarind, pickled Asian pear and mashed sweet potatoes. A study in contrasts, the tender olive oil-braised pork shoulder is served atop mashed white beans with pleasingly bitter, earthy grilled radicchio, all doused with gremolata.\u003c/p>\n\u003cfigure id=\"attachment_106779\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/02/ribs.jpg\" alt=\"Tamarind-glazed lamb riblets.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-106779\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/02/ribs.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/ribs-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/ribs-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/ribs-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/ribs-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/ribs-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/ribs-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tamarind-glazed lamb riblets. \u003ccite>(Kim Westerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_106776\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/02/pork.jpg\" alt=\"Olive oil-braised pork shoulder with grilled radicchio.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-106776\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/02/pork.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/pork-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/pork-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/pork-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/pork-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/pork-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/pork-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Olive oil-braised pork shoulder with grilled radicchio. \u003ccite>(Kim Westerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is no wine list yet, but it’s in the works. Sit up near the counter where the action happens or down by the windows looking down, at various angles, onto gallery spaces. By all accounts, the launch of the new Babette has been a community affair. A former employee designed playful t-shirts of animal characters feasting around a dining table. And a friend designed a logo for mugs and other Babette-ware.\u003c/p>\n\u003cfigure id=\"attachment_106775\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/02/owners1.jpg\" alt=\"Babette chef-owners Joan Ellis and Patrick Hooker.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-106775\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners1-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners1-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners1-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners1-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Babette chef-owners Joan Ellis and Patrick Hooker. \u003ccite>(Kim Westerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_106772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/02/front-counter.jpg\" alt=\"The table in the foreground is a remnant of the old Babette space.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-106772\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/02/front-counter.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/front-counter-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/front-counter-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/front-counter-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/front-counter-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/front-counter-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/front-counter-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The table in the foreground is a remnant of the old Babette space. \u003ccite>(Kim Westerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The previous incarnation of the café served only breakfast and lunch; these continue at the new space, but dinner is a new and welcome offering. This is some of the loveliest food you can get in a casual, affordable setting anywhere in the East Bay. \u003c/p>\n\u003cfigure id=\"attachment_106778\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/02/restaurant-signage.jpg\" alt=\"Entrance to the new café.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-106778\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/02/restaurant-signage.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/restaurant-signage-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/restaurant-signage-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/restaurant-signage-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/restaurant-signage-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/restaurant-signage-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/restaurant-signage-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Entrance to the new café. \u003ccite>(Kim Westerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://babettecafe.com/\" target=\"_blank\">\u003cstrong>Babette\u003c/strong>\u003c/a>\u003cbr>\n2155 Center St. [\u003ca href=\"https://goo.gl/4H6KbK\" target=\"_blank\">Map\u003c/a>]\u003cbr>\nBerkeley, CA 94720\u003cbr>\nPh: (510) 684-3036\u003cbr>\nHours: Wed-Sun, 9am-9pm\u003cbr>\nFacebook: \u003ca href=\"https://www.facebook.com/pages/Babette/304297009593401\" target=\"_blank\">Babette Restaurant\u003c/a>\u003cbr>\nPrice Range: $$ (Dinner entrees $16)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The new Babette is a dining destination for both museum-goers and locals alike.\r\n\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lush film \u003ca href=\"http://www.imdb.com/title/tt0092603/\" target=\"_blank\">Babette’s Feast\u003c/a> (1987) is about, among other things, the centrality of food in our lives. \u003ca href=\"http://babettecafe.com/\" target=\"_blank\">Babette\u003c/a>, the Berkeley café named after the Danish masterpiece, embodies the same values. When the new \u003ca href=\"http://www.bampfa.berkeley.edu/\" target=\"_blank\">BAMPFA\u003c/a> (Berkeley Art Museum and Pacific Film Archive) opened in downtown Berkeley last week, the café that has served both museum-goers and local residents for many years accompanied it into the exquisite Diller Scofidio + Renfro-designed space. Incorporated into the existing brutalist architecture is a clean, thoroughly contemporary, and aesthetically spare beauty.\u003c/p>\n\u003cfigure id=\"attachment_106771\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/02/diners-architecture1.jpg\" alt=\"Long view of Babette, in the new BAMPFA.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-106771\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/02/diners-architecture1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/diners-architecture1-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/diners-architecture1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/diners-architecture1-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/diners-architecture1-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/diners-architecture1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/diners-architecture1-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Long view of Babette, in the new BAMPFA. \u003ccite>(Kim Westerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_106773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/02/museum-steps.jpg\" alt=\"The museum’s dramatic entryway.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-106773\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/02/museum-steps.