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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" rel=\"attachment wp-att-11126413\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>For the Bay Area visual arts community, 2016 can’t come fast enough. There’s so much to look forward to — and thankfully, that long period of deprivation is almost over. For example, \u003ca href=\"http://500cappstreet.org/\" target=\"_blank\" rel=\"noopener\">500 Capp Street\u003c/a>, otherwise known as conceptual artist David Ireland’s house, reopens to the public on Jan. 16. The \u003ca href=\"http://www.sfartscommission.org/gallery/2015/we-are-on-the-move/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission Gallery\u003c/a> celebrates its new, much larger, space with an opening on Jan. 22. The \u003ca href=\"http://press.bampfa.berkeley.edu/building/\" target=\"_blank\" rel=\"noopener\">Berkeley Art Museum and Pacific Film Archive\u003c/a> opens in its brand new — and more conveniently located — home on Jan. 31. Jump ahead to March, when the much-anticipated \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a> opens its doors. And \u003ca href=\"http://ww2.kqed.org/arts/2015/10/22/sfmoma-makes-it-official-date-for-reopening-set-for-next-year/\">then something’s happening in May\u003c/a>, but I can’t remember quite what.\u003c/p>\n\u003cp>In the vacuum created by these temporary (and other, more permanent) closures, certain local institutions, alternative arts spaces, galleries and independent curators stepped up to the proverbial plate. To put it bluntly, 2015 had some remarkable moments. My favorites, in no particular order:\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184600\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RootDivision400-400x267.jpg\" alt=\"Root Division's new home at 1131 Mission Street.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11184600\">\u003cfigcaption class=\"wp-caption-text\">Root Division’s new home at 1131 Mission Street. \u003ccite>(Photo: Mido Lee Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Comeback Story: Root Division\u003c/h3>\n\u003cp>In 2014, when Root Division announced they’d be unable to stay in their 17th Street location (their home for the past 10 years), things didn’t look good; they were just one of too many arts spaces ousted by costly rent hikes. But thanks to the help of the Nonprofit Displacement Mitigation Fund, a city grant, a benevolent new landlord and the tenacity of the Root Division staff, they now have 13,000 square feet on Mission Street all to themselves. The best part of the move is that it expands Root Division’s work on all fronts: they now have subsidized studio space for 25 artists, an expanded roster of class offerings and even more gallery space for their ever-ambitious exhibition program. \u003ca href=\"https://www.rootdivision.org/\" target=\"_blank\" rel=\"noopener\">More on Root Division\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11077357\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Cardiff640-400x267.jpg\" alt=\"Janet Cardiff, 'The Forty Part Motet' (installation view, Gallery 308, Fort Mason Center for Arts & Culture), 2015.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11077357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Cardiff640-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Cardiff640.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Janet Cardiff, ‘The Forty Part Motet’ (installation view, Gallery 308, Fort Mason Center for Arts & Culture), 2015. \u003ccite>(Photo: JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Exhibition that Made Me Feel Real Feelings: Janet Cardiff’s \u003ci>Forty Part Motet\u003c/i> at Fort Mason Center\u003c/h3>\n\u003cp>Janet Cardiff’s sound piece might be the most recommended Bay Area art experience of the year — and not just by me. A spare arrangement of 40 black speakers plays the soaring sounds of English Renaissance composer Thomas Tallis’ 1573 choral work \u003ci>Spem in alium nunquam habui\u003c/i>. I’m now verging on nagging territory, but I’m doubling down: Please, for the sake of your ears, mind and heart, \u003ca href=\"http://motettickets.org/#tickets\" target=\"_blank\" rel=\"noopener\">visit this free installation\u003c/a>. Don’t be discouraged by the “Sold Out” blocks on the calendar: same-day walkup tickets are often available. \u003ca href=\"http://ww2.kqed.org/arts/2015/11/13/janet-cardiffs-forty-part-motet-almost-made-me-cry/\" target=\"_blank\" rel=\"noopener\">Read my full review\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184721\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DawsonB400-400x267.jpg\" alt=\"Rachel Dawson, interior view of 'Between Here and There,' 2015.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11184721\">\u003cfigcaption class=\"wp-caption-text\">Rachel Dawson, interior view of ‘Between Here and There,’ 2015. \u003ccite>(Photo: Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Installation You Didn’t See: Rachel Dawson, \u003ci>Between Here and There\u003c/i> at Alter Space\u003c/h3>\n\u003cp>Chances are you missed the 15-day run of Oakland-based artist Rachel Dawson’s subterranean sculptural installation. The project was the culmination of a three-month residency in Alter Space’s wooden jail cell (left over from the building’s former leatherwear tenant). Inside a mirrored, five-sided structure, phosphorescent porcelain sculptures resembling ghostly ectoplasm covered the walls, ceiling and floor. Their greenish glow was the only illumination, reflected infinitely as a series of hovering, gooey manifestations from the world beyond. I really hope this piece gets a second life so more people can step inside a vertigo-inducing chamber with booties over their shoes. \u003ca href=\"http://alterspace.co/exhibitions/rachel-dawson-between-here-and-there/\" target=\"_blank\" rel=\"noopener\">More on \u003ci>Between Here and There\u003c/i>\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184602\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Moulton400-400x267.jpg\" alt=\"Shana Moulton performing at YBCA's ConVerge.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11184602\">\u003cfigcaption class=\"wp-caption-text\">Shana Moulton performing at YBCA’s ConVerge. \u003ccite>(Photo: Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Live Performance: Shana Moulton at YBCA\u003c/h3>\n\u003cp>At April’s ConVerge, Yerba Buena Center for the Arts’ monthly live event, artist Shana Moulton (and collaborator Nick Hallett) performed in conjunction with the opening of her solo show, \u003ci>Picture Puzzle Pattern Door\u003c/i>. Dressed as her alter ego “Cynthia,” Moulton cannily and wordlessly interacted with projected video and sound in a hilarious sendup of women’s wellness products and New Age questing. Wearing a bowl-cut wig and something the internet wants me to call either a “magic bubble shirt” or a “popcorn blouse,” Moulton’s emotive facial expressions were possibly the greatest part of the entire night. \u003ca href=\"http://ybca.org/shana-moulton\" target=\"_blank\" rel=\"noopener\">More on \u003ci>Picture Puzzle Pattern Door\u003c/i>\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184603\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Capital400-400x300.jpg\" alt=\"View from Sacramento Street of CAPITAL.\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-11184603\">\u003cfigcaption class=\"wp-caption-text\">View from Sacramento Street of CAPITAL. \u003ccite>(Courtesy: CAPITAL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best New Gallery: CAPITAL\u003c/h3>\n\u003cp>It seems like ages since CAPITAL \u003ca href=\"http://ww2.kqed.org/arts/2015/02/11/fall-under-the-spell-at-capital/\" target=\"_blank\" rel=\"noopener\">opened with their first show\u003c/a>. But no, it was less than a year ago. Eight exhibitions, one art fair and two editioned objects later, the year ahead looks equally bright. Visiting shows at CAPITAL is often more like hanging out on the sidewalk of Sacramento Street with co-directors Jonathan Runcio and Bob Linder. The space itself is so small, I have to focus intensely on the art just to prevent myself from wreaking havoc with my long arms. But focusing intensely on art is never, ever a bad thing. \u003ca href=\"http://capital.gallery/index.html\" target=\"_blank\" rel=\"noopener\">More on CAPITAL\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10881977\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/SkyBridge1-400x267.jpg\" alt=\"The artist and volunteers laying out 'Sky Bridge,' 2015.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10881977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SkyBridge1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SkyBridge1.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The artist and volunteers laying out ‘Sky Bridge,’ 2015. \u003ccite>(Photo: Lydia Han/CCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Public Art Installation: \u003ci>Sky Bridge\u003c/i> at the Chinese Culture Center\u003c/h3>\n\u003cp>For the month of August, Chinatown’s Portsmouth Square pedestrian bridge transformed into a gleaming causeway between the increasingly outward-facing CCC and the neighborhood’s most active public space. Austin-based artist Beili Liu adhered 50,000 brick-sized pieces of mirrored Mylar to the bridge with the help of a small army of volunteers. The result was dazzling. Just a few weeks ago, the CCC announced its next project on the bridge: a mini-park with landscape design by Jennifer Ng and Chris Hardy, and \u003ci>Sunrise\u003c/i>, a tile installation by local artist Mik Gaspay. \u003ca href=\"http://ww2.kqed.org/arts/2015/08/11/dazzling-sky-bridge-transforms-chinatown-pedestrian-bridge/\" target=\"_blank\" rel=\"noopener\">Read my full review of \u003ci>Sky Bridge\u003c/i>\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184604\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/PLAF400-400x286.jpg\" alt=\"Announcing the location of the Parking Lot Art Fair.\" width=\"400\" height=\"286\" class=\"size-thumbnail wp-image-11184604\">\u003cfigcaption class=\"wp-caption-text\">Announcing the location of the Parking Lot Art Fair. \u003ccite>(Courtesy: Parking Lot Art Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Unsanctioned Art Event: Parking Lot Art Fair, outside Fort Mason Center\u003c/h3>\n\u003cp>Timed to coincide with artMRKT and the stARTup Art Fair, the Parking Lot Art Fair clung to conventional capitalization, but little else. Early on the morning of May 2, artists, art spaces and MFA students commandeered the prime parking spaces outside Fort Mason Center with vehicles tricked-out as galleries, blankets displaying wares, or an entire boat-turned-installation, complete with live fish. I’m not one to talk about energy, but the energy was great. Organizers Jenny Sharaf and Emily Reynolds pulled together an event that was equal parts rogue happening, zany flea market and a big middle finger to the neighboring art fairs, with their entrance fees and hefty booth costs. \u003ca href=\"http://parkinglotartfair.tumblr.com/\" target=\"_blank\" rel=\"noopener\">More on the Parking Lot Art Fair\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184605\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Fusco400-400x267.jpg\" alt=\"Coco Fusco, still from 'The Empty Plaza/La Plaza Vaca,' 2012.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11184605\">\u003cfigcaption class=\"wp-caption-text\">Coco Fusco, still from ‘The Empty Plaza/La Plaza Vaca,’ 2012. \u003ccite>(Courtesy: Alexander Gray Associates)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Video I’m Glad I Watched All the Way Through: Coco Fusco, \u003ci>The Empty Plaza/La Plaza Vaca\u003c/i>\u003c/h3>\n\u003cp>Tucked into a screening space in the back corner of \u003ci>Public Works: Artists’ Interventions 1970s-Now\u003c/i> at the Mills College Art Museum, I almost didn’t have the patience for \u003ci>The Empty Plaza/La Plaza Vaca\u003c/i>. The video is a 12-minute rumination on Havana’s Plaza de la Revolución, a site of legendary gatherings in Cuban history. Today the treeless expanse is an obligatory stop for tourists, while locals hurry through it if they must be there at all. Narration by Cuban journalist Yoani Sanchez overlays long, still shots of the darkening plaza interspersed with historical footage. This piece reminded me of the power of text combined with image, and of the equal importance of what is \u003ci>not\u003c/i> said and \u003ci>not\u003c/i> shown. \u003ca href=\"http://mcam.mills.edu/exhibitions/current5.php\" target=\"_blank\" rel=\"noopener\">More on \u003ci>Public Works\u003c/i>\u003c/a>.\u003c/p>\n\u003c/div>\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "KQED Arts' Sarah Hotchkiss shares the Bay Area artworks that were the most moving mentally, physically and emotionally in 2015.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" rel=\"attachment wp-att-11126413\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>For the Bay Area visual arts community, 2016 can’t come fast enough. There’s so much to look forward to — and thankfully, that long period of deprivation is almost over. For example, \u003ca href=\"http://500cappstreet.org/\" target=\"_blank\" rel=\"noopener\">500 Capp Street\u003c/a>, otherwise known as conceptual artist David Ireland’s house, reopens to the public on Jan. 16. The \u003ca href=\"http://www.sfartscommission.org/gallery/2015/we-are-on-the-move/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission Gallery\u003c/a> celebrates its new, much larger, space with an opening on Jan. 22. The \u003ca href=\"http://press.bampfa.berkeley.edu/building/\" target=\"_blank\" rel=\"noopener\">Berkeley Art Museum and Pacific Film Archive\u003c/a> opens in its brand new — and more conveniently located — home on Jan. 31. Jump ahead to March, when the much-anticipated \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a> opens its doors. And \u003ca href=\"http://ww2.kqed.org/arts/2015/10/22/sfmoma-makes-it-official-date-for-reopening-set-for-next-year/\">then something’s happening in May\u003c/a>, but I can’t remember quite what.\u003c/p>\n\u003cp>In the vacuum created by these temporary (and other, more permanent) closures, certain local institutions, alternative arts spaces, galleries and independent curators stepped up to the proverbial plate. To put it bluntly, 2015 had some remarkable moments. My favorites, in no particular order:\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184600\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RootDivision400-400x267.jpg\" alt=\"Root Division's new home at 1131 Mission Street.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11184600\">\u003cfigcaption class=\"wp-caption-text\">Root Division’s new home at 1131 Mission Street. \u003ccite>(Photo: Mido Lee Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Comeback Story: Root Division\u003c/h3>\n\u003cp>In 2014, when Root Division announced they’d be unable to stay in their 17th Street location (their home for the past 10 years), things didn’t look good; they were just one of too many arts spaces ousted by costly rent hikes. But thanks to the help of the Nonprofit Displacement Mitigation Fund, a city grant, a benevolent new landlord and the tenacity of the Root Division staff, they now have 13,000 square feet on Mission Street all to themselves. The best part of the move is that it expands Root Division’s work on all fronts: they now have subsidized studio space for 25 artists, an expanded roster of class offerings and even more gallery space for their ever-ambitious exhibition program. \u003ca href=\"https://www.rootdivision.org/\" target=\"_blank\" rel=\"noopener\">More on Root Division\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11077357\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Cardiff640-400x267.jpg\" alt=\"Janet Cardiff, 'The Forty Part Motet' (installation view, Gallery 308, Fort Mason Center for Arts & Culture), 2015.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11077357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Cardiff640-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Cardiff640.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Janet Cardiff, ‘The Forty Part Motet’ (installation view, Gallery 308, Fort Mason Center for Arts & Culture), 2015. \u003ccite>(Photo: JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Exhibition that Made Me Feel Real Feelings: Janet Cardiff’s \u003ci>Forty Part Motet\u003c/i> at Fort Mason Center\u003c/h3>\n\u003cp>Janet Cardiff’s sound piece might be the most recommended Bay Area art experience of the year — and not just by me. A spare arrangement of 40 black speakers plays the soaring sounds of English Renaissance composer Thomas Tallis’ 1573 choral work \u003ci>Spem in alium nunquam habui\u003c/i>. I’m now verging on nagging territory, but I’m doubling down: Please, for the sake of your ears, mind and heart, \u003ca href=\"http://motettickets.org/#tickets\" target=\"_blank\" rel=\"noopener\">visit this free installation\u003c/a>. Don’t be discouraged by the “Sold Out” blocks on the calendar: same-day walkup tickets are often available. \u003ca href=\"http://ww2.kqed.org/arts/2015/11/13/janet-cardiffs-forty-part-motet-almost-made-me-cry/\" target=\"_blank\" rel=\"noopener\">Read my full review\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184721\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DawsonB400-400x267.jpg\" alt=\"Rachel Dawson, interior view of 'Between Here and There,' 2015.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11184721\">\u003cfigcaption class=\"wp-caption-text\">Rachel Dawson, interior view of ‘Between Here and There,’ 2015. \u003ccite>(Photo: Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Installation You Didn’t See: Rachel Dawson, \u003ci>Between Here and There\u003c/i> at Alter Space\u003c/h3>\n\u003cp>Chances are you missed the 15-day run of Oakland-based artist Rachel Dawson’s subterranean sculptural installation. The project was the culmination of a three-month residency in Alter Space’s wooden jail cell (left over from the building’s former leatherwear tenant). Inside a mirrored, five-sided structure, phosphorescent porcelain sculptures resembling ghostly ectoplasm covered the walls, ceiling and floor. Their greenish glow was the only illumination, reflected infinitely as a series of hovering, gooey manifestations from the world beyond. I really hope this piece gets a second life so more people can step inside a vertigo-inducing chamber with booties over their shoes. \u003ca href=\"http://alterspace.co/exhibitions/rachel-dawson-between-here-and-there/\" target=\"_blank\" rel=\"noopener\">More on \u003ci>Between Here and There\u003c/i>\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184602\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Moulton400-400x267.jpg\" alt=\"Shana Moulton performing at YBCA's ConVerge.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11184602\">\u003cfigcaption class=\"wp-caption-text\">Shana Moulton performing at YBCA’s ConVerge. \u003ccite>(Photo: Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Live Performance: Shana Moulton at YBCA\u003c/h3>\n\u003cp>At April’s ConVerge, Yerba Buena Center for the Arts’ monthly live event, artist Shana Moulton (and collaborator Nick Hallett) performed in conjunction with the opening of her solo show, \u003ci>Picture Puzzle Pattern Door\u003c/i>. Dressed as her alter ego “Cynthia,” Moulton cannily and wordlessly interacted with projected video and sound in a hilarious sendup of women’s wellness products and New Age questing. Wearing a bowl-cut wig and something the internet wants me to call either a “magic bubble shirt” or a “popcorn blouse,” Moulton’s emotive facial expressions were possibly the greatest part of the entire night. \u003ca href=\"http://ybca.org/shana-moulton\" target=\"_blank\" rel=\"noopener\">More on \u003ci>Picture Puzzle Pattern Door\u003c/i>\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184603\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Capital400-400x300.jpg\" alt=\"View from Sacramento Street of CAPITAL.\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-11184603\">\u003cfigcaption class=\"wp-caption-text\">View from Sacramento Street of CAPITAL. \u003ccite>(Courtesy: CAPITAL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best New Gallery: CAPITAL\u003c/h3>\n\u003cp>It seems like ages since CAPITAL \u003ca href=\"http://ww2.kqed.org/arts/2015/02/11/fall-under-the-spell-at-capital/\" target=\"_blank\" rel=\"noopener\">opened with their first show\u003c/a>. But no, it was less than a year ago. Eight exhibitions, one art fair and two editioned objects later, the year ahead looks equally bright. Visiting shows at CAPITAL is often more like hanging out on the sidewalk of Sacramento Street with co-directors Jonathan Runcio and Bob Linder. The space itself is so small, I have to focus intensely on the art just to prevent myself from wreaking havoc with my long arms. But focusing intensely on art is never, ever a bad thing. \u003ca href=\"http://capital.gallery/index.html\" target=\"_blank\" rel=\"noopener\">More on CAPITAL\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10881977\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/SkyBridge1-400x267.jpg\" alt=\"The artist and volunteers laying out 'Sky Bridge,' 2015.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10881977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SkyBridge1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SkyBridge1.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The artist and volunteers laying out ‘Sky Bridge,’ 2015. \u003ccite>(Photo: Lydia Han/CCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Public Art Installation: \u003ci>Sky Bridge\u003c/i> at the Chinese Culture Center\u003c/h3>\n\u003cp>For the month of August, Chinatown’s Portsmouth Square pedestrian bridge transformed into a gleaming causeway between the increasingly outward-facing CCC and the neighborhood’s most active public space. Austin-based artist Beili Liu adhered 50,000 brick-sized pieces of mirrored Mylar to the bridge with the help of a small army of volunteers. The result was dazzling. Just a few weeks ago, the CCC announced its next project on the bridge: a mini-park with landscape design by Jennifer Ng and Chris Hardy, and \u003ci>Sunrise\u003c/i>, a tile installation by local artist Mik Gaspay. \u003ca href=\"http://ww2.kqed.org/arts/2015/08/11/dazzling-sky-bridge-transforms-chinatown-pedestrian-bridge/\" target=\"_blank\" rel=\"noopener\">Read my full review of \u003ci>Sky Bridge\u003c/i>\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184604\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/PLAF400-400x286.jpg\" alt=\"Announcing the location of the Parking Lot Art Fair.\" width=\"400\" height=\"286\" class=\"size-thumbnail wp-image-11184604\">\u003cfigcaption class=\"wp-caption-text\">Announcing the location of the Parking Lot Art Fair. \u003ccite>(Courtesy: Parking Lot Art Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Unsanctioned Art Event: Parking Lot Art Fair, outside Fort Mason Center\u003c/h3>\n\u003cp>Timed to coincide with artMRKT and the stARTup Art Fair, the Parking Lot Art Fair clung to conventional capitalization, but little else. Early on the morning of May 2, artists, art spaces and MFA students commandeered the prime parking spaces outside Fort Mason Center with vehicles tricked-out as galleries, blankets displaying wares, or an entire boat-turned-installation, complete with live fish. I’m not one to talk about energy, but the energy was great. Organizers Jenny Sharaf and Emily Reynolds pulled together an event that was equal parts rogue happening, zany flea market and a big middle finger to the neighboring art fairs, with their entrance fees and hefty booth costs. \u003ca href=\"http://parkinglotartfair.tumblr.com/\" target=\"_blank\" rel=\"noopener\">More on the Parking Lot Art Fair\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184605\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Fusco400-400x267.jpg\" alt=\"Coco Fusco, still from 'The Empty Plaza/La Plaza Vaca,' 2012.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11184605\">\u003cfigcaption class=\"wp-caption-text\">Coco Fusco, still from ‘The Empty Plaza/La Plaza Vaca,’ 2012. \u003ccite>(Courtesy: Alexander Gray Associates)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Video I’m Glad I Watched All the Way Through: Coco Fusco, \u003ci>The Empty Plaza/La Plaza Vaca\u003c/i>\u003c/h3>\n\u003cp>Tucked into a screening space in the back corner of \u003ci>Public Works: Artists’ Interventions 1970s-Now\u003c/i> at the Mills College Art Museum, I almost didn’t have the patience for \u003ci>The Empty Plaza/La Plaza Vaca\u003c/i>. The video is a 12-minute rumination on Havana’s Plaza de la Revolución, a site of legendary gatherings in Cuban history. Today the treeless expanse is an obligatory stop for tourists, while locals hurry through it if they must be there at all. Narration by Cuban journalist Yoani Sanchez overlays long, still shots of the darkening plaza interspersed with historical footage. This piece reminded me of the power of text combined with image, and of the equal importance of what is \u003ci>not\u003c/i> said and \u003ci>not\u003c/i> shown. \u003ca href=\"http://mcam.mills.edu/exhibitions/current5.php\" target=\"_blank\" rel=\"noopener\">More on \u003ci>Public Works\u003c/i>\u003c/a>.\u003c/p>\n\u003c/div>\u003cp>\u003c/p>\u003c/div>",
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"title": "Is this Snowy Wonderland or the World Inside a Petri Dish?",
"headTitle": "Is this Snowy Wonderland or the World Inside a Petri Dish? | KQED",
"content": "\u003cp>Do you remember cutting paper snowflakes in school? Artist Rogan Brown has elevated that simple seasonal art form and taken it to science class.\u003c/p>\n\u003cp>These large-scale paper sculptures may evoke snow, but actually trade on the forms of bacteria and other organisms. The patterns may feel familiar, but also a bit alien. You’re not looking at a replica of a microbe, but an interpretation of one. And that distinction, Brown says, is important.\u003c/p>\n\u003cp>“Both art and science seek to represent truth but in different ways,” the 49-year-old artist, who lives in France, tells Shots. “It’s the difference between understanding a landscape by looking at a detailed relief map and understanding it by looking at a painting by Cezanne or Van Gogh.”\u003c/p>\n\u003cp>Brown wants to you to \u003cem>feel\u003c/em> something looking at these sculptures.\u003c/p>\n\u003cp>Last year, he met with a group of microbiologists to plan an exhibition on the human microbiome. He became fascinated by the hidden world of microbes and the strange shapes of pathogens. He was particularly interested in humans’ fear of the invisible microbiological world. That meeting led him to spend four months creating \u003cem>Outbreak\u003c/em> entirely by hand. \u003c/p>\n\u003cfigure id=\"attachment_11193677\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-1180x603.jpg\" alt=\"Outbreak, which is approximately 58 inches long by 31 inches tall, was exhibited in London in 2014.\" width=\"640\" height=\"327\" class=\"size-large wp-image-11193677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-1180x603.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-400x204.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-800x409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-768x393.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-1920x981.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-960x491.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Outbreak, which is approximately 58 inches long by 31 inches tall, was exhibited in London in 2014. \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11193678\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-1177x1180.jpg\" alt='Outbreak took four months to cut and build. Brown writes on his website that the slow process of cutting mimics the \"long time-based processes that dominate nature: growth and decay.\"' width=\"640\" height=\"642\" class=\"size-large wp-image-11193678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-1177x1180.jpg 1177w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-599x600.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-1180x1183.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-960x962.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850.jpg 1217w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003cem>Outbreak\u003c/em> took four months to cut and build\u003cem>.\u003c/em> Brown writes on his website that the slow process of cutting mimics the “long time-based processes that dominate nature: growth and decay.” \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11193679\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-1180x885.jpg\" alt='A detailed view of <em>Outbreak</em> shows the delicate forms Brown cut by hand. He says he works with paper because it \"embodies the paradoxical qualities that we see in nature: its fragility and durability, its strength and delicacy' width=\"640\" height=\"480\" class=\"size-large wp-image-11193679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b.jpg 1626w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A detailed view of \u003cem>Outbreak\u003c/em> shows the delicate forms Brown cut by hand. He says he works with paper because it “embodies the paradoxical qualities that we see in nature: its fragility and durability, its strength and delicacy \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He starts each construction by sketching detailed designs and then mocking them up in larger pen and ink drawings. Then he begins to think in 3-D. Each structure is composed of layers of paper, which are stacked using foam board spacers. This floating effect allows him to build a complex colony of organisms that appear to grow beyond the confines of their housing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In “Cut Microbe”, that growth is chaotic. The whip-like appendages of the creature branch outward in an invasive way. Those legs, Brown writes on his website, were inspired by the flagella of Salmonella and E. coli, tiny appendages that help the bacteria move.\u003c/p>\n\u003cfigure id=\"attachment_11193680\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-1180x798.jpg\" alt='\"Cut Microbe\" left, was cut entirely by hand. The entire sculpture, right, measures approximately 44 inches tall by 35 inches wide. Brown says it was inspired by Salmonella and E. coli' width=\"640\" height=\"433\" class=\"size-large wp-image-11193680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-960x649.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37.jpg 1805w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Cut Microbe” left, was cut entirely by hand. The entire sculpture, right, measures approximately 44 inches tall by 35 inches wide. Brown says it was inspired by Salmonella and E. coli \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In “Magic Circle”, the architecture is more constructive, ordered — there are colonies of intricately shaped forms that evoke the collaborative, constructive network of a coral reef. It also evokes microbes and diatoms.\u003c/p>\n\u003cfigure id=\"attachment_11193681\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-1180x1161.jpg\" alt='\"Magic Circle\" borrows from the forms of bacteria, microbes, diatoms and coral. Brown needed a laser to cut some of the more intricately designed shapes.' width=\"640\" height=\"630\" class=\"size-large wp-image-11193681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-1180x1161.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-400x394.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-610x600.jpg 610w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-768x756.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-960x945.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd.jpg 1185w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Magic Circle” borrows from the forms of bacteria, microbes, diatoms and coral. Brown needed a laser to cut some of the more intricately designed shapes. \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of Brown’s work is sliced meticulously by hand using a scalpel. Others, like the one above, are also cut using a laser. The end result is a fragile paper sculpture that borrows from what we can see as well as the artistic imagination.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We live in a world dominated by science,” Brown says. “Art needs to work hard to keep up or use the language and imagery of science for its own ends.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Is+This+Snowy+Wonderland+Or+The+World+Inside+A+Petri+Dish%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Artist Rogan Brown peers into the invisible worlds of microbes, then uses their forms as the inspiration for large paper sculptures that seem at once familiar and profoundly alien.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you remember cutting paper snowflakes in school? Artist Rogan Brown has elevated that simple seasonal art form and taken it to science class.\u003c/p>\n\u003cp>These large-scale paper sculptures may evoke snow, but actually trade on the forms of bacteria and other organisms. The patterns may feel familiar, but also a bit alien. You’re not looking at a replica of a microbe, but an interpretation of one. And that distinction, Brown says, is important.\u003c/p>\n\u003cp>“Both art and science seek to represent truth but in different ways,” the 49-year-old artist, who lives in France, tells Shots. “It’s the difference between understanding a landscape by looking at a detailed relief map and understanding it by looking at a painting by Cezanne or Van Gogh.”\u003c/p>\n\u003cp>Brown wants to you to \u003cem>feel\u003c/em> something looking at these sculptures.\u003c/p>\n\u003cp>Last year, he met with a group of microbiologists to plan an exhibition on the human microbiome. He became fascinated by the hidden world of microbes and the strange shapes of pathogens. He was particularly interested in humans’ fear of the invisible microbiological world. That meeting led him to spend four months creating \u003cem>Outbreak\u003c/em> entirely by hand. \u003c/p>\n\u003cfigure id=\"attachment_11193677\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-1180x603.jpg\" alt=\"Outbreak, which is approximately 58 inches long by 31 inches tall, was exhibited in London in 2014.\" width=\"640\" height=\"327\" class=\"size-large wp-image-11193677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-1180x603.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-400x204.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-800x409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-768x393.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-1920x981.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-960x491.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Outbreak, which is approximately 58 inches long by 31 inches tall, was exhibited in London in 2014. \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11193678\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-1177x1180.jpg\" alt='Outbreak took four months to cut and build. Brown writes on his website that the slow process of cutting mimics the \"long time-based processes that dominate nature: growth and decay.\"' width=\"640\" height=\"642\" class=\"size-large wp-image-11193678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-1177x1180.jpg 1177w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-599x600.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-1180x1183.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-960x962.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850.jpg 1217w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003cem>Outbreak\u003c/em> took four months to cut and build\u003cem>.\u003c/em> Brown writes on his website that the slow process of cutting mimics the “long time-based processes that dominate nature: growth and decay.” \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11193679\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-1180x885.jpg\" alt='A detailed view of <em>Outbreak</em> shows the delicate forms Brown cut by hand. He says he works with paper because it \"embodies the paradoxical qualities that we see in nature: its fragility and durability, its strength and delicacy' width=\"640\" height=\"480\" class=\"size-large wp-image-11193679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b.jpg 1626w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A detailed view of \u003cem>Outbreak\u003c/em> shows the delicate forms Brown cut by hand. He says he works with paper because it “embodies the paradoxical qualities that we see in nature: its fragility and durability, its strength and delicacy \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He starts each construction by sketching detailed designs and then mocking them up in larger pen and ink drawings. Then he begins to think in 3-D. Each structure is composed of layers of paper, which are stacked using foam board spacers. This floating effect allows him to build a complex colony of organisms that appear to grow beyond the confines of their housing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In “Cut Microbe”, that growth is chaotic. The whip-like appendages of the creature branch outward in an invasive way. Those legs, Brown writes on his website, were inspired by the flagella of Salmonella and E. coli, tiny appendages that help the bacteria move.\u003c/p>\n\u003cfigure id=\"attachment_11193680\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-1180x798.jpg\" alt='\"Cut Microbe\" left, was cut entirely by hand. The entire sculpture, right, measures approximately 44 inches tall by 35 inches wide. Brown says it was inspired by Salmonella and E. coli' width=\"640\" height=\"433\" class=\"size-large wp-image-11193680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-960x649.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37.jpg 1805w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Cut Microbe” left, was cut entirely by hand. The entire sculpture, right, measures approximately 44 inches tall by 35 inches wide. Brown says it was inspired by Salmonella and E. coli \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In “Magic Circle”, the architecture is more constructive, ordered — there are colonies of intricately shaped forms that evoke the collaborative, constructive network of a coral reef. It also evokes microbes and diatoms.\u003c/p>\n\u003cfigure id=\"attachment_11193681\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-1180x1161.jpg\" alt='\"Magic Circle\" borrows from the forms of bacteria, microbes, diatoms and coral. Brown needed a laser to cut some of the more intricately designed shapes.' width=\"640\" height=\"630\" class=\"size-large wp-image-11193681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-1180x1161.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-400x394.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-610x600.jpg 610w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-768x756.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-960x945.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd.jpg 1185w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Magic Circle” borrows from the forms of bacteria, microbes, diatoms and coral. Brown needed a laser to cut some of the more intricately designed shapes. \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of Brown’s work is sliced meticulously by hand using a scalpel. Others, like the one above, are also cut using a laser. The end result is a fragile paper sculpture that borrows from what we can see as well as the artistic imagination.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We live in a world dominated by science,” Brown says. “Art needs to work hard to keep up or use the language and imagery of science for its own ends.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Is+This+Snowy+Wonderland+Or+The+World+Inside+A+Petri+Dish%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/12/TDL20151225.mp3\u003c/p>\n\u003c/aside>\n\u003cfigure id=\"attachment_11187019\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11187019\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-1180x944.jpg\" alt=\"Harvey Weinapel, Jane Lenoir, Ricardo Peixoto, and Brian Rice of Berkeley Choro Ensemble\" width=\"640\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Harvey Weinapel, Jane Lenoir, Ricardo Peixoto, and Brian Rice of Berkeley Choro Ensemble \u003ccite>(Photo courtesy of: Berkeley Choro Ensemble)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 26: \u003c/strong>The\u003ca href=\"http://www.berkeleychoroensemble.com/\" target=\"_blank\" rel=\"noopener\"> Berkeley Choro Ensemble\u003c/a> is always so inventive in its approach to choro (pronounced: \u003cem>shoro\u003c/em>), the Brazilian style that mixes ragtime, blues, and European classical traditions. Sounds like a tuneful way to spend an evening in Pt. Richmond with Pt. Richmond Jazz. Details \u003ca href=\"http://prjazz.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11187018\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11187018\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-1180x661.jpg\" alt=\"Daniel Clarkson and Jefferson Turner of Potted Potter\" width=\"640\" height=\"359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Clarkson and Jefferson Turner of Potted Potter \u003ccite>(Photo Courtesy of: Potted Potter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Jan. 4th:\u003c/strong> So you waited up at the bookstore for all the Harry Potter books on the night of their release, and you know the plots of the books and the movies by heart. You still need to see \u003cem>\u003ca href=\"http://www.pottedpotter.com/\" target=\"_blank\" rel=\"noopener\">Potted Potter\u003c/a>, \u003c/em>in which Daniel Clarkson and Jefferson Turner, two comic nerds, cram all seven books into a frantic, funny evening. They make silly jokes, digress wildly, and still manage to tell a great story, sort of like J.K. Rowling herself. Potted Potter is at \u003ca href=\"https://palaceoffinearts.org/event/potted-potter/\" target=\"_blank\" rel=\"noopener\">the Palace of the Legion of Honor.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zko8teqeSbA\u003c/p>\n\u003cp>\u003cstrong>Dec. 26:\u003c/strong> This next item is a no-caroling zone (and Merry Christmas by the way). \u003ca href=\"https://www.facebook.com/BulletproofStockings\" target=\"_blank\" rel=\"noopener\">Bulletproof Stockings\u003c/a> are devoutly Jewish and rocking. They’re four ultra-orthodox women from Crown Heights in NYC, and lead singer Perl Wolfe sounds like a cantorial Adele. It’s nice to hear religious music so full of passion and love, inspired by Torah and Lubavitcher prayer traditions, at a time when religion is sometimes the rationale for hate and violence. There’s no official ban on men, but Bulletproof Stockings prefers a women only audience. A good night for cross dressing? Details \u003ca href=\"http://www.slimspresents.com/event/bulletproof-stockings-gamh/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>More Far Out!\u003c/strong> Here are some events coming in 2016 that we think are a big deal and might sell out.\u003c/p>\n\u003cfigure id=\"attachment_11187129\" class=\"wp-caption aligncenter\" style=\"max-width: 595px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11187129\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/BAM-PFA.jpg\" alt=\"The new Berkeley Art Museum and Pacific Film Archive\" width=\"595\" height=\"395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/BAM-PFA.jpg 595w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/BAM-PFA-400x266.jpg 400w\" sizes=\"(max-width: 595px) 100vw, 595px\">\u003cfigcaption class=\"wp-caption-text\">The new Berkeley Art Museum and Pacific Film Archive \u003ccite>(Photo: Iwan Baan. Courtesy of Diller Scofidio + Renfro and EHDD.