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/museum-steps-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/museum-steps-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/museum-steps-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/museum-steps-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/museum-steps-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/museum-steps-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The museum’s dramatic entryway. \u003ccite>(Kim Westerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much has been written about the new museum, and Babette deserves equal attention. Owned and run by husband-and-wife-team Joan Ellis and Patrick Hooker, the space is inviting and meditative. On the second floor, long and narrow, with generously spaced tables, the café is a respite from the buzz of all the heady art below, and the food is a wonderful combination of elegant and homey.\u003c/p>\n\u003cfigure id=\"attachment_106774\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/02/owners.jpg\" alt=\"Babette chef-owners Joan Ellis and Patrick Hooker.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-106774\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Babette chef-owners Joan Ellis and Patrick Hooker. \u003ccite>(Kim Westerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the signature dishes from the former location made its way onto the new menu: a trio of salads that changes monthly. You can order them separately or as a combo. The current trio is a roasted carrot, harissa and olive salad with chickpeas and cilantro, with a nice kick of heat; winter tabouleh of barley, feta cheese, cashews and parsley; and roasted beets with apples, walnuts, chicories, with pomegranate vinaigrette. All are flavor-saturated and speak to all the senses.\u003c/p>\n\u003cfigure id=\"attachment_106780\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/02/salads.jpg\" alt=\"A trio of salads.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-106780\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/02/salads.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/salads-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/salads-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/salads-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/salads-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/salads-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/salads-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A trio of salads. \u003ccite>(Kim Westerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Main courses are small and satisfying. We ordered the tamarind-glazed lamb riblets, which Ellis recounts she and Hooker invented on a recent drive up to Wine Country. The beautifully fatty ribs, finger food, are plated with broccolini with sriracha vinaigrette, a nice counterpoint to the sweet tanginess of the tamarind, pickled Asian pear and mashed sweet potatoes. A study in contrasts, the tender olive oil-braised pork shoulder is served atop mashed white beans with pleasingly bitter, earthy grilled radicchio, all doused with gremolata.\u003c/p>\n\u003cfigure id=\"attachment_106779\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/02/ribs.jpg\" alt=\"Tamarind-glazed lamb riblets.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-106779\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/02/ribs.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/ribs-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/ribs-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/ribs-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/ribs-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/ribs-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/ribs-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tamarind-glazed lamb riblets. \u003ccite>(Kim Westerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_106776\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/02/pork.jpg\" alt=\"Olive oil-braised pork shoulder with grilled radicchio.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-106776\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/02/pork.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/pork-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/pork-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/pork-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/pork-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/pork-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/pork-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Olive oil-braised pork shoulder with grilled radicchio. \u003ccite>(Kim Westerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is no wine list yet, but it’s in the works. Sit up near the counter where the action happens or down by the windows looking down, at various angles, onto gallery spaces. By all accounts, the launch of the new Babette has been a community affair. A former employee designed playful t-shirts of animal characters feasting around a dining table. And a friend designed a logo for mugs and other Babette-ware.\u003c/p>\n\u003cfigure id=\"attachment_106775\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/02/owners1.jpg\" alt=\"Babette chef-owners Joan Ellis and Patrick Hooker.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-106775\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners1-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners1-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners1-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/owners1-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Babette chef-owners Joan Ellis and Patrick Hooker. \u003ccite>(Kim Westerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_106772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/02/front-counter.jpg\" alt=\"The table in the foreground is a remnant of the old Babette space.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-106772\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/02/front-counter.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/front-counter-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/front-counter-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/front-counter-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/front-counter-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/front-counter-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/front-counter-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The table in the foreground is a remnant of the old Babette space. \u003ccite>(Kim Westerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The previous incarnation of the café served only breakfast and lunch; these continue at the new space, but dinner is a new and welcome offering. This is some of the loveliest food you can get in a casual, affordable setting anywhere in the East Bay. \u003c/p>\n\u003cfigure id=\"attachment_106778\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/02/restaurant-signage.jpg\" alt=\"Entrance to the new café.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-106778\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/02/restaurant-signage.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/restaurant-signage-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/restaurant-signage-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/restaurant-signage-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/restaurant-signage-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/restaurant-signage-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/02/restaurant-signage-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Entrance to the new café. \u003ccite>(Kim Westerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://babettecafe.com/\" target=\"_blank\">\u003cstrong>Babette\u003c/strong>\u003c/a>\u003cbr>\n2155 Center St. [\u003ca href=\"https://goo.gl/4H6KbK\" target=\"_blank\">Map\u003c/a>]\u003cbr>\nBerkeley, CA 94720\u003cbr>\nPh: (510) 684-3036\u003cbr>\nHours: Wed-Sun, 9am-9pm\u003cbr>\nFacebook: \u003ca href=\"https://www.facebook.com/pages/Babette/304297009593401\" target=\"_blank\">Babette Restaurant\u003c/a>\u003cbr>\nPrice Range: $$ (Dinner entrees $16)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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