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 31:\u003c/strong> The new Berkeley Art Museum and the Pacific Film Archives reopen in a spectacular new building. The old BAM building was a brutalist horror, but with great programming and art inside. The new 25 thousand square foot home is just down the street in Cal’s former printing plant, under a striking stainless steel roof. The inaugural exhibit is\u003ca href=\"http://www.bampfa.berkeley.edu/program/architecture-life\" target=\"_blank\" rel=\"noopener\"> \u003cem>Architecture of Life, \u003c/em>\u003c/a>about how we experience and live with architecture. Plus the PFA reopens in February with expanded programming and two new theaters. The first movie on the schedule- Ingmar Bergman’s classic art house flick \u003cem>The Seventh Seal\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11187130\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11187130\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-1180x787.jpg\" alt=\"SF Museum of Modern Art renovation\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site.jpg 1600w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">SF Museum of Modern Art renovation \u003ccite>(Photo Credit: Henrik Kam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 14: \u003c/strong>The reopening of the \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Museum of Modern Art \u003c/a>is the biggest visual arts event of the year. After three years of renovation, costing upwards of $150 million, the old Mario Botta building and its giant new wing will make SFMOMA the largest modern art museum in the country. All that space will be filled with 1,100 works of art on longterm loan from the Fisher family, plus more than 4,000 new works.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 15:\u003c/strong> Conceptual artist and sculptor David Ireland’s greatest work was his home at \u003ca href=\"http://500cappstreet.org/\">500 Capp Street\u003c/a>. Now the 100 year old house will reopen after a major renovation with daily tours of Ireland’s art, and as a study center for artists. So at least one arts organization won’t be priced out of the Mission. Details of the opening celebrations \u003ca href=\"http://500cappstreet.org/event/opening-celebrations/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0WTRzqCxSx0\u003c/p>\n\u003cp>Feb. 19-28\u003ca href=\"http://www.bampfa.berkeley.edu/program/architecture-life\">: \u003c/a>\u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> and \u003ca href=\"https://operaparallele.org\" target=\"_blank\" rel=\"noopener\">Opera Parallele\u003c/a> are teaming up to produce a fully staged production of \u003ca href=\"https://sfjazz.org/events/2015-16/0221/champion\" target=\"_blank\" rel=\"noopener\">Champion\u003c/a>, \u003ca href=\"http://www.terenceblanchard.com/\" target=\"_blank\" rel=\"noopener\">Terence Blanchard’\u003c/a>s opera about boxer Emile Griffith, and \u003ca href=\"http://www.theguardian.com/sport/2015/sep/10/boxer-emile-griffith-gay-taunts-book-extract\" target=\"_blank\" rel=\"noopener\">w\u003c/a>\u003ca href=\"http://www.theguardian.com/sport/2015/sep/10/boxer-emile-griffith-gay-taunts-book-extract\" target=\"_blank\" rel=\"noopener\">hat happened when boxer Benny Paret outed Griffith as gay just before their bout\u003c/a>. Here’s what Griffith later said about the incident: “I kill a man and most people understand and forgive me. However, I love a man, and to so many people this is an unforgivable sin.”\u003c/p>\n\u003cfigure id=\"attachment_11187471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11187471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957.jpg\" alt=\"San Francisco Ballet in Wheeldon's Continuum\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957-768x427.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Ballet in Wheeldon’s Continuum \u003ccite>(Photo Credit: Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jan. 24-May 8: Among the highlights when the \u003ca href=\"https://www.sfballet.org/tickets/2016_season\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a> returns to the Opera House, a number of works by \u003ca href=\"http://www.roh.org.uk/people/christopher-wheeldon\" target=\"_blank\" rel=\"noopener\">Christopher Wheeldon \u003c/a>(who just won a Tony for his choreography for An American in Paris on Broadway), \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-2-2016\" target=\"_blank\" rel=\"noopener\">\u003cem>Fearful Symmetries\u003c/em>, a world premiere by wunderkind Liam Scarlett\u003c/a> (Jan. 27), and \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-7-2016\" target=\"_blank\" rel=\"noopener\">\u003cem>In the Countenance of Kings\u003c/em>, a world premiere by the hot choreographer Justin Peck\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 22-May 12:\u003c/strong> Cal Performances is presenting a very full and eclectic lineup including \u003ca href=\"https://calperformances.org/performances/2015-16/recital/renee-fleming.php\" target=\"_blank\" rel=\"noopener\">Renee Fleming in recital March 5\u003c/a>, the Mark Morris Group and Philharmonia Baroque in Morris’ masterpiece \u003ca href=\"https://calperformances.org/performances/2015-16/dance/mark-morris-dance-group-philharmonia-baroque-orchestra-lallegro.php\" target=\"_blank\" rel=\"noopener\">L’allegro, Il Peneroso Ed il Moderato, March 11-13\u003c/a>; and don’t miss a chance to hear from the creators of \u003ca href=\"http://calperformances.org/performances/2015-16/theater/binge-worthy-journalism-serial-sarah-koenig-and-julie-snyder.php\" target=\"_blank\" rel=\"noopener\">SERIAL, Sarah Koenig and Julie Snyder \u003c/a>March 6. We’d bet that will sell out.\u003c/p>\n\u003cfigure id=\"attachment_10811127\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10811127\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/KronosWuMan.jpg\" alt=\"The Kronos Quartet perform with Wu Man at the Terry Riley Festival in San Francisco.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/KronosWuMan.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/KronosWuMan-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Kronos Quartet perform with Wu Man at the Terry Riley Festival in San Francisco. (Photo: Evan Neff) \u003ccite>(Evan Neff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Feb. 2-7: America’s most adventurous chamber group, the Kronos Quartet, holds i\u003ca href=\"http://kronosquartet.org/kronos-presents/\" target=\"_blank\" rel=\"noopener\">ts Explorer Series festival at SFJAZZ \u003c/a>with frequent guest, pipa master Wu Man, the west coast premiere of a work about Chernobyl, and a concert by multi-instrumentalists David Coulter and Van-Anh Vo (from Fremont and also a composer), plus there’s a family concert celebrating the Lunar New Year.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Cy Musiker and David Wiegand share their Do List picks for great events around the Bay Area this week.",
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"title": "Cy and David’s Picks: Bulletproof Stockings and Killer Shows in 2016 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cfigure id=\"attachment_11187019\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11187019\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-1180x944.jpg\" alt=\"Harvey Weinapel, Jane Lenoir, Ricardo Peixoto, and Brian Rice of Berkeley Choro Ensemble\" width=\"640\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Harvey Weinapel, Jane Lenoir, Ricardo Peixoto, and Brian Rice of Berkeley Choro Ensemble \u003ccite>(Photo courtesy of: Berkeley Choro Ensemble)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 26: \u003c/strong>The\u003ca href=\"http://www.berkeleychoroensemble.com/\" target=\"_blank\" rel=\"noopener\"> Berkeley Choro Ensemble\u003c/a> is always so inventive in its approach to choro (pronounced: \u003cem>shoro\u003c/em>), the Brazilian style that mixes ragtime, blues, and European classical traditions. Sounds like a tuneful way to spend an evening in Pt. Richmond with Pt. Richmond Jazz. Details \u003ca href=\"http://prjazz.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11187018\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11187018\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-1180x661.jpg\" alt=\"Daniel Clarkson and Jefferson Turner of Potted Potter\" width=\"640\" height=\"359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Clarkson and Jefferson Turner of Potted Potter \u003ccite>(Photo Courtesy of: Potted Potter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Jan. 4th:\u003c/strong> So you waited up at the bookstore for all the Harry Potter books on the night of their release, and you know the plots of the books and the movies by heart. You still need to see \u003cem>\u003ca href=\"http://www.pottedpotter.com/\" target=\"_blank\" rel=\"noopener\">Potted Potter\u003c/a>, \u003c/em>in which Daniel Clarkson and Jefferson Turner, two comic nerds, cram all seven books into a frantic, funny evening. They make silly jokes, digress wildly, and still manage to tell a great story, sort of like J.K. Rowling herself. Potted Potter is at \u003ca href=\"https://palaceoffinearts.org/event/potted-potter/\" target=\"_blank\" rel=\"noopener\">the Palace of the Legion of Honor.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Zko8teqeSbA'\n title='//www.youtube.com/embed/Zko8teqeSbA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 26:\u003c/strong> This next item is a no-caroling zone (and Merry Christmas by the way). \u003ca href=\"https://www.facebook.com/BulletproofStockings\" target=\"_blank\" rel=\"noopener\">Bulletproof Stockings\u003c/a> are devoutly Jewish and rocking. They’re four ultra-orthodox women from Crown Heights in NYC, and lead singer Perl Wolfe sounds like a cantorial Adele. It’s nice to hear religious music so full of passion and love, inspired by Torah and Lubavitcher prayer traditions, at a time when religion is sometimes the rationale for hate and violence. There’s no official ban on men, but Bulletproof Stockings prefers a women only audience. A good night for cross dressing? Details \u003ca href=\"http://www.slimspresents.com/event/bulletproof-stockings-gamh/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>More Far Out!\u003c/strong> Here are some events coming in 2016 that we think are a big deal and might sell out.\u003c/p>\n\u003cfigure id=\"attachment_11187129\" class=\"wp-caption aligncenter\" style=\"max-width: 595px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11187129\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/BAM-PFA.jpg\" alt=\"The new Berkeley Art Museum and Pacific Film Archive\" width=\"595\" height=\"395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/BAM-PFA.jpg 595w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/BAM-PFA-400x266.jpg 400w\" sizes=\"(max-width: 595px) 100vw, 595px\">\u003cfigcaption class=\"wp-caption-text\">The new Berkeley Art Museum and Pacific Film Archive \u003ccite>(Photo: Iwan Baan. Courtesy of Diller Scofidio + Renfro and EHDD.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 31:\u003c/strong> The new Berkeley Art Museum and the Pacific Film Archives reopen in a spectacular new building. The old BAM building was a brutalist horror, but with great programming and art inside. The new 25 thousand square foot home is just down the street in Cal’s former printing plant, under a striking stainless steel roof. The inaugural exhibit is\u003ca href=\"http://www.bampfa.berkeley.edu/program/architecture-life\" target=\"_blank\" rel=\"noopener\"> \u003cem>Architecture of Life, \u003c/em>\u003c/a>about how we experience and live with architecture. Plus the PFA reopens in February with expanded programming and two new theaters. The first movie on the schedule- Ingmar Bergman’s classic art house flick \u003cem>The Seventh Seal\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11187130\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11187130\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-1180x787.jpg\" alt=\"SF Museum of Modern Art renovation\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site.jpg 1600w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">SF Museum of Modern Art renovation \u003ccite>(Photo Credit: Henrik Kam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 14: \u003c/strong>The reopening of the \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Museum of Modern Art \u003c/a>is the biggest visual arts event of the year. After three years of renovation, costing upwards of $150 million, the old Mario Botta building and its giant new wing will make SFMOMA the largest modern art museum in the country. All that space will be filled with 1,100 works of art on longterm loan from the Fisher family, plus more than 4,000 new works.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 15:\u003c/strong> Conceptual artist and sculptor David Ireland’s greatest work was his home at \u003ca href=\"http://500cappstreet.org/\">500 Capp Street\u003c/a>. Now the 100 year old house will reopen after a major renovation with daily tours of Ireland’s art, and as a study center for artists. So at least one arts organization won’t be priced out of the Mission. Details of the opening celebrations \u003ca href=\"http://500cappstreet.org/event/opening-celebrations/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0WTRzqCxSx0'\n title='//www.youtube.com/embed/0WTRzqCxSx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Feb. 19-28\u003ca href=\"http://www.bampfa.berkeley.edu/program/architecture-life\">: \u003c/a>\u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> and \u003ca href=\"https://operaparallele.org\" target=\"_blank\" rel=\"noopener\">Opera Parallele\u003c/a> are teaming up to produce a fully staged production of \u003ca href=\"https://sfjazz.org/events/2015-16/0221/champion\" target=\"_blank\" rel=\"noopener\">Champion\u003c/a>, \u003ca href=\"http://www.terenceblanchard.com/\" target=\"_blank\" rel=\"noopener\">Terence Blanchard’\u003c/a>s opera about boxer Emile Griffith, and \u003ca href=\"http://www.theguardian.com/sport/2015/sep/10/boxer-emile-griffith-gay-taunts-book-extract\" target=\"_blank\" rel=\"noopener\">w\u003c/a>\u003ca href=\"http://www.theguardian.com/sport/2015/sep/10/boxer-emile-griffith-gay-taunts-book-extract\" target=\"_blank\" rel=\"noopener\">hat happened when boxer Benny Paret outed Griffith as gay just before their bout\u003c/a>. Here’s what Griffith later said about the incident: “I kill a man and most people understand and forgive me. However, I love a man, and to so many people this is an unforgivable sin.”\u003c/p>\n\u003cfigure id=\"attachment_11187471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11187471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957.jpg\" alt=\"San Francisco Ballet in Wheeldon's Continuum\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957-768x427.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Ballet in Wheeldon’s Continuum \u003ccite>(Photo Credit: Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jan. 24-May 8: Among the highlights when the \u003ca href=\"https://www.sfballet.org/tickets/2016_season\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a> returns to the Opera House, a number of works by \u003ca href=\"http://www.roh.org.uk/people/christopher-wheeldon\" target=\"_blank\" rel=\"noopener\">Christopher Wheeldon \u003c/a>(who just won a Tony for his choreography for An American in Paris on Broadway), \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-2-2016\" target=\"_blank\" rel=\"noopener\">\u003cem>Fearful Symmetries\u003c/em>, a world premiere by wunderkind Liam Scarlett\u003c/a> (Jan. 27), and \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-7-2016\" target=\"_blank\" rel=\"noopener\">\u003cem>In the Countenance of Kings\u003c/em>, a world premiere by the hot choreographer Justin Peck\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 22-May 12:\u003c/strong> Cal Performances is presenting a very full and eclectic lineup including \u003ca href=\"https://calperformances.org/performances/2015-16/recital/renee-fleming.php\" target=\"_blank\" rel=\"noopener\">Renee Fleming in recital March 5\u003c/a>, the Mark Morris Group and Philharmonia Baroque in Morris’ masterpiece \u003ca href=\"https://calperformances.org/performances/2015-16/dance/mark-morris-dance-group-philharmonia-baroque-orchestra-lallegro.php\" target=\"_blank\" rel=\"noopener\">L’allegro, Il Peneroso Ed il Moderato, March 11-13\u003c/a>; and don’t miss a chance to hear from the creators of \u003ca href=\"http://calperformances.org/performances/2015-16/theater/binge-worthy-journalism-serial-sarah-koenig-and-julie-snyder.php\" target=\"_blank\" rel=\"noopener\">SERIAL, Sarah Koenig and Julie Snyder \u003c/a>March 6. We’d bet that will sell out.\u003c/p>\n\u003cfigure id=\"attachment_10811127\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10811127\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/KronosWuMan.jpg\" alt=\"The Kronos Quartet perform with Wu Man at the Terry Riley Festival in San Francisco.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/KronosWuMan.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/KronosWuMan-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Kronos Quartet perform with Wu Man at the Terry Riley Festival in San Francisco. (Photo: Evan Neff) \u003ccite>(Evan Neff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Feb. 2-7: America’s most adventurous chamber group, the Kronos Quartet, holds i\u003ca href=\"http://kronosquartet.org/kronos-presents/\" target=\"_blank\" rel=\"noopener\">ts Explorer Series festival at SFJAZZ \u003c/a>with frequent guest, pipa master Wu Man, the west coast premiere of a work about Chernobyl, and a concert by multi-instrumentalists David Coulter and Van-Anh Vo (from Fremont and also a composer), plus there’s a family concert celebrating the Lunar New Year.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "One Street, 16 Houses, 100,000 Christmas Lights. All Set to Music.",
"title": "One Street, 16 Houses, 100,000 Christmas Lights. All Set to Music.",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Deb and Terry Toews have been happily married for 26 years. They’re best friends, they say. And every year they try to envision an even brighter future -- for their front yard, that is.\u003c/p>\n\u003cp>They’ve spent many a Christmas season hanging up strands of decorative lights. They started off with 5,000 outdoor lights, then 10,000. In 2007, they synchronized the lights to music. Their suburban house became a big draw in the town of Clovis, just outside Fresno.\u003c/p>\n\u003cp>“Now we’re at 50,000 lights just in our yard,” says Terry. They could’ve added more this year, but they decided to amp it up in a different way -- by asking their neighbors to join in. They figured a few houses would participate, but they didn’t expect everyone on their street to sign up.\u003c/p>\n\u003cp>“I haven’t known my neighbors like this since I was a kid,” says Terry. He says people ask him how he got all the families to participate. “I don’t know. We just did.”\u003c/p>\n\u003cp>The result is \u003ca href=\"http://www.clovisfestivaloflights.org/santa_claus_lane.html\">Santa Claus Lane\u003c/a>: 16 houses, 100,000 lights and an hour of synchronized music. The lights flash to the music, bounce from one house to the next, and even race around the cul-de-sac.\u003c/p>\n\u003cfigure id=\"attachment_10805551\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10805551 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/houses-400x267.jpg\" alt=\"Sixteen houses light up Santa Claus Lane, free to visitors through New Year's Eve. \" width=\"400\" height=\"267\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Sixteen houses light up Santa Claus Lane, free to visitors through New Year's Eve. \u003ccite>(Courtesy Scott Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“At first I wasn’t quite sure what to think of it,” says neighbor Tina Navarro. “It actually came together perfectly, though. I think it looks really nice. Everyone has their own little touch on their lawn.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Take Navarro. She dresses up like Princess Leia from \"Star Wars\" and passes out sweets. “Would you like a candy cane?” she shouts to a gaggle of kids walking by her house.\u003c/p>\n\u003cp>The Toews say they both gave up their vacation time to get the street ready for the holidays.\u003c/p>\n\u003cp>“I do the programming and Terry does all the manual building,” says Deb. It takes at least three hours to synchronize one minute of a song to the flashing colored lights. Deb spent about 200 hours synchronizing the entire spectacle, which she says is a \"creative outlet.\"\u003c/p>\n\u003cp>Meanwhile, Terry set up command central on their front lawn. It looks like a tall gingerbread house on the outside, but inside hundreds of controllers power the mass of holiday lights.\u003c/p>\n\u003cp>“I laid awake nights before I went to sleep designing all of this and I’m not an electrician,” says Terry.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/238870631\" 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>The Toews even set up a nonprofit called \u003ca href=\"http://www.clovisfestivaloflights.org/become_a_sponsor.html\">Clovis Festival of Lights\u003c/a> to accept donations for the free nightly event. Neighbors also raise money for the production by selling pizza, popcorn and hot chocolate at a concession stand. And there’s a donation box to help out a local food pantry, Terry says.\u003c/p>\n\u003cp>All of the houses are wirelessly linked to a computer in the command center. Music is broadcast through a low frequency FM transmitter. Terry admits it’s all a little crazy. (\"Crazy fun,\" he says.) And it makes people happy.\u003c/p>\n\u003cp>He says a woman brought her mother to see the Christmas lights just at his house a couple of years ago. Her mom had Alzheimer’s disease and was feeling down -- but the lights put a smile on her face.\u003c/p>\n\u003cp>“That year she sent us a letter,\" Terry says. \"Her mom had passed away, but she thanked us for that one night because she saw a whole different person in her mom.”\u003c/p>\n\u003cp>The next Christmas, the daughter returned alone.\u003c/p>\n\u003cp>“I’m not usually an emotional person, but that really hit me,\"Terry says. That, \"and just the smile on kids’ faces.“\u003c/p>\n\u003cp>\"It’s just wonderful. I guess I’m just a little kid at heart, too. I love the lights.”\u003c/p>\n\u003cfigure id=\"attachment_10805546\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-10805546\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/happy-couple-400x267.jpg\" alt=\"Deb Toews (left) helped Alex Michalski ask Danielle Ybarra to marry him by programming the proposal to music. \" width=\"400\" height=\"267\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Deb Toews (left) helped Alex Michalski ask Danielle Ybarra to marry him by programming the proposal to music. \u003ccite>(Courtesy Scott Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he’s not the only one. A young man named Alex Michalski rang the Toews' doorbell a few weeks ago and asked if they could help him out. All he wanted for Christmas was to propose to his girlfriend Danielle Ybarra. Deb told him of course they could help.\u003c/p>\n\u003cp>The showpiece on the Toews' lawn is a tall, metal Christmas tree with hundreds of lights that can be programmed to form images or words. It’s kind of like a billboard in Times Square. Deb and Alex decided to program the proposal on the tree along with a favorite song, Mariah Carey’s \"All I Want for Christmas is You.\"\u003c/p>\n\u003cp>“After he left, me and my daughter were crying because it was just the sweetest thing,” Deb says. “And he was so excited.”\u003c/p>\n\u003cp>The plan went off without a hitch. Alex brought Danielle to Santa Claus Lane one recent Friday. After the Mariah Carey song ended, he got down on his knees. The lights on the tree flashed “Danielle, will you marry me?”\u003c/p>\n\u003cp>Friends and family started to cheer, and Danielle nodded yes.\u003c/p>\n\u003cp>“I love this woman and I want to be with her the rest of my life,” says Michalski.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Christmas is magical, says Terry, and you never know what the lights might inspire.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Deb and Terry Toews have been happily married for 26 years. They’re best friends, they say. And every year they try to envision an even brighter future -- for their front yard, that is.\u003c/p>\n\u003cp>They’ve spent many a Christmas season hanging up strands of decorative lights. They started off with 5,000 outdoor lights, then 10,000. In 2007, they synchronized the lights to music. Their suburban house became a big draw in the town of Clovis, just outside Fresno.\u003c/p>\n\u003cp>“Now we’re at 50,000 lights just in our yard,” says Terry. They could’ve added more this year, but they decided to amp it up in a different way -- by asking their neighbors to join in. They figured a few houses would participate, but they didn’t expect everyone on their street to sign up.\u003c/p>\n\u003cp>“I haven’t known my neighbors like this since I was a kid,” says Terry. He says people ask him how he got all the families to participate. “I don’t know. We just did.”\u003c/p>\n\u003cp>The result is \u003ca href=\"http://www.clovisfestivaloflights.org/santa_claus_lane.html\">Santa Claus Lane\u003c/a>: 16 houses, 100,000 lights and an hour of synchronized music. The lights flash to the music, bounce from one house to the next, and even race around the cul-de-sac.\u003c/p>\n\u003cfigure id=\"attachment_10805551\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10805551 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/houses-400x267.jpg\" alt=\"Sixteen houses light up Santa Claus Lane, free to visitors through New Year's Eve. \" width=\"400\" height=\"267\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Sixteen houses light up Santa Claus Lane, free to visitors through New Year's Eve. \u003ccite>(Courtesy Scott Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“At first I wasn’t quite sure what to think of it,” says neighbor Tina Navarro. “It actually came together perfectly, though. I think it looks really nice. Everyone has their own little touch on their lawn.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Take Navarro. She dresses up like Princess Leia from \"Star Wars\" and passes out sweets. “Would you like a candy cane?” she shouts to a gaggle of kids walking by her house.\u003c/p>\n\u003cp>The Toews say they both gave up their vacation time to get the street ready for the holidays.\u003c/p>\n\u003cp>“I do the programming and Terry does all the manual building,” says Deb. It takes at least three hours to synchronize one minute of a song to the flashing colored lights. Deb spent about 200 hours synchronizing the entire spectacle, which she says is a \"creative outlet.\"\u003c/p>\n\u003cp>Meanwhile, Terry set up command central on their front lawn. It looks like a tall gingerbread house on the outside, but inside hundreds of controllers power the mass of holiday lights.\u003c/p>\n\u003cp>“I laid awake nights before I went to sleep designing all of this and I’m not an electrician,” says Terry.\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/238870631&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/238870631'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Toews even set up a nonprofit called \u003ca href=\"http://www.clovisfestivaloflights.org/become_a_sponsor.html\">Clovis Festival of Lights\u003c/a> to accept donations for the free nightly event. Neighbors also raise money for the production by selling pizza, popcorn and hot chocolate at a concession stand. And there’s a donation box to help out a local food pantry, Terry says.\u003c/p>\n\u003cp>All of the houses are wirelessly linked to a computer in the command center. Music is broadcast through a low frequency FM transmitter. Terry admits it’s all a little crazy. (\"Crazy fun,\" he says.) And it makes people happy.\u003c/p>\n\u003cp>He says a woman brought her mother to see the Christmas lights just at his house a couple of years ago. Her mom had Alzheimer’s disease and was feeling down -- but the lights put a smile on her face.\u003c/p>\n\u003cp>“That year she sent us a letter,\" Terry says. \"Her mom had passed away, but she thanked us for that one night because she saw a whole different person in her mom.”\u003c/p>\n\u003cp>The next Christmas, the daughter returned alone.\u003c/p>\n\u003cp>“I’m not usually an emotional person, but that really hit me,\"Terry says. That, \"and just the smile on kids’ faces.“\u003c/p>\n\u003cp>\"It’s just wonderful. I guess I’m just a little kid at heart, too. I love the lights.”\u003c/p>\n\u003cfigure id=\"attachment_10805546\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-10805546\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/happy-couple-400x267.jpg\" alt=\"Deb Toews (left) helped Alex Michalski ask Danielle Ybarra to marry him by programming the proposal to music. \" width=\"400\" height=\"267\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Deb Toews (left) helped Alex Michalski ask Danielle Ybarra to marry him by programming the proposal to music. \u003ccite>(Courtesy Scott Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he’s not the only one. A young man named Alex Michalski rang the Toews' doorbell a few weeks ago and asked if they could help him out. All he wanted for Christmas was to propose to his girlfriend Danielle Ybarra. Deb told him of course they could help.\u003c/p>\n\u003cp>The showpiece on the Toews' lawn is a tall, metal Christmas tree with hundreds of lights that can be programmed to form images or words. It’s kind of like a billboard in Times Square. Deb and Alex decided to program the proposal on the tree along with a favorite song, Mariah Carey’s \"All I Want for Christmas is You.\"\u003c/p>\n\u003cp>“After he left, me and my daughter were crying because it was just the sweetest thing,” Deb says. “And he was so excited.”\u003c/p>\n\u003cp>The plan went off without a hitch. Alex brought Danielle to Santa Claus Lane one recent Friday. After the Mariah Carey song ended, he got down on his knees. The lights on the tree flashed “Danielle, will you marry me?”\u003c/p>\n\u003cp>Friends and family started to cheer, and Danielle nodded yes.\u003c/p>\n\u003cp>“I love this woman and I want to be with her the rest of my life,” says Michalski.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Christmas is magical, says Terry, and you never know what the lights might inspire.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Tsunami Boat Creates Ties Between Crescent City and Japanese Fishing Town",
"title": "Tsunami Boat Creates Ties Between Crescent City and Japanese Fishing Town",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>In March 2011, a devastating earthquake and tsunami hit northeastern Japan. The damage was so severe that the small fishing town of Rikuzentakata was nearly flattened with 80 percent of it destroyed and more than 1,600 people dead. Almost five years have passed and the city is still recovering, but thanks to a few high school students on California's North Coast, a little bit of hope has emerged from some recovered tsunami debris.\u003c/p>\n\u003cp>It started at a beach in Crescent City. Cmdr. Bill Steven, of the Del Norte County Sheriff's Department, remembers answering a phone call one night in April 2013.\u003c/p>\n\u003cp>“We’d received a call from some people that said, 'Hey, there’s something suspicious happening on South Beach.' \"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/238197745\" 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>At first he thought people were stealing things from the harbor. But after he and other o\u003cspan style=\"font-weight: 400\">fficers from the Sheriff’s Department arrived, he saw that people were actually trying to lift an object out of the water. It was a small 20-foot fishing boat that washed up on the beach. It had flipped over in the ocean, and he could see that gooseneck barnacles covered the boat’s interior.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10798063\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/2015/12/19/tsunami-boat-creates-ties-between-crescent-city-and-japanese-fishing-town/rs17835_22178790101_e1caa1d747_o-qut\" rel=\"attachment wp-att-10798063\">\u003cimg class=\"wp-image-10798063 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-800x1067.jpg\" alt=\"When the boat arrived in Crescent City it was covered in Gooseneck barnacles. \" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-960x1280.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">When the boat arrived in Crescent City, it was covered in gooseneck barnacles. \u003ccite>(Humboldt State Kamome Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After transporting the boat to the Sheriff's Department, Steven was still curious about its owners.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"I went to a number of people. I went to NOAA and I went to our Office of Emergencies here in town and said, ‘Hey, who’s laying claim to this boat?' \"\u003c/p>\n\u003cp>It turns out that he and the officers were in control of the boat, at least for the time being. That wasn't quite the answer Steven was looking for, but that did give him some time to figure out more about the boat. \u003cspan style=\"font-weight: 400\">After removing a few of the barnacles, he saw some Japanese symbols. That’s when he realized the boat was debris from the Japanese tsunami of 2011.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The symbols translated to: \u003c/span>\u003cspan style=\"font-weight: 400\">Takata High School.\u003c/span>\u003c/p>\n\u003cp>Steven didn’t know where that was exactly, but it made him think of his son, John, who was at the time a junior at Del Norte High School. That's when he approached John with a proposition.\u003c/p>\n\u003cp>“I called him into the living room and said, ‘Hey I got an idea. Tell me what you think.' \"\u003c/p>\n\u003cp>The idea was that his son and a few friends could clean up the boat and send it back to the high school in Japan, sort of like a small weekend project for Del Norte High.\u003c/p>\n\u003cp>John and six other students spent a day cleaning the boat, which included scrubbing barnacles for several hours. He never thought anything more could come out of it.\u003c/p>\n\u003cp>“We just thought it was something fun to do. You know, like send the boat back and it would be cool. We never had any idea how big this would get.”\u003c/p>\n\u003cfigure id=\"attachment_10798116\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/2015/12/19/tsunami-boat-creates-ties-between-crescent-city-and-japanese-fishing-town/rs17840_22168601975_a00db89ecf_o-qut\" rel=\"attachment wp-att-10798116\">\u003cimg class=\"size-full wp-image-10798116\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17840_22168601975_a00db89ecf_o-qut.jpg\" alt=\"John Steven admires Kamome once all the barnacles were removed. \" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17840_22168601975_a00db89ecf_o-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17840_22168601975_a00db89ecf_o-qut-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Steven admires Kamome once all the barnacles were removed. \u003ccite>(Humboldt State Kamome Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a bit of hard work, they could see the boat's name: Kamome, which means \"seagull\" in Japanese.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The community felt a deeper connection to the little boat. Crescent City has a long history with tsunamis. One nearly destroyed the town in 1964, and in 2011 part of its harbor was damaged from the same Japanese tsunami when it moved across the Pacific.\u003c/span>\u003c/p>\n\u003cp>A few more people found out about the boat, including Humboldt State University geologist Lori Dengler. She recognized the boat's origins because she studied recovery efforts after the 2011 tsunami and earthquake.\u003c/p>\n\u003cp>“I knew where it had come from. I had seen the city before, and I recognized that this was just an extraordinary connection,\" she said.\u003c/p>\n\u003cp>Dengler submitted paperwork to the National Oceanic and Atmospheric Administration and the Japanese Consulate. She also used social media to find out if anyone wanted Kamome back.\u003c/p>\n\u003cp>“All I did was just post a little note on the Facebook page. It said, 'We found this boat, It says Takata High School. Is it by any chance your boat?' ” she said.\u003c/p>\n\u003cp>That's when she informally met Amya Miller, the global public relations director for Rikuzentakata, who happened to be on the Facebook page.\u003c/p>\n\u003cp>“So I write back to Lori and say, ‘Yes this is our boat.' And that's how this incredible journey began.' ”\u003c/p>\n\u003cp>Dengler was ecstatic to receive a reply.\u003c/p>\n\u003cp>“Getting that message just sent chills up and down my spine. I jumped up in the air, pumped my fist up and said, “YES! We've connected!' ”\u003c/p>\n\u003cp>She also realized that Kamome was more than just tsunami debris. For Rikuzentakata, this boat was a glimmer of hope for the community.\u003c/p>\n\u003cp>Kamome eventually returned to Japanese shores, thanks to the NOAA and the Japanese Consulate. It was transported on a freighter via the Port of San Francisco. \u003cspan style=\"font-weight: 400\">City officials from Rikuzentakata greeted the boat at the docks in October 2013, and as part of the celebration Takata High invited John Steven and his friends -- who had cleaned the boat -- to visit them in Japan. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10798112\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/2015/12/19/tsunami-boat-creates-ties-between-crescent-city-and-japanese-fishing-town/rs17838_21545972694_75f4e2f3a6_o-qut\" rel=\"attachment wp-att-10798112\">\u003cimg class=\"size-medium wp-image-10798112\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-800x534.jpg\" alt=\"Del Norte High School and Takata High School students connect. \" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-960x641.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Del Norte High School and Takata High School students connect. \u003ccite>(Humboldt State Kamome Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>John remembers meeting with Takata High School students in February 2014. That's when he realized how much this boat had affected them.\u003c/p>\n\u003cp>\"You didn’t realize how much they actually appreciate it till you were there and talking to them face to face. It was really amazing and I was really honored to be a part of that,\" he said.\u003c/p>\n\u003cp>He never thought they'd have so much in common.\u003c/p>\n\u003cp>“You know, well, we’re a small fishing community and so are they. They’re right on the ocean like we are,\" he said.\u003c/p>\n\u003cp>Takata High and Del Norte High became sister schools earlier this year and both schools are hoping to create more programs that connect them, including an event that let Takata High School students visit Crescent City and see the Coastal Redwoods in February 2015.\u003c/p>\n\u003cp>As for Kamome, it was on display at the\u003cspan style=\"font-weight: 400\"> Tokyo National Museum for several months. The boat is now in storage back in Rikuzentakata, where it will be exhibited in a new museum that’s still being built.\u003c/span>\u003c/p>\n\u003cp>The story of Kamome is not one to be forgotten. \u003cspan style=\"font-weight: 400\">This year, Dengler and Miller published a bilingual children’s book about the experience: \u003c/span>\u003cb>\u003ca href=\"http://www2.humboldt.edu/kamome/\">\"The Extraordinary Journey of Kamome: A Tsunami Boat Comes Home.\"\u003c/a>\u003c/b>\u003cspan style=\"font-weight: 400\"> They held their first reading in Crescent City and will visit the National Japanese American Historical Society in San Francisco and Eastwind Books in Berkeley in January 2016. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10798113\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/2015/12/19/tsunami-boat-creates-ties-between-crescent-city-and-japanese-fishing-town/rs17436_perdita_romania_1454_001-qut-1\" rel=\"attachment wp-att-10798113\">\u003cimg class=\"size-medium wp-image-10798113\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-800x618.jpg\" alt=\"The Extraordinary Voyage of Kamome: A Tsunami Boat Comes Home. By Lori Dengler and Amya Miller. Illustrated by Amy Uyeki.\" width=\"800\" height=\"618\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-800x618.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-400x309.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-768x594.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-1440x1113.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-1180x912.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-960x742.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"The Extraordinary Voyage of Kamome: A Tsunami Boat Comes Home.\" By Lori Dengler and Amya Miller. Illustrated by Amy Uyeki. \u003ccite>(Humboldt State Kamome Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While Kamome’s journey across the Pacific has ended, the students of Del Norte and Takata high schools are forever changed. Kamome reminds us that hope \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">still\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> floats even after a tsunami.\u003c/span>\u003c/p>\n\n",
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"excerpt": "'You know, well, we’re a small fishing community and so are they, they’re right on the ocean like we are,' says Crescent City teenager.",
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"description": "'You know, well, we’re a small fishing community and so are they, they’re right on the ocean like we are,' says Crescent City teenager.",
"title": "Tsunami Boat Creates Ties Between Crescent City and Japanese Fishing Town | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In March 2011, a devastating earthquake and tsunami hit northeastern Japan. The damage was so severe that the small fishing town of Rikuzentakata was nearly flattened with 80 percent of it destroyed and more than 1,600 people dead. Almost five years have passed and the city is still recovering, but thanks to a few high school students on California's North Coast, a little bit of hope has emerged from some recovered tsunami debris.\u003c/p>\n\u003cp>It started at a beach in Crescent City. Cmdr. Bill Steven, of the Del Norte County Sheriff's Department, remembers answering a phone call one night in April 2013.\u003c/p>\n\u003cp>“We’d received a call from some people that said, 'Hey, there’s something suspicious happening on South Beach.' \"\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/238197745&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/238197745'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At first he thought people were stealing things from the harbor. But after he and other o\u003cspan style=\"font-weight: 400\">fficers from the Sheriff’s Department arrived, he saw that people were actually trying to lift an object out of the water. It was a small 20-foot fishing boat that washed up on the beach. It had flipped over in the ocean, and he could see that gooseneck barnacles covered the boat’s interior.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10798063\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/2015/12/19/tsunami-boat-creates-ties-between-crescent-city-and-japanese-fishing-town/rs17835_22178790101_e1caa1d747_o-qut\" rel=\"attachment wp-att-10798063\">\u003cimg class=\"wp-image-10798063 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-800x1067.jpg\" alt=\"When the boat arrived in Crescent City it was covered in Gooseneck barnacles. \" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-960x1280.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">When the boat arrived in Crescent City, it was covered in gooseneck barnacles. \u003ccite>(Humboldt State Kamome Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After transporting the boat to the Sheriff's Department, Steven was still curious about its owners.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I went to a number of people. I went to NOAA and I went to our Office of Emergencies here in town and said, ‘Hey, who’s laying claim to this boat?' \"\u003c/p>\n\u003cp>It turns out that he and the officers were in control of the boat, at least for the time being. That wasn't quite the answer Steven was looking for, but that did give him some time to figure out more about the boat. \u003cspan style=\"font-weight: 400\">After removing a few of the barnacles, he saw some Japanese symbols. That’s when he realized the boat was debris from the Japanese tsunami of 2011.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The symbols translated to: \u003c/span>\u003cspan style=\"font-weight: 400\">Takata High School.\u003c/span>\u003c/p>\n\u003cp>Steven didn’t know where that was exactly, but it made him think of his son, John, who was at the time a junior at Del Norte High School. That's when he approached John with a proposition.\u003c/p>\n\u003cp>“I called him into the living room and said, ‘Hey I got an idea. Tell me what you think.' \"\u003c/p>\n\u003cp>The idea was that his son and a few friends could clean up the boat and send it back to the high school in Japan, sort of like a small weekend project for Del Norte High.\u003c/p>\n\u003cp>John and six other students spent a day cleaning the boat, which included scrubbing barnacles for several hours. He never thought anything more could come out of it.\u003c/p>\n\u003cp>“We just thought it was something fun to do. You know, like send the boat back and it would be cool. We never had any idea how big this would get.”\u003c/p>\n\u003cfigure id=\"attachment_10798116\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/2015/12/19/tsunami-boat-creates-ties-between-crescent-city-and-japanese-fishing-town/rs17840_22168601975_a00db89ecf_o-qut\" rel=\"attachment wp-att-10798116\">\u003cimg class=\"size-full wp-image-10798116\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17840_22168601975_a00db89ecf_o-qut.jpg\" alt=\"John Steven admires Kamome once all the barnacles were removed. \" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17840_22168601975_a00db89ecf_o-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17840_22168601975_a00db89ecf_o-qut-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Steven admires Kamome once all the barnacles were removed. \u003ccite>(Humboldt State Kamome Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a bit of hard work, they could see the boat's name: Kamome, which means \"seagull\" in Japanese.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The community felt a deeper connection to the little boat. Crescent City has a long history with tsunamis. One nearly destroyed the town in 1964, and in 2011 part of its harbor was damaged from the same Japanese tsunami when it moved across the Pacific.\u003c/span>\u003c/p>\n\u003cp>A few more people found out about the boat, including Humboldt State University geologist Lori Dengler. She recognized the boat's origins because she studied recovery efforts after the 2011 tsunami and earthquake.\u003c/p>\n\u003cp>“I knew where it had come from. I had seen the city before, and I recognized that this was just an extraordinary connection,\" she said.\u003c/p>\n\u003cp>Dengler submitted paperwork to the National Oceanic and Atmospheric Administration and the Japanese Consulate. She also used social media to find out if anyone wanted Kamome back.\u003c/p>\n\u003cp>“All I did was just post a little note on the Facebook page. It said, 'We found this boat, It says Takata High School. Is it by any chance your boat?' ” she said.\u003c/p>\n\u003cp>That's when she informally met Amya Miller, the global public relations director for Rikuzentakata, who happened to be on the Facebook page.\u003c/p>\n\u003cp>“So I write back to Lori and say, ‘Yes this is our boat.' And that's how this incredible journey began.' ”\u003c/p>\n\u003cp>Dengler was ecstatic to receive a reply.\u003c/p>\n\u003cp>“Getting that message just sent chills up and down my spine. I jumped up in the air, pumped my fist up and said, “YES! We've connected!' ”\u003c/p>\n\u003cp>She also realized that Kamome was more than just tsunami debris. For Rikuzentakata, this boat was a glimmer of hope for the community.\u003c/p>\n\u003cp>Kamome eventually returned to Japanese shores, thanks to the NOAA and the Japanese Consulate. It was transported on a freighter via the Port of San Francisco. \u003cspan style=\"font-weight: 400\">City officials from Rikuzentakata greeted the boat at the docks in October 2013, and as part of the celebration Takata High invited John Steven and his friends -- who had cleaned the boat -- to visit them in Japan. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10798112\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/2015/12/19/tsunami-boat-creates-ties-between-crescent-city-and-japanese-fishing-town/rs17838_21545972694_75f4e2f3a6_o-qut\" rel=\"attachment wp-att-10798112\">\u003cimg class=\"size-medium wp-image-10798112\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-800x534.jpg\" alt=\"Del Norte High School and Takata High School students connect. \" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-960x641.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Del Norte High School and Takata High School students connect. \u003ccite>(Humboldt State Kamome Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>John remembers meeting with Takata High School students in February 2014. That's when he realized how much this boat had affected them.\u003c/p>\n\u003cp>\"You didn’t realize how much they actually appreciate it till you were there and talking to them face to face. It was really amazing and I was really honored to be a part of that,\" he said.\u003c/p>\n\u003cp>He never thought they'd have so much in common.\u003c/p>\n\u003cp>“You know, well, we’re a small fishing community and so are they. They’re right on the ocean like we are,\" he said.\u003c/p>\n\u003cp>Takata High and Del Norte High became sister schools earlier this year and both schools are hoping to create more programs that connect them, including an event that let Takata High School students visit Crescent City and see the Coastal Redwoods in February 2015.\u003c/p>\n\u003cp>As for Kamome, it was on display at the\u003cspan style=\"font-weight: 400\"> Tokyo National Museum for several months. The boat is now in storage back in Rikuzentakata, where it will be exhibited in a new museum that’s still being built.\u003c/span>\u003c/p>\n\u003cp>The story of Kamome is not one to be forgotten. \u003cspan style=\"font-weight: 400\">This year, Dengler and Miller published a bilingual children’s book about the experience: \u003c/span>\u003cb>\u003ca href=\"http://www2.humboldt.edu/kamome/\">\"The Extraordinary Journey of Kamome: A Tsunami Boat Comes Home.\"\u003c/a>\u003c/b>\u003cspan style=\"font-weight: 400\"> They held their first reading in Crescent City and will visit the National Japanese American Historical Society in San Francisco and Eastwind Books in Berkeley in January 2016. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10798113\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/2015/12/19/tsunami-boat-creates-ties-between-crescent-city-and-japanese-fishing-town/rs17436_perdita_romania_1454_001-qut-1\" rel=\"attachment wp-att-10798113\">\u003cimg class=\"size-medium wp-image-10798113\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-800x618.jpg\" alt=\"The Extraordinary Voyage of Kamome: A Tsunami Boat Comes Home. By Lori Dengler and Amya Miller. Illustrated by Amy Uyeki.\" width=\"800\" height=\"618\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-800x618.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-400x309.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-768x594.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-1440x1113.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-1180x912.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-960x742.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"The Extraordinary Voyage of Kamome: A Tsunami Boat Comes Home.\" By Lori Dengler and Amya Miller. Illustrated by Amy Uyeki. \u003ccite>(Humboldt State Kamome Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While Kamome’s journey across the Pacific has ended, the students of Del Norte and Takata high schools are forever changed. Kamome reminds us that hope \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">still\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> floats even after a tsunami.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Littoral Drift' Delivers Chaos with a Dash of Control at SF Camerawork",
"headTitle": "‘Littoral Drift’ Delivers Chaos with a Dash of Control at SF Camerawork | KQED",
"content": "\u003cp>Photographer Meghann Riepenhoff makes her San Francisco debut with \u003cem>\u003ca href=\"http://www.sfcamerawork.org/exhibitions/\" target=\"_blank\" rel=\"noopener\">Littoral Drift\u003c/a>\u003c/em>, a gorgeous installation of \u003ca href=\"https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/atlas_cyanotype.pdf\" target=\"_blank\" rel=\"noopener\">cyanotypes\u003c/a> now on view at SF Camerawork. The exhibition explores intriguing ideas of permanence (both photographic and geologic), mutability and how failure can produce the most magical outcomes.\u003c/p>\n\u003cfigure id=\"attachment_11168564\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11168564\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/LittoralDrift640.jpg\" alt=\"Meghann Riepenhoff, 'Littoral Drift Nearshore #209' (Springridge Road, Bainbridge Island, WA 02.12.2015, Fletcher Bay Water Poured and Fletcher Bay and Fay Bainbridge Silt Scattered), 2015.\" width=\"640\" height=\"403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LittoralDrift640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LittoralDrift640-400x252.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Meghann Riepenhoff, ‘Littoral Drift Nearshore #209’ (Springridge Road, Bainbridge Island, WA 02.12.2015, Fletcher Bay Water Poured and Fletcher Bay and Fay Bainbridge Silt Scattered), 2015. \u003ccite>(Photo courtesy of the artist and EUQINOMprojects, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Riepenhoff lays sheets of chemically-treated paper on ocean shores — she’s worked along the Pacific and Atlantic coasts from Sausalito to South Carolina to Washington’s Bainbridge Island — and secures the pages with rocks, branches or sand, whatever’s on hand. The water seeps, falls or crashes onto the paper and mixes with available sunlight to activate the photosensitive chemicals of the cyanotype. These waves are part of “\u003ca href=\"http://www.brighthub.com/environment/science-environmental/articles/122016.aspx\">littoral drift\u003c/a>,” an ecological term that describes the movement of sand and silt along a shoreline.\u003c/p>\n\u003cp>The direct positive prints Riepenhoff creates without a camera were long-ago named for their luxurious cyan-blue. That deep hue and its tonal variations — pale blue, gray and an acrid yellow captured at Mono Lake — are all chemical responses to pH levels and and other impurities found in the water. While the process was discovered in 1842 by English polymath \u003ca href=\"http://www.getty.edu/art/collection/artists/1881/sir-john-frederick-william-herschel-british-1792-1871/\">Sir John Herschel\u003c/a>, one of the most celebrated cyanotype practitioners was \u003ca href=\"http://www.getty.edu/art/collection/artists/1507/anna-atkins-british-1799-1871/\">Anna Atkins\u003c/a>, a 19th-century botanist and photographer. Atkins brought scientific illustration into the realm of visual art, challenging male domination of both fields. Like her predecessor, Meghann Riepenhoff’s work is fueled by an irrepressible curiosity about the natural world.\u003c/p>\n\u003cfigure id=\"attachment_11168563\" class=\"wp-caption alignright\" style=\"max-width: 429px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11168563\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Hanging640.jpg\" alt=\"Meghann Riepenhoff, 'Littoral Drift #216' (Recto/Verso, Ft. Ward Beach, Bainbridge Island, WA 04.22.15, Twenty-three Minutes in Tidal Stream, Wind Tossed), 2015.\" width=\"429\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Hanging640.jpg 429w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Hanging640-400x597.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Hanging640-402x600.jpg 402w\" sizes=\"(max-width: 429px) 100vw, 429px\">\u003cfigcaption class=\"wp-caption-text\">Meghann Riepenhoff, ‘Littoral Drift #216’ (Recto/Verso, Ft. Ward Beach, Bainbridge Island, WA 04.22.15, Twenty-three Minutes in Tidal Stream, Wind Tossed), 2015. \u003ccite>(Photo courtesy of the artist and EUQINOMprojects, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Littoral Drift Nearshore #209\u003c/i> (2015), a mammoth grid of 63 sheets of paper, anchors the exhibition at SF Camerawork. From a distance, the installation reads as an overhead view of turbulent blue waters topped by whitecaps. As you get closer to the grid, those whitecaps turn out to be the points where ocean waves crashed so hard onto the paper that the emulsion was literally blasted away. In contrast to the elegant vertical diptych \u003ci>Littoral Drift #216\u003c/i> (2015), which captures a gentle tidal stream on Bainbridge Island, the gridded piece demonstrates the unmistakable power and violent potential of water.\u003c/p>\n\u003cp>The exhibition is generously organized, with ample space between prints allowing the viewer to observe the surface of each object. Up close, salt crystals blossom as the treated paper continues to interact with residual elements of the seawater. On some pieces, sand and trace sediments give the print surfaces a granular appearance. A group of small, framed pieces stand out from other works hung with minimally visible hardware. These simple installation choices enhance the presentation of each piece, and beautifully offset the physically demanding aspect of Riepenhoff’s practice, which includes wading into water to retrieve giant sheets of paper that have been pulled from her hands by unpredictable tides.\u003c/p>\n\u003cfigure id=\"attachment_11168565\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11168565\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/TidalDraw640.jpg\" alt=\"Meghann Riepenhoff, 'Littoral Drift #241' (Recto/Verso, Fay Bainbridge Beach, Bainbridge Island, WA 05.27.2015, Tidal Draw in Tidal Flats,Two Minutes), 2015.\" width=\"640\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/TidalDraw640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/TidalDraw640-400x321.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Meghann Riepenhoff, ‘Littoral Drift #241’ (Recto/Verso, Fay Bainbridge Beach, Bainbridge Island, WA 05.27.2015, Tidal Draw in Tidal Flats,Two Minutes), 2015. \u003ccite>(Photo courtesy of the artist and EUQINOMprojects, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When kept in darkness, blue portions of a cyanotype grow darker, something that is already happening to the pieces at SF Camerawork. As Riepenhoff notes in the interview with Pier 24 Associate Director Allie Haeusslein that is featured in the exhibition catalog, the life cycle of cyanotypes beautifully refute ideas of photographic permanence, the idea that any moment can be “caught” on film and affixed permanently.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Riepenhoff’s process and the fascinating chemistry of her work are documented in an artist book commissioned for the show. Riepenhoff bound photosensitive sheets, one for each day of the exhibition, and every day a gallery representative dons cotton gloves to turn a new unexposed page. Whatever sunlight streams through the skylight above the book then acts on the treated sheets. This chemical reaction is also filmed; the footage will be released at the end of the exhibition on the gallery’s website. The project is an exciting experience for viewers (even if they can’t touch it), providing a visual record of a seductively simple yet demanding photographic technique.\u003c/p>\n\u003cp>\u003ci>Littoral Drift\u003c/i> began as an experiment, an accident really, when Riepenhoff attempted to photograph bioluminescent jellyfish, but miscalculated the lunar cycle during which they were visible. Now she sees such failure as a generative opportunity, and we reap the rewards.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Littoral Drift\u003c/b>\u003c/i> is on view at SF Camerawork through Feb. 3, 2016. For more information, visit \u003ca href=\"http://www.sfcamerawork.org/exhibitions/\" target=\"_blank\" rel=\"noopener\">sfcamerawork.org\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Meghann Riepenhoff's cyanotypes capture crashing waves, but aren't the permanent photographic records we're used to seeing.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Photographer Meghann Riepenhoff makes her San Francisco debut with \u003cem>\u003ca href=\"http://www.sfcamerawork.org/exhibitions/\" target=\"_blank\" rel=\"noopener\">Littoral Drift\u003c/a>\u003c/em>, a gorgeous installation of \u003ca href=\"https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/atlas_cyanotype.pdf\" target=\"_blank\" rel=\"noopener\">cyanotypes\u003c/a> now on view at SF Camerawork. The exhibition explores intriguing ideas of permanence (both photographic and geologic), mutability and how failure can produce the most magical outcomes.\u003c/p>\n\u003cfigure id=\"attachment_11168564\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11168564\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/LittoralDrift640.jpg\" alt=\"Meghann Riepenhoff, 'Littoral Drift Nearshore #209' (Springridge Road, Bainbridge Island, WA 02.12.2015, Fletcher Bay Water Poured and Fletcher Bay and Fay Bainbridge Silt Scattered), 2015.\" width=\"640\" height=\"403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LittoralDrift640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LittoralDrift640-400x252.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Meghann Riepenhoff, ‘Littoral Drift Nearshore #209’ (Springridge Road, Bainbridge Island, WA 02.12.2015, Fletcher Bay Water Poured and Fletcher Bay and Fay Bainbridge Silt Scattered), 2015. \u003ccite>(Photo courtesy of the artist and EUQINOMprojects, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Riepenhoff lays sheets of chemically-treated paper on ocean shores — she’s worked along the Pacific and Atlantic coasts from Sausalito to South Carolina to Washington’s Bainbridge Island — and secures the pages with rocks, branches or sand, whatever’s on hand. The water seeps, falls or crashes onto the paper and mixes with available sunlight to activate the photosensitive chemicals of the cyanotype. These waves are part of “\u003ca href=\"http://www.brighthub.com/environment/science-environmental/articles/122016.aspx\">littoral drift\u003c/a>,” an ecological term that describes the movement of sand and silt along a shoreline.\u003c/p>\n\u003cp>The direct positive prints Riepenhoff creates without a camera were long-ago named for their luxurious cyan-blue. That deep hue and its tonal variations — pale blue, gray and an acrid yellow captured at Mono Lake — are all chemical responses to pH levels and and other impurities found in the water. While the process was discovered in 1842 by English polymath \u003ca href=\"http://www.getty.edu/art/collection/artists/1881/sir-john-frederick-william-herschel-british-1792-1871/\">Sir John Herschel\u003c/a>, one of the most celebrated cyanotype practitioners was \u003ca href=\"http://www.getty.edu/art/collection/artists/1507/anna-atkins-british-1799-1871/\">Anna Atkins\u003c/a>, a 19th-century botanist and photographer. Atkins brought scientific illustration into the realm of visual art, challenging male domination of both fields. Like her predecessor, Meghann Riepenhoff’s work is fueled by an irrepressible curiosity about the natural world.\u003c/p>\n\u003cfigure id=\"attachment_11168563\" class=\"wp-caption alignright\" style=\"max-width: 429px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11168563\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Hanging640.jpg\" alt=\"Meghann Riepenhoff, 'Littoral Drift #216' (Recto/Verso, Ft. Ward Beach, Bainbridge Island, WA 04.22.15, Twenty-three Minutes in Tidal Stream, Wind Tossed), 2015.\" width=\"429\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Hanging640.jpg 429w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Hanging640-400x597.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Hanging640-402x600.jpg 402w\" sizes=\"(max-width: 429px) 100vw, 429px\">\u003cfigcaption class=\"wp-caption-text\">Meghann Riepenhoff, ‘Littoral Drift #216’ (Recto/Verso, Ft. Ward Beach, Bainbridge Island, WA 04.22.15, Twenty-three Minutes in Tidal Stream, Wind Tossed), 2015. \u003ccite>(Photo courtesy of the artist and EUQINOMprojects, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Littoral Drift Nearshore #209\u003c/i> (2015), a mammoth grid of 63 sheets of paper, anchors the exhibition at SF Camerawork. From a distance, the installation reads as an overhead view of turbulent blue waters topped by whitecaps. As you get closer to the grid, those whitecaps turn out to be the points where ocean waves crashed so hard onto the paper that the emulsion was literally blasted away. In contrast to the elegant vertical diptych \u003ci>Littoral Drift #216\u003c/i> (2015), which captures a gentle tidal stream on Bainbridge Island, the gridded piece demonstrates the unmistakable power and violent potential of water.\u003c/p>\n\u003cp>The exhibition is generously organized, with ample space between prints allowing the viewer to observe the surface of each object. Up close, salt crystals blossom as the treated paper continues to interact with residual elements of the seawater. On some pieces, sand and trace sediments give the print surfaces a granular appearance. A group of small, framed pieces stand out from other works hung with minimally visible hardware. These simple installation choices enhance the presentation of each piece, and beautifully offset the physically demanding aspect of Riepenhoff’s practice, which includes wading into water to retrieve giant sheets of paper that have been pulled from her hands by unpredictable tides.\u003c/p>\n\u003cfigure id=\"attachment_11168565\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11168565\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/TidalDraw640.jpg\" alt=\"Meghann Riepenhoff, 'Littoral Drift #241' (Recto/Verso, Fay Bainbridge Beach, Bainbridge Island, WA 05.27.2015, Tidal Draw in Tidal Flats,Two Minutes), 2015.\" width=\"640\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/TidalDraw640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/TidalDraw640-400x321.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Meghann Riepenhoff, ‘Littoral Drift #241’ (Recto/Verso, Fay Bainbridge Beach, Bainbridge Island, WA 05.27.2015, Tidal Draw in Tidal Flats,Two Minutes), 2015. \u003ccite>(Photo courtesy of the artist and EUQINOMprojects, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When kept in darkness, blue portions of a cyanotype grow darker, something that is already happening to the pieces at SF Camerawork. As Riepenhoff notes in the interview with Pier 24 Associate Director Allie Haeusslein that is featured in the exhibition catalog, the life cycle of cyanotypes beautifully refute ideas of photographic permanence, the idea that any moment can be “caught” on film and affixed permanently.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Riepenhoff’s process and the fascinating chemistry of her work are documented in an artist book commissioned for the show. Riepenhoff bound photosensitive sheets, one for each day of the exhibition, and every day a gallery representative dons cotton gloves to turn a new unexposed page. Whatever sunlight streams through the skylight above the book then acts on the treated sheets. This chemical reaction is also filmed; the footage will be released at the end of the exhibition on the gallery’s website. The project is an exciting experience for viewers (even if they can’t touch it), providing a visual record of a seductively simple yet demanding photographic technique.\u003c/p>\n\u003cp>\u003ci>Littoral Drift\u003c/i> began as an experiment, an accident really, when Riepenhoff attempted to photograph bioluminescent jellyfish, but miscalculated the lunar cycle during which they were visible. Now she sees such failure as a generative opportunity, and we reap the rewards.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Littoral Drift\u003c/b>\u003c/i> is on view at SF Camerawork through Feb. 3, 2016. For more information, visit \u003ca href=\"http://www.sfcamerawork.org/exhibitions/\" target=\"_blank\" rel=\"noopener\">sfcamerawork.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Different Kind of Rock Show at the Oakland Museum of California",
"headTitle": "A Different Kind of Rock Show at the Oakland Museum of California | KQED",
"content": "\u003cp>No, I’m not talking about the Rolling Stones. When I say “rock show,” I mean the back corner of the Oakland Museum of California’s art galleries, hosting \u003ci>UNEARTHED: Found + Made\u003c/i>, a quiet but engrossing exhibition that pairs stones found with stones made.\u003c/p>\n\u003cp>The found stones come to OMCA from local \u003ca href=\"https://en.wikipedia.org/wiki/Suiseki\" target=\"_blank\" rel=\"noopener\">suiseki\u003c/a> clubs. Following a Japanese tradition of carefully selecting, appreciating and displaying stones on carved wood platforms, or \u003ca href=\"https://translate.google.com/translate?hl=en&sl=de&u=https://de.wikipedia.org/wiki/Daiza&prev=search\" target=\"_blank\" rel=\"noopener\">daiza\u003c/a>, the \u003ca href=\"https://www.facebook.com/CaliforniaSuisekiSociety/\" target=\"_blank\" rel=\"noopener\">California Suiseki Society\u003c/a> and the \u003ca href=\"https://sfsuisekikai.wordpress.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Suiseki Kai\u003c/a> take trips to nearby rivers four to six times a year in search of “landscape stones,” microcosms of larger landscape features — waterfalls, mountains and ravines.\u003c/p>\n\u003cfigure id=\"attachment_11166466\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Jedediah-Caesar_Californianian640.jpg\" alt=\"Jedediah Caesar, 'Californianian,' 2008–2012.\" width=\"640\" height=\"425\" class=\"size-full wp-image-11166466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Jedediah-Caesar_Californianian640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Jedediah-Caesar_Californianian640-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jedediah Caesar, ‘Californianian,’ 2008–2012. \u003ccite>(Courtesy of the artist and Susanne Vielmetter Los Angeles Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similarly, \u003ca href=\"https://www.vielmetter.com/artists/jedediah-caesar/selected-works.html\" target=\"_blank\" rel=\"noopener\">Jedediah Caesar\u003c/a>’s sculptures, made with collected materials and epoxy, are microcosms of the detritus of everyday life. Caesar has his epoxy blocks cut by industrial blades into \u003ci>\u003ca href=\"http://www.bodyworlds.com/en.html\" target=\"_blank\" rel=\"noopener\">Body Worlds\u003c/a>\u003c/i>-like slabs, revealing cross-sections of corn on the cob, electrical wires and even his own repurposed sculptures. At OMCA, these slabs are displayed as inches-thick wall-mounted rectangles and sharp-edged triangles, all cut from the same epoxy block.\u003c/p>\n\u003cp>Suiseki club members, depending on the rules they observe, might identify with Caesar’s process. Some societies allow for one cut, to balance or optimize a found stone. The cut stones on display in \u003ci>UNEARTHED\u003c/i> closely resemble miniaturized versions of craggy peaks, volcanic islands and — in one case — Mt. Fuji. Beautifully crafted wooden daiza cradle both cut and uncut stones. \u003c/p>\n\u003cfigure id=\"attachment_11166463\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Mas-Nakajima_Fuji-san640.jpg\" alt=\"Mas Nakajima, 'Fuji-san,' collected stone and made daiza finished, c. 1995; collected c. 1990 Clear Creek.\" width=\"640\" height=\"427\" class=\"size-full wp-image-11166463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Mas-Nakajima_Fuji-san640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Mas-Nakajima_Fuji-san640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mas Nakajima, ‘Fuji-san,’ collected stone and made daiza finished, c. 1995; collected c.\u003cbr>1990 Clear Creek. \u003ccite>(Collection of Janet Roth & Mas Nakajima)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the suiseki stones sit protected under vitrines on pedestals of varying heights, Caesar’s artworks lack any elaborate presentation methods beyond a single platform. This is for the largest object in the exhibition, which also has the longest title: \u003ci>One corner one cap stone/ Butyl benzyl phthalate + 4,4’ Methylene bis (phenylisocyanate)+curcuma longa (terra merita(turmeric)): (800+60)lbs and again (80+6)lbs\u003c/i>. The sculpture is a hulking, yet squishy-looking cube of urethane and turmeric. Yes, turmeric, the common curry ingredient. I sniffed around it to no avail.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This combination of organic and synthetic makes the urethane expand violently, rendering a two-part sculpture that weighs nearly 1000 pounds. The effect is geologic, a swirl of colors echoed in the erosion and patterning of stones throughout the exhibit.\u003c/p>\n\u003cfigure id=\"attachment_11166464\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Robert-Gould_untitled640.jpg\" alt=\"Robert Gould, 'Untitled,' collected stone and made daiza, finished 2013; collected 2013 Black Butte Lake.\" width=\"640\" height=\"427\" class=\"size-full wp-image-11166464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Robert-Gould_untitled640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Robert-Gould_untitled640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Robert Gould, ‘Untitled,’ collected stone and made daiza, finished 2013; collected 2013\u003cbr>Black Butte Lake. \u003ccite>(Collection of Robert P. Gould)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the rocks in \u003ci>UNEARTHED\u003c/i> at first appear staid (especially in comparison to the “I spy” quality of Caesar’s work), even the smallest amount of sustained looking yields appreciation. Imagine what members of the suiseki societies, with decades of gazing under their belts, see in their chunks of metachert, porphyry and serpentinite. \u003c/p>\n\u003cp>Peppered throughout the wall labels are stories from the stones’ collectors. A quote from Bob Carlson about Henry van der Voort’s \u003ci>Chrysanthemum Stone\u003c/i> captures the feeling of the hunt. “Henry made a lot of noise when he found it,” reads the wall label. “I could hear him a half mile away.”\u003c/p>\n\u003cfigure id=\"attachment_11166462\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Keith-Mansfield_Vince-Monasterio640.jpg\" alt=\"Keith Mansfield examining a stone.\" width=\"640\" height=\"480\" class=\"size-full wp-image-11166462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Keith-Mansfield_Vince-Monasterio640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Keith-Mansfield_Vince-Monasterio640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Keith Mansfield examining a stone. \u003ccite>(Photo: Vince Monasterio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition itself fosters an appreciation for the smallest of details. Caesar mounts his slabs to the wall with hex bolts ground down into triangles. Viewed from the side, they sit like gleaming jewels on the surfaces of his sculptures. Likewise, top-heavy suiseki stones sport museum brackets painted to blend into the objects they support. (Be sure to inspect the verso of Blair Gould’s \u003ci>Doha stone\u003c/i> for some particularly nice faux-marbling.)\u003c/p>\n\u003cp>\u003ci>UNEARTHED\u003c/i> draws a fascinating connecting line between an individual studio practice and a group activity, neither of which had prior knowledge of the other. In this combination, curator Christina Linden points to yet another microcosm: Caesar’s sculptural processes, so similar at times to the geologic processes that created the suiseki stones, mimics our current era, the \u003ca href=\"https://en.wikipedia.org/wiki/Anthropocene\" target=\"_blank\" rel=\"noopener\">anthropocene\u003c/a>, in which human activity effects change on the environment at a global, geologic — and often terrifying — scale. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>UNEARTHED: Found + Made\u003c/b>\u003c/i> is on view at the Oakland Museum of California through April 24, 2016. For more information visit \u003ca href=\"http://museumca.org/exhibit/unearthed-found-made\" target=\"_blank\" rel=\"noopener\">museumca.org\u003c/a>.\u003c/p>\n\n",
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"title": "A Different Kind of Rock Show at the Oakland Museum of California | KQED",
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"headline": "A Different Kind of Rock Show at the Oakland Museum of California",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No, I’m not talking about the Rolling Stones. When I say “rock show,” I mean the back corner of the Oakland Museum of California’s art galleries, hosting \u003ci>UNEARTHED: Found + Made\u003c/i>, a quiet but engrossing exhibition that pairs stones found with stones made.\u003c/p>\n\u003cp>The found stones come to OMCA from local \u003ca href=\"https://en.wikipedia.org/wiki/Suiseki\" target=\"_blank\" rel=\"noopener\">suiseki\u003c/a> clubs. Following a Japanese tradition of carefully selecting, appreciating and displaying stones on carved wood platforms, or \u003ca href=\"https://translate.google.com/translate?hl=en&sl=de&u=https://de.wikipedia.org/wiki/Daiza&prev=search\" target=\"_blank\" rel=\"noopener\">daiza\u003c/a>, the \u003ca href=\"https://www.facebook.com/CaliforniaSuisekiSociety/\" target=\"_blank\" rel=\"noopener\">California Suiseki Society\u003c/a> and the \u003ca href=\"https://sfsuisekikai.wordpress.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Suiseki Kai\u003c/a> take trips to nearby rivers four to six times a year in search of “landscape stones,” microcosms of larger landscape features — waterfalls, mountains and ravines.\u003c/p>\n\u003cfigure id=\"attachment_11166466\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Jedediah-Caesar_Californianian640.jpg\" alt=\"Jedediah Caesar, 'Californianian,' 2008–2012.\" width=\"640\" height=\"425\" class=\"size-full wp-image-11166466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Jedediah-Caesar_Californianian640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Jedediah-Caesar_Californianian640-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jedediah Caesar, ‘Californianian,’ 2008–2012. \u003ccite>(Courtesy of the artist and Susanne Vielmetter Los Angeles Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similarly, \u003ca href=\"https://www.vielmetter.com/artists/jedediah-caesar/selected-works.html\" target=\"_blank\" rel=\"noopener\">Jedediah Caesar\u003c/a>’s sculptures, made with collected materials and epoxy, are microcosms of the detritus of everyday life. Caesar has his epoxy blocks cut by industrial blades into \u003ci>\u003ca href=\"http://www.bodyworlds.com/en.html\" target=\"_blank\" rel=\"noopener\">Body Worlds\u003c/a>\u003c/i>-like slabs, revealing cross-sections of corn on the cob, electrical wires and even his own repurposed sculptures. At OMCA, these slabs are displayed as inches-thick wall-mounted rectangles and sharp-edged triangles, all cut from the same epoxy block.\u003c/p>\n\u003cp>Suiseki club members, depending on the rules they observe, might identify with Caesar’s process. Some societies allow for one cut, to balance or optimize a found stone. The cut stones on display in \u003ci>UNEARTHED\u003c/i> closely resemble miniaturized versions of craggy peaks, volcanic islands and — in one case — Mt. Fuji. Beautifully crafted wooden daiza cradle both cut and uncut stones. \u003c/p>\n\u003cfigure id=\"attachment_11166463\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Mas-Nakajima_Fuji-san640.jpg\" alt=\"Mas Nakajima, 'Fuji-san,' collected stone and made daiza finished, c. 1995; collected c. 1990 Clear Creek.\" width=\"640\" height=\"427\" class=\"size-full wp-image-11166463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Mas-Nakajima_Fuji-san640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Mas-Nakajima_Fuji-san640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mas Nakajima, ‘Fuji-san,’ collected stone and made daiza finished, c. 1995; collected c.\u003cbr>1990 Clear Creek. \u003ccite>(Collection of Janet Roth & Mas Nakajima)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the suiseki stones sit protected under vitrines on pedestals of varying heights, Caesar’s artworks lack any elaborate presentation methods beyond a single platform. This is for the largest object in the exhibition, which also has the longest title: \u003ci>One corner one cap stone/ Butyl benzyl phthalate + 4,4’ Methylene bis (phenylisocyanate)+curcuma longa (terra merita(turmeric)): (800+60)lbs and again (80+6)lbs\u003c/i>. The sculpture is a hulking, yet squishy-looking cube of urethane and turmeric. Yes, turmeric, the common curry ingredient. I sniffed around it to no avail.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This combination of organic and synthetic makes the urethane expand violently, rendering a two-part sculpture that weighs nearly 1000 pounds. The effect is geologic, a swirl of colors echoed in the erosion and patterning of stones throughout the exhibit.\u003c/p>\n\u003cfigure id=\"attachment_11166464\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Robert-Gould_untitled640.jpg\" alt=\"Robert Gould, 'Untitled,' collected stone and made daiza, finished 2013; collected 2013 Black Butte Lake.\" width=\"640\" height=\"427\" class=\"size-full wp-image-11166464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Robert-Gould_untitled640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Robert-Gould_untitled640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Robert Gould, ‘Untitled,’ collected stone and made daiza, finished 2013; collected 2013\u003cbr>Black Butte Lake. \u003ccite>(Collection of Robert P. Gould)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the rocks in \u003ci>UNEARTHED\u003c/i> at first appear staid (especially in comparison to the “I spy” quality of Caesar’s work), even the smallest amount of sustained looking yields appreciation. Imagine what members of the suiseki societies, with decades of gazing under their belts, see in their chunks of metachert, porphyry and serpentinite. \u003c/p>\n\u003cp>Peppered throughout the wall labels are stories from the stones’ collectors. A quote from Bob Carlson about Henry van der Voort’s \u003ci>Chrysanthemum Stone\u003c/i> captures the feeling of the hunt. “Henry made a lot of noise when he found it,” reads the wall label. “I could hear him a half mile away.”\u003c/p>\n\u003cfigure id=\"attachment_11166462\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Keith-Mansfield_Vince-Monasterio640.jpg\" alt=\"Keith Mansfield examining a stone.\" width=\"640\" height=\"480\" class=\"size-full wp-image-11166462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Keith-Mansfield_Vince-Monasterio640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Keith-Mansfield_Vince-Monasterio640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Keith Mansfield examining a stone. \u003ccite>(Photo: Vince Monasterio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition itself fosters an appreciation for the smallest of details. Caesar mounts his slabs to the wall with hex bolts ground down into triangles. Viewed from the side, they sit like gleaming jewels on the surfaces of his sculptures. Likewise, top-heavy suiseki stones sport museum brackets painted to blend into the objects they support. (Be sure to inspect the verso of Blair Gould’s \u003ci>Doha stone\u003c/i> for some particularly nice faux-marbling.)\u003c/p>\n\u003cp>\u003ci>UNEARTHED\u003c/i> draws a fascinating connecting line between an individual studio practice and a group activity, neither of which had prior knowledge of the other. In this combination, curator Christina Linden points to yet another microcosm: Caesar’s sculptural processes, so similar at times to the geologic processes that created the suiseki stones, mimics our current era, the \u003ca href=\"https://en.wikipedia.org/wiki/Anthropocene\" target=\"_blank\" rel=\"noopener\">anthropocene\u003c/a>, in which human activity effects change on the environment at a global, geologic — and often terrifying — scale. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>UNEARTHED: Found + Made\u003c/b>\u003c/i> is on view at the Oakland Museum of California through April 24, 2016. For more information visit \u003ca href=\"http://museumca.org/exhibit/unearthed-found-made\" target=\"_blank\" rel=\"noopener\">museumca.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-true-story-of-how-art-saved-yosemite-valley",
"title": "The True Story of How Art Saved Yosemite Valley",
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"content": "\u003cp>The history of Yosemite Valley is long and storied, complete with the eradication of the grizzly bear population, adventurous entrepreneurs, violently displaced native peoples and the bizarre \u003ca href=\"http://www.yosemitepark.com/bracebridge-dinner.aspx\" target=\"_blank\" rel=\"noopener\">Bracebridge Dinner\u003c/a> — an annual Christmas pageant staged since 1927 that transforms the picturesque Ahwahnee hotel into an old English manor filled with food, song and dance.\u003c/p>\n\u003cp>Less known within these colorful stories is the role visual artists have played in capturing and preserving the Yosemite Valley in the popular imagination, and ensuring its continued existence as a national park today.\u003c/p>\n\u003cp>Those dramatic, romantic, impossibly beautiful landscape paintings and faded sepia-toned photographs you breeze by in a museum actually helped shape public interest, presidential opinions — and, ultimately, legislature. While influencing federal environmental policy may not have been their original intent, these artists helped to change the course of American history.\u003c/p>\n\u003cfigure id=\"attachment_11152449\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11152449\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Ayles640.jpg\" alt=\"Illustration of Yosemite Valley by Thomas Ayles, as it appeared in the first issue of 'Hutchings' California Magazine,' 1856.\" width=\"640\" height=\"384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Ayles640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Ayles640-400x240.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Illustration of Yosemite Valley by Thomas Ayles, as it appeared in the first issue of ‘Hutchings’ California Magazine,’ 1856.\u003c/figcaption>\u003c/figure>\n\u003cp>But let’s back up a bit. After Yosemite Valley’s “discovery” by the Joseph Walker Party in 1833 (Native Americans called the valley home for somewhere around 8,000 years prior), James Hutchings, a carpenter, aspiring gold miner and journalist, helped put the Valley on the map with his \u003ci>\u003ca href=\"http://www.yosemite.ca.us/library/hutchings_california_magazine/\" target=\"_blank\" rel=\"noopener\">Hutchings’ California Magazine\u003c/a>\u003c/i>, published between 1856 and 1861. The first issue, a self-proclaimed “forty-eight pages of interesting reading matter, in double columns” also featured the very first illustrations of Yosemite Valley, rendered by another failed gold miner, Thomas Ayres.\u003c/p>\n\u003cp>Hutchings’ magazine turned Yosemite into a destination, bringing tourists and entrepreneurs of all kinds to the region. The stampede of visitors brought international fame to the landscape. But it also led to environmental degradation. While today the idea of preserving a remarkable landscape seems like second nature, back then it was wholly new. What force could possibly be strong enough to save Yosemite Valley?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Enter plans for the United States’ first proto-state park. In 1864, President Abraham Lincoln signed the Yosemite Grant Act. The act aimed to preserve the valley and the Mariposa Grove of giant sequoias for “public use, resort and recreation… inalienable for all time” under the stewardship of the state of California.\u003c/p>\n\u003cp>What helped convince Lincoln, immersed in the bloody depths of the Civil War, to recognize Yosemite as a landscape worth protecting? The answer is photographs. In 1861, San Francisco-based photographer Carleton Watkins (yet another once-hopeful gold miner) loaded up a team of mules and nearly a ton of photographic equipment to document the rugged beauty of the Sierra Nevada on 18-by-22-inch glass-plate negatives.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zjWAFgny2L8\u003c/p>\n\u003cp>Watkins’ photographs were exhibited in New York in 1862, where it is believed Lincoln saw them. Those visuals, combined with urging from California Senator John Conness (himself urged by noted landscape architect Frederick Law Olmsted and Mariposa Grove “discoverer” Galen Clark) helped move the act from paper to reality.\u003c/p>\n\u003cfigure id=\"attachment_11152450\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11152450\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/GalenClark1200.jpg\" alt=\"Carleton Watkins, 'Mariposa Grove. Galen Clark,' 1861.\" width=\"1200\" height=\"705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/GalenClark1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/GalenClark1200-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/GalenClark1200-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/GalenClark1200-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/GalenClark1200-1180x693.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/GalenClark1200-960x564.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carleton Watkins, ‘Mariposa Grove. Galen Clark,’ 1861. \u003ccite>(Courtesy: The J. Paul Getty Museum, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the Yosemite Grant Act protected the valley and the sequoias, outside those bounds the surrounding landscape suffered in the ensuing decades, mostly from the effects of sheep grazing. Environmentalist John Muir, who first visited Yosemite in 1868, likened the bleating beasts to “hoofed locusts.” Through Muir’s additional lobbying, magazine articles and an ensuing public outcry, the surrounding area came under federal protection in 1890.\u003c/p>\n\u003cp>But it wasn’t until 1906 that President Theodore Roosevelt merged the state and federal lands into one giant preserve and Yosemite National Park, as we know it today, came into being. Once again, what helped shape this decision? Art!\u003c/p>\n\u003cfigure id=\"attachment_11152567\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11152567\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MuirRooseveltStereo.jpg\" alt=\"Theodore Roosevelt and John Muir on Glacier Point, Yosemite Valley, California, 1903.\" width=\"1024\" height=\"827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MuirRooseveltStereo.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MuirRooseveltStereo-400x323.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MuirRooseveltStereo-743x600.jpg 743w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MuirRooseveltStereo-768x620.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MuirRooseveltStereo-960x775.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Theodore Roosevelt and John Muir on Glacier Point, Yosemite Valley, California, 1903. \u003ccite>(Courtesy: Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike Lincoln, Roosevelt had the opportunity to visit Yosemite himself in 1903, spending four days climbing Overhanging Rock, camping in the snow and gallivanting around with Muir.\u003c/p>\n\u003cfigure id=\"attachment_11152568\" class=\"wp-caption alignright\" style=\"max-width: 416px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11152568\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Thomas_Hill_-_Bridal_Veil_Falls_Yosemite_Valley-e1449793987556.jpg\" alt=\"Thomas Hill, 'Bridal Veil Falls, Yosemite Valley,' 1892.\" width=\"416\" height=\"640\">\u003cfigcaption class=\"wp-caption-text\">Thomas Hill, ‘Bridal Veil Falls, Yosemite Valley,’ 1892. \u003ccite>(Courtesy: Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was on this trip that Roosevelt visited the studio of landscape artist Thomas Hill and left with a painting of Bridalveil Fall. Hill at that point was an elderly painter-in-residence in the valley, but his first trip to Yosemite in 1865 (with Carleton Watkins) began a lifelong obsession with the scenery of the Sierra Nevada. Even while studying abroad in France, Hill painted scenes of Yosemite Valley.\u003c/p>\n\u003cp>And artists’ influence on Yosemite isn’t an isolated occurrence. History would repeat itself nearly half a century later in 1936, when photographer Ansel Adams (along with Muir’s Sierra Club) advocated Congress for the establishment of Kings Canyon National Park.\u003c/p>\n\u003cp>In the minds of many, there’s still plenty of land worth sheltering from mining, commercial logging and other man-made disasters. A current endeavor, the \u003ca href=\"http://www.sierranationalmonument.org/\" target=\"_blank\" rel=\"noopener\">Sierra National Monument Project\u003c/a>, even seeks to connect Yosemite with Kings Canyon through a vast stretch of protected forest. \u003c/p>\n\u003cp>So next time you spot a \u003ca href=\"http://collections.museumca.org/?q=category/made/thomas-hill\" target=\"_blank\" rel=\"noopener\">Thomas Hill\u003c/a> painting at the Oakland Museum of California or glimpse some \u003ca href=\"http://cantorcollections.stanford.edu/PRT0?rec=21&sid=3109&x=37312\" target=\"_blank\" rel=\"noopener\">Carleton Watkins stereoscopes\u003c/a> at Stanford’s Cantor Center for the Arts, don’t just breeze by. Doff your cap — bonus points for a stovepipe hat — and say thanks, guys. Thanks for saving Yosemite Valley from the sheep.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The history of Yosemite Valley is long and storied, complete with the eradication of the grizzly bear population, adventurous entrepreneurs, violently displaced native peoples and the bizarre \u003ca href=\"http://www.yosemitepark.com/bracebridge-dinner.aspx\" target=\"_blank\" rel=\"noopener\">Bracebridge Dinner\u003c/a> — an annual Christmas pageant staged since 1927 that transforms the picturesque Ahwahnee hotel into an old English manor filled with food, song and dance.\u003c/p>\n\u003cp>Less known within these colorful stories is the role visual artists have played in capturing and preserving the Yosemite Valley in the popular imagination, and ensuring its continued existence as a national park today.\u003c/p>\n\u003cp>Those dramatic, romantic, impossibly beautiful landscape paintings and faded sepia-toned photographs you breeze by in a museum actually helped shape public interest, presidential opinions — and, ultimately, legislature. While influencing federal environmental policy may not have been their original intent, these artists helped to change the course of American history.\u003c/p>\n\u003cfigure id=\"attachment_11152449\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11152449\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Ayles640.jpg\" alt=\"Illustration of Yosemite Valley by Thomas Ayles, as it appeared in the first issue of 'Hutchings' California Magazine,' 1856.\" width=\"640\" height=\"384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Ayles640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Ayles640-400x240.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Illustration of Yosemite Valley by Thomas Ayles, as it appeared in the first issue of ‘Hutchings’ California Magazine,’ 1856.\u003c/figcaption>\u003c/figure>\n\u003cp>But let’s back up a bit. After Yosemite Valley’s “discovery” by the Joseph Walker Party in 1833 (Native Americans called the valley home for somewhere around 8,000 years prior), James Hutchings, a carpenter, aspiring gold miner and journalist, helped put the Valley on the map with his \u003ci>\u003ca href=\"http://www.yosemite.ca.us/library/hutchings_california_magazine/\" target=\"_blank\" rel=\"noopener\">Hutchings’ California Magazine\u003c/a>\u003c/i>, published between 1856 and 1861. The first issue, a self-proclaimed “forty-eight pages of interesting reading matter, in double columns” also featured the very first illustrations of Yosemite Valley, rendered by another failed gold miner, Thomas Ayres.\u003c/p>\n\u003cp>Hutchings’ magazine turned Yosemite into a destination, bringing tourists and entrepreneurs of all kinds to the region. The stampede of visitors brought international fame to the landscape. But it also led to environmental degradation. While today the idea of preserving a remarkable landscape seems like second nature, back then it was wholly new. What force could possibly be strong enough to save Yosemite Valley?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enter plans for the United States’ first proto-state park. In 1864, President Abraham Lincoln signed the Yosemite Grant Act. The act aimed to preserve the valley and the Mariposa Grove of giant sequoias for “public use, resort and recreation… inalienable for all time” under the stewardship of the state of California.\u003c/p>\n\u003cp>What helped convince Lincoln, immersed in the bloody depths of the Civil War, to recognize Yosemite as a landscape worth protecting? The answer is photographs. In 1861, San Francisco-based photographer Carleton Watkins (yet another once-hopeful gold miner) loaded up a team of mules and nearly a ton of photographic equipment to document the rugged beauty of the Sierra Nevada on 18-by-22-inch glass-plate negatives.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zjWAFgny2L8'\n title='//www.youtube.com/embed/zjWAFgny2L8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Watkins’ photographs were exhibited in New York in 1862, where it is believed Lincoln saw them. Those visuals, combined with urging from California Senator John Conness (himself urged by noted landscape architect Frederick Law Olmsted and Mariposa Grove “discoverer” Galen Clark) helped move the act from paper to reality.\u003c/p>\n\u003cfigure id=\"attachment_11152450\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11152450\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/GalenClark1200.jpg\" alt=\"Carleton Watkins, 'Mariposa Grove. Galen Clark,' 1861.\" width=\"1200\" height=\"705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/GalenClark1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/GalenClark1200-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/GalenClark1200-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/GalenClark1200-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/GalenClark1200-1180x693.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/GalenClark1200-960x564.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carleton Watkins, ‘Mariposa Grove. Galen Clark,’ 1861. \u003ccite>(Courtesy: The J. Paul Getty Museum, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the Yosemite Grant Act protected the valley and the sequoias, outside those bounds the surrounding landscape suffered in the ensuing decades, mostly from the effects of sheep grazing. Environmentalist John Muir, who first visited Yosemite in 1868, likened the bleating beasts to “hoofed locusts.” Through Muir’s additional lobbying, magazine articles and an ensuing public outcry, the surrounding area came under federal protection in 1890.\u003c/p>\n\u003cp>But it wasn’t until 1906 that President Theodore Roosevelt merged the state and federal lands into one giant preserve and Yosemite National Park, as we know it today, came into being. Once again, what helped shape this decision? Art!\u003c/p>\n\u003cfigure id=\"attachment_11152567\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11152567\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MuirRooseveltStereo.jpg\" alt=\"Theodore Roosevelt and John Muir on Glacier Point, Yosemite Valley, California, 1903.\" width=\"1024\" height=\"827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MuirRooseveltStereo.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MuirRooseveltStereo-400x323.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MuirRooseveltStereo-743x600.jpg 743w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MuirRooseveltStereo-768x620.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MuirRooseveltStereo-960x775.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Theodore Roosevelt and John Muir on Glacier Point, Yosemite Valley, California, 1903. \u003ccite>(Courtesy: Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike Lincoln, Roosevelt had the opportunity to visit Yosemite himself in 1903, spending four days climbing Overhanging Rock, camping in the snow and gallivanting around with Muir.\u003c/p>\n\u003cfigure id=\"attachment_11152568\" class=\"wp-caption alignright\" style=\"max-width: 416px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11152568\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Thomas_Hill_-_Bridal_Veil_Falls_Yosemite_Valley-e1449793987556.jpg\" alt=\"Thomas Hill, 'Bridal Veil Falls, Yosemite Valley,' 1892.\" width=\"416\" height=\"640\">\u003cfigcaption class=\"wp-caption-text\">Thomas Hill, ‘Bridal Veil Falls, Yosemite Valley,’ 1892. \u003ccite>(Courtesy: Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was on this trip that Roosevelt visited the studio of landscape artist Thomas Hill and left with a painting of Bridalveil Fall. Hill at that point was an elderly painter-in-residence in the valley, but his first trip to Yosemite in 1865 (with Carleton Watkins) began a lifelong obsession with the scenery of the Sierra Nevada. Even while studying abroad in France, Hill painted scenes of Yosemite Valley.\u003c/p>\n\u003cp>And artists’ influence on Yosemite isn’t an isolated occurrence. History would repeat itself nearly half a century later in 1936, when photographer Ansel Adams (along with Muir’s Sierra Club) advocated Congress for the establishment of Kings Canyon National Park.\u003c/p>\n\u003cp>In the minds of many, there’s still plenty of land worth sheltering from mining, commercial logging and other man-made disasters. A current endeavor, the \u003ca href=\"http://www.sierranationalmonument.org/\" target=\"_blank\" rel=\"noopener\">Sierra National Monument Project\u003c/a>, even seeks to connect Yosemite with Kings Canyon through a vast stretch of protected forest. \u003c/p>\n\u003cp>So next time you spot a \u003ca href=\"http://collections.museumca.org/?q=category/made/thomas-hill\" target=\"_blank\" rel=\"noopener\">Thomas Hill\u003c/a> painting at the Oakland Museum of California or glimpse some \u003ca href=\"http://cantorcollections.stanford.edu/PRT0?rec=21&sid=3109&x=37312\" target=\"_blank\" rel=\"noopener\">Carleton Watkins stereoscopes\u003c/a> at Stanford’s Cantor Center for the Arts, don’t just breeze by. Doff your cap — bonus points for a stovepipe hat — and say thanks, guys. Thanks for saving Yosemite Valley from the sheep.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://obscuradigital.com/\" target=\"_blank\" rel=\"noopener\">Obscura Digital\u003c/a>, a creative studio based in San Francisco, helped the Vatican kick off the year-long Jubilee of Mercy last week by projecting high-definition images onto St. Peter’s Basilica.\u003c/p>\n\u003cp>The studio was chosen by the Vatican to provide a visual interpretation of Pope Francis’ 2015 encyclical (AKA a letter sent to all Roman Catholic Bishops) entitled “Laudato Si: On Care for Our Common Home,” which focused on the global environmental issues, according to \u003ci>\u003ca href=\"http://www.catholic-sf.org/ns.php?newsid=22&id=64056\" target=\"_blank\" rel=\"noopener\">Catholic San Francisco.\u003c/a>\u003c/i> The resulting hour-long light show from Digital Obscura, entitled “Fiat Lux: Illuminating Our Common Home” was publicly shown on Dec. 8, coinciding with the United Nations Framework Convention on Climate Change in Paris. (Fiat Lux is Latin for “Let there be light.”)\u003c/p>\n\u003cp>Described as a gift to the Pope by representatives of the studio, the light show featured pictures of animals facing extinction, examples of societies from all over the world and other breathtaking sights by award-winning photographers, including National Geographic’s Steve McCurry.\u003c/p>\n\u003cp>“Pope Francis is trying to create a dialogue and we were honored to support his endeavor,” Digital Obscura co-founder Travis Threlkel told Catholic San Francisco. “We’re showing the diversity and glory of God’s creation on the planet, and we’re hoping to inspire the world to have reverence for all things.” \u003c/p>\n\u003cp>https://www.facebook.com/ObscuraDigital/posts/10153761353077192\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To see the show in its entirety, visit \u003ca href=\"http://ourcommonhome.world/\" target=\"_blank\" rel=\"noopener\">ourcommonhome.world.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://obscuradigital.com/\" target=\"_blank\" rel=\"noopener\">Obscura Digital\u003c/a>, a creative studio based in San Francisco, helped the Vatican kick off the year-long Jubilee of Mercy last week by projecting high-definition images onto St. Peter’s Basilica.\u003c/p>\n\u003cp>The studio was chosen by the Vatican to provide a visual interpretation of Pope Francis’ 2015 encyclical (AKA a letter sent to all Roman Catholic Bishops) entitled “Laudato Si: On Care for Our Common Home,” which focused on the global environmental issues, according to \u003ci>\u003ca href=\"http://www.catholic-sf.org/ns.php?newsid=22&id=64056\" target=\"_blank\" rel=\"noopener\">Catholic San Francisco.\u003c/a>\u003c/i> The resulting hour-long light show from Digital Obscura, entitled “Fiat Lux: Illuminating Our Common Home” was publicly shown on Dec. 8, coinciding with the United Nations Framework Convention on Climate Change in Paris. (Fiat Lux is Latin for “Let there be light.”)\u003c/p>\n\u003cp>Described as a gift to the Pope by representatives of the studio, the light show featured pictures of animals facing extinction, examples of societies from all over the world and other breathtaking sights by award-winning photographers, including National Geographic’s Steve McCurry.\u003c/p>\n\u003cp>“Pope Francis is trying to create a dialogue and we were honored to support his endeavor,” Digital Obscura co-founder Travis Threlkel told Catholic San Francisco. “We’re showing the diversity and glory of God’s creation on the planet, and we’re hoping to inspire the world to have reverence for all things.” \u003c/p>\n\u003cp>https://www.facebook.com/ObscuraDigital/posts/10153761353077192\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Last Week to Remember or Discover Sonya Rapoport at Krowswork",
"headTitle": "Last Week to Remember or Discover Sonya Rapoport at Krowswork | KQED",
"content": "\u003cp>Although in 1949 she was one of the first women to receive an MA in painting at UC Berkeley, \u003ca href=\"http://www.sonyarapoport.org/\" target=\"_blank\" rel=\"noopener\">Sonya Rapoport\u003c/a> (1923–2015) is best known for her conceptual work, made with early computer programs. To those familiar with the Berkeley-based artist, Rapoport was a groundbreaking new media artist before the genre even existed. But her name might be new to many viewers, even here in the Bay Area; she was an artist who (like many of her gender) received more prominent attention later in life.\u003c/p>\n\u003cfigure id=\"attachment_11164287\" class=\"wp-caption alignright\" style=\"max-width: 383px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11164287\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RapoportYesOrNo.jpg\" alt=\"Sonya Rapoport, 'Yes Or No? Collage #9,' 2014-15.\" width=\"383\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RapoportYesOrNo.jpg 383w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RapoportYesOrNo-359x600.jpg 359w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003cfigcaption class=\"wp-caption-text\">Sonya Rapoport, ‘Yes Or No? Collage #9,’ 2014-15. \u003ccite>(Photo: Dana Davis/Courtesy of the Sonya Rapoport Trust and Krowswork.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those freshly discovering Rapoport’s work, \u003cem>Sonya Rapoport: Final Works\u003c/em> at \u003ca href=\"http://www.krowswork.com/\" target=\"_blank\" rel=\"noopener\">Krowswork\u003c/a> (on view through Dec. 19) is a complicated place to start. But it’s a worthy starting point, as long as one keeps in mind that precise context matters.\u003c/p>\n\u003cp>This is not a retrospective. The exhibition presents work made during her residency at the alternative art center, representing the artist’s final works before her passing in June 2015. The exhibition also serves as an intimate homage to the artist’s life and works.\u003c/p>\n\u003cp>\u003ci>Final Works\u003c/i> features two installations made during the residency and video documentation of earlier work. Perhaps predictably for conceptually-driven works, the backstory helps unravel complex layers of meaning. In 2014 UC Berkeley’s Bancroft Library acquired \u003ca href=\"http://www.sonyarapoport.org/bancroft-library/\" target=\"_blank\" rel=\"noopener\">Rapoport’s archive\u003c/a>, triggering the artist to pore through her life’s work.\u003c/p>\n\u003cp>Although generally a self-reflexive artist, her final installations directly correspond with earlier pieces: \u003cem>The Transitive Property of Equality\u003c/em> (2015) is the twelfth iteration of a work she began in 1979, \u003cem>Objects on My Dresser\u003c/em>; \u003cem>Yes Or No?\u003c/em> (2014-15) recycles archival visuals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the uninitiated, it’s useful to start by watching the video to get a taste of Rapoport’s modus operandi. She experimented with scientific ways to categorize, quantify and interpret highly subjective experiences, but in unpredictable ways. Her playfulness comes out in these interactive installations, like when she paired a unique (if then rudimentary) computer program for analysis alongside an on-site palm reader or philosopher to holistically analyze a personal topic.\u003c/p>\n\u003cfigure id=\"attachment_11164290\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11164290\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RapoportYesNo7.jpg\" alt=\"Sonya Rapoport, 'Yes or No?, Collage #7,' 2014-15.\" width=\"640\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RapoportYesNo7.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RapoportYesNo7-400x354.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sonya Rapoport, ‘Yes or No?, Collage #7,’ 2014-15. \u003ccite>(Photo: Dana Davis/Courtesy of the Sonya Rapoport Trust and Krowswork)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Exposure to her early work helps, too, when studying the collages of \u003cem>Yes Or No?\u003c/em> One can then recognize the hand-gesture poems of \u003cem>Digital Mudra\u003c/em> (1987), and the “shoe psyche” portraits from \u003cem>Shoe Field\u003c/em> (1986) pasted onto pages of \u003cem>The New York Times\u003c/em>, in addition to quotes from Richard Cándida-Smith’s \u003ca href=\"http://www.upenn.edu/pennpress/book/14651.html\" target=\"_blank\" rel=\"noopener\">writing on Jay DeFeo\u003c/a>. Rapoport appropriated lines about the work of DeFeo, a classmate of hers at UC Berkeley, that she found applicable to and definitive of her own work. Rapoport’s tactic of repurposing shows up repeatedly in her practice, a trick that embraces individualized interpretation of information within established parameters.\u003c/p>\n\u003cp>To that end, \u003cem>The Transitive Property of Equality\u003c/em> (2015) asks viewers to interact with the endearingly humble objects Rapoport kept on her dresser. The items are displayed in the gallery, from a ceramic cat bank to a photograph of the artist’s daughter with her husband. Also displayed are photographs of the objects, lined up on a shelf, each accompanied by colored beads in petri dishes. Surrounding the walls of this room are, again, pages from \u003cem>The New York Times\u003c/em> overlaid with text.\u003c/p>\n\u003cp>This time Rapoport appropriated words from a poem by Anne Lesley Selcer, a fellow Krowswork resident artist. To participate in the installation, viewers are instructed to individually match an image of a dresser-object with one of the poem lines; their choice is represented by depositing a bead into a 3D grid. (Having watched the video documentation of \u003cem>Objects on my Dresser\u003c/em>, one can imagine Rapoport’s warm voice inquiring, “Now where would you like to put that?”)\u003c/p>\n\u003cfigure id=\"attachment_11164289\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11164289\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RapoportShelf-1.jpg\" alt=\"Sonya Rapoport, Installation shot, 'The Transitive Property of Equality,' 2015.\" width=\"640\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RapoportShelf-1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RapoportShelf-1-400x288.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sonya Rapoport, Installation shot, ‘The Transitive Property of Equality,’ 2015. \u003ccite>(Photo: Emily Holmes/Courtesy of the Sonya Rapoport Legacy Trust and Krowswork)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alongside the hyper-local references to the Krowswork residency and her own body of work, Rapoport’s practice extends to examine the idea of the public itself. Her repeated use of \u003cem>The New York Times\u003c/em> as a canvas suggests a fascination with mass visual culture, that sea of information that surrounds individuals as they craft their own experiences. Rapoport continually studied her own navigation through public information, media, advertisements and even language itself.\u003c/p>\n\u003cp>\u003cem>Sonya Rapoport: Final Works\u003c/em> functions as a capstone and a cliffhanger. Although the exhibition presents just enough of her early work that anyone can comfortably move forward into experiencing these last pieces, it’s clear that Rapoport’s work — early and final — is worth getting to know.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Sonya Rapoport: Final Works \u003c/em>\u003c/strong>is on view at Krowswork in Oakland through Dec. 19, 2015. For more information, visit \u003ca href=\"http://www.krowswork.com/\" target=\"_blank\" rel=\"noopener\">krowswork.com\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Although in 1949 she was one of the first women to receive an MA in painting at UC Berkeley, \u003ca href=\"http://www.sonyarapoport.org/\" target=\"_blank\" rel=\"noopener\">Sonya Rapoport\u003c/a> (1923–2015) is best known for her conceptual work, made with early computer programs. To those familiar with the Berkeley-based artist, Rapoport was a groundbreaking new media artist before the genre even existed. But her name might be new to many viewers, even here in the Bay Area; she was an artist who (like many of her gender) received more prominent attention later in life.\u003c/p>\n\u003cfigure id=\"attachment_11164287\" class=\"wp-caption alignright\" style=\"max-width: 383px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11164287\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RapoportYesOrNo.jpg\" alt=\"Sonya Rapoport, 'Yes Or No? Collage #9,' 2014-15.\" width=\"383\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RapoportYesOrNo.jpg 383w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RapoportYesOrNo-359x600.jpg 359w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003cfigcaption class=\"wp-caption-text\">Sonya Rapoport, ‘Yes Or No? Collage #9,’ 2014-15. \u003ccite>(Photo: Dana Davis/Courtesy of the Sonya Rapoport Trust and Krowswork.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those freshly discovering Rapoport’s work, \u003cem>Sonya Rapoport: Final Works\u003c/em> at \u003ca href=\"http://www.krowswork.com/\" target=\"_blank\" rel=\"noopener\">Krowswork\u003c/a> (on view through Dec. 19) is a complicated place to start. But it’s a worthy starting point, as long as one keeps in mind that precise context matters.\u003c/p>\n\u003cp>This is not a retrospective. The exhibition presents work made during her residency at the alternative art center, representing the artist’s final works before her passing in June 2015. The exhibition also serves as an intimate homage to the artist’s life and works.\u003c/p>\n\u003cp>\u003ci>Final Works\u003c/i> features two installations made during the residency and video documentation of earlier work. Perhaps predictably for conceptually-driven works, the backstory helps unravel complex layers of meaning. In 2014 UC Berkeley’s Bancroft Library acquired \u003ca href=\"http://www.sonyarapoport.org/bancroft-library/\" target=\"_blank\" rel=\"noopener\">Rapoport’s archive\u003c/a>, triggering the artist to pore through her life’s work.\u003c/p>\n\u003cp>Although generally a self-reflexive artist, her final installations directly correspond with earlier pieces: \u003cem>The Transitive Property of Equality\u003c/em> (2015) is the twelfth iteration of a work she began in 1979, \u003cem>Objects on My Dresser\u003c/em>; \u003cem>Yes Or No?\u003c/em> (2014-15) recycles archival visuals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the uninitiated, it’s useful to start by watching the video to get a taste of Rapoport’s modus operandi. She experimented with scientific ways to categorize, quantify and interpret highly subjective experiences, but in unpredictable ways. Her playfulness comes out in these interactive installations, like when she paired a unique (if then rudimentary) computer program for analysis alongside an on-site palm reader or philosopher to holistically analyze a personal topic.\u003c/p>\n\u003cfigure id=\"attachment_11164290\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11164290\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RapoportYesNo7.jpg\" alt=\"Sonya Rapoport, 'Yes or No?, Collage #7,' 2014-15.\" width=\"640\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RapoportYesNo7.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RapoportYesNo7-400x354.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sonya Rapoport, ‘Yes or No?, Collage #7,’ 2014-15. \u003ccite>(Photo: Dana Davis/Courtesy of the Sonya Rapoport Trust and Krowswork)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Exposure to her early work helps, too, when studying the collages of \u003cem>Yes Or No?\u003c/em> One can then recognize the hand-gesture poems of \u003cem>Digital Mudra\u003c/em> (1987), and the “shoe psyche” portraits from \u003cem>Shoe Field\u003c/em> (1986) pasted onto pages of \u003cem>The New York Times\u003c/em>, in addition to quotes from Richard Cándida-Smith’s \u003ca href=\"http://www.upenn.edu/pennpress/book/14651.html\" target=\"_blank\" rel=\"noopener\">writing on Jay DeFeo\u003c/a>. Rapoport appropriated lines about the work of DeFeo, a classmate of hers at UC Berkeley, that she found applicable to and definitive of her own work. Rapoport’s tactic of repurposing shows up repeatedly in her practice, a trick that embraces individualized interpretation of information within established parameters.\u003c/p>\n\u003cp>To that end, \u003cem>The Transitive Property of Equality\u003c/em> (2015) asks viewers to interact with the endearingly humble objects Rapoport kept on her dresser. The items are displayed in the gallery, from a ceramic cat bank to a photograph of the artist’s daughter with her husband. Also displayed are photographs of the objects, lined up on a shelf, each accompanied by colored beads in petri dishes. Surrounding the walls of this room are, again, pages from \u003cem>The New York Times\u003c/em> overlaid with text.\u003c/p>\n\u003cp>This time Rapoport appropriated words from a poem by Anne Lesley Selcer, a fellow Krowswork resident artist. To participate in the installation, viewers are instructed to individually match an image of a dresser-object with one of the poem lines; their choice is represented by depositing a bead into a 3D grid. (Having watched the video documentation of \u003cem>Objects on my Dresser\u003c/em>, one can imagine Rapoport’s warm voice inquiring, “Now where would you like to put that?”)\u003c/p>\n\u003cfigure id=\"attachment_11164289\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11164289\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RapoportShelf-1.jpg\" alt=\"Sonya Rapoport, Installation shot, 'The Transitive Property of Equality,' 2015.\" width=\"640\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RapoportShelf-1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RapoportShelf-1-400x288.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sonya Rapoport, Installation shot, ‘The Transitive Property of Equality,’ 2015. \u003ccite>(Photo: Emily Holmes/Courtesy of the Sonya Rapoport Legacy Trust and Krowswork)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alongside the hyper-local references to the Krowswork residency and her own body of work, Rapoport’s practice extends to examine the idea of the public itself. Her repeated use of \u003cem>The New York Times\u003c/em> as a canvas suggests a fascination with mass visual culture, that sea of information that surrounds individuals as they craft their own experiences. Rapoport continually studied her own navigation through public information, media, advertisements and even language itself.\u003c/p>\n\u003cp>\u003cem>Sonya Rapoport: Final Works\u003c/em> functions as a capstone and a cliffhanger. Although the exhibition presents just enough of her early work that anyone can comfortably move forward into experiencing these last pieces, it’s clear that Rapoport’s work — early and final — is worth getting to know.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Sonya Rapoport: Final Works \u003c/em>\u003c/strong>is on view at Krowswork in Oakland through Dec. 19, 2015. For more information, visit \u003ca href=\"http://www.krowswork.com/\" target=\"_blank\" rel=\"noopener\">krowswork.com\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Organizers of the Burning Man counter-culture celebration are challenging the enforcement of a Nevada state tax that they say could cost them nearly $3 million.\u003c/p>\n\u003cp>Burning Man officials said in a letter to the state Department of Taxation on Friday that the festival should be exempt from the recently amended tax on live entertainment, the \u003ca href=\"http://tinyurl.com/nrfm3hq\" target=\"_blank\" rel=\"noopener\">Reno Gazette-Journal reported Saturday\u003c/a>.\u003c/p>\n\u003cp>The 25-year-old annual arts festival attracted about 80,000 participants this year to the Black Rock Desert 100 miles north of Reno.\u003c/p>\n\u003cp>Burning Man attorney Ray Allen said the nine percent tax would translate into a tax bill of about $2.8 million. He said the tax is known by some as the “Burning Man tax.”\u003c/p>\n\u003cp>“From our perspective, this is the latest attempt by an outside entity to unfairly tap the resources of Burning Man and its participants,” event organizers said in a statement posted on their web site. “Some seem to view Burning Man as the ‘golden goose’ they can turn to when they want money for other projects.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burning Man officials said they will not set 2016 ticket prices until they hear back from the taxation department because they could be forced to bump up the cost of entry to the temporary village dubbed “Black Rock City.” They urged the department to respond by Jan. 15.\u003c/p>\n\u003cp>In June, the Legislature approved a revised version of the live entertainment tax, which originally came into law in 2004 as a way for the state to gain revenue from Las Vegas’s robust live entertainment industry. The revised version became effective Oct. 1.\u003c/p>\n\u003cp>Certain events — including school, sporting, racing and nonprofit events attended by fewer than 7,500 people — remain exempt from the tax. Burning Man and the Electric Daisy Carnival, a music festival held in Las Vegas, were the two largest events newly affected by the change.\u003c/p>\n\u003cp>Burning Man maintains it should be treated as it has historically during the weeklong celebration that culminates with the burning of a towering, wooden effigy the day before Labor Day.\u003c/p>\n\u003cp>“Black Rock City is not an arena concert, a sporting event or a Las Vegas show; it’s a thriving metropolis with all the trappings of a functioning temporary city, with people camping, cooking meals, visiting neighbors, and exploring the offerings of its citizens,” the organization said in its online statement.\u003c/p>\n\u003cp>“While the Burning Man organization provides the space and basic infrastructure for Black Rock City, we simply don’t provide live entertainment as defined by the statute.”\u003c/p>\n\u003cp>Burning Man previously was exempt because it was an outdoor event, said ex-House Speaker Marilyn Kirkpatrick, D-Las Vegas, who co-sponsored the bill in March. No other newly affected organization, including the Electric Daisy Carnival, had qualms with paying the tax, she said.\u003c/p>\n\u003cp>As is, the tax brings in about $137 million annually, most of which goes toward the state’s general fund. About $150,000 will go toward the Nevada Arts Council in the future.\u003c/p>\n\u003cp>“It’s just a sign of the times. Entertainment has changed,” Kirkpatrick said. “There’s no way we could have predicted in 2003 that there would be an event like Burning Man. It’s disappointing that they take it so personal.”\u003c/p>\n\u003cp>Burning Man previously stated that an increase in ticket prices may be necessary to cover the tax. General admission tickets in 2015 were $390, a $10 increase from 2014.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Information from: Reno Gazette-Journal, http://www.rgj.com\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"description": "Organizers of the Burning Man counter-culture celebration are challenging the enforcement of a Nevada state tax that they say could cost them nearly $3 million. Burning Man officials said in a letter to the state Department of Taxation on Friday that the festival should be exempt from the recently amended tax on live entertainment, the Reno Gazette-Journal reported Saturday. The 25-year-old annual arts festival attracted about 80,000 participants this year to the Black Rock Desert 100 miles north of Reno. Burning Man attorney Ray Allen said the nine percent tax would translate into a tax bill of about $2.8 million.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Organizers of the Burning Man counter-culture celebration are challenging the enforcement of a Nevada state tax that they say could cost them nearly $3 million.\u003c/p>\n\u003cp>Burning Man officials said in a letter to the state Department of Taxation on Friday that the festival should be exempt from the recently amended tax on live entertainment, the \u003ca href=\"http://tinyurl.com/nrfm3hq\" target=\"_blank\" rel=\"noopener\">Reno Gazette-Journal reported Saturday\u003c/a>.\u003c/p>\n\u003cp>The 25-year-old annual arts festival attracted about 80,000 participants this year to the Black Rock Desert 100 miles north of Reno.\u003c/p>\n\u003cp>Burning Man attorney Ray Allen said the nine percent tax would translate into a tax bill of about $2.8 million. He said the tax is known by some as the “Burning Man tax.”\u003c/p>\n\u003cp>“From our perspective, this is the latest attempt by an outside entity to unfairly tap the resources of Burning Man and its participants,” event organizers said in a statement posted on their web site. “Some seem to view Burning Man as the ‘golden goose’ they can turn to when they want money for other projects.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burning Man officials said they will not set 2016 ticket prices until they hear back from the taxation department because they could be forced to bump up the cost of entry to the temporary village dubbed “Black Rock City.” They urged the department to respond by Jan. 15.\u003c/p>\n\u003cp>In June, the Legislature approved a revised version of the live entertainment tax, which originally came into law in 2004 as a way for the state to gain revenue from Las Vegas’s robust live entertainment industry. The revised version became effective Oct. 1.\u003c/p>\n\u003cp>Certain events — including school, sporting, racing and nonprofit events attended by fewer than 7,500 people — remain exempt from the tax. Burning Man and the Electric Daisy Carnival, a music festival held in Las Vegas, were the two largest events newly affected by the change.\u003c/p>\n\u003cp>Burning Man maintains it should be treated as it has historically during the weeklong celebration that culminates with the burning of a towering, wooden effigy the day before Labor Day.\u003c/p>\n\u003cp>“Black Rock City is not an arena concert, a sporting event or a Las Vegas show; it’s a thriving metropolis with all the trappings of a functioning temporary city, with people camping, cooking meals, visiting neighbors, and exploring the offerings of its citizens,” the organization said in its online statement.\u003c/p>\n\u003cp>“While the Burning Man organization provides the space and basic infrastructure for Black Rock City, we simply don’t provide live entertainment as defined by the statute.”\u003c/p>\n\u003cp>Burning Man previously was exempt because it was an outdoor event, said ex-House Speaker Marilyn Kirkpatrick, D-Las Vegas, who co-sponsored the bill in March. No other newly affected organization, including the Electric Daisy Carnival, had qualms with paying the tax, she said.\u003c/p>\n\u003cp>As is, the tax brings in about $137 million annually, most of which goes toward the state’s general fund. About $150,000 will go toward the Nevada Arts Council in the future.\u003c/p>\n\u003cp>“It’s just a sign of the times. Entertainment has changed,” Kirkpatrick said. “There’s no way we could have predicted in 2003 that there would be an event like Burning Man. It’s disappointing that they take it so personal.”\u003c/p>\n\u003cp>Burning Man previously stated that an increase in ticket prices may be necessary to cover the tax. General admission tickets in 2015 were $390, a $10 increase from 2014.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Information from: Reno Gazette-Journal, http://www.rgj.com\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "L.A. Exhibition Showcases Art From Inside Death Row",
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"headTitle": "L.A. Exhibition Showcases Art From Inside Death Row | KQED",
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"content": "\u003cp>Right now, 746 inmates await execution in California. We don’t often hear from those inmates, let alone see artwork they make in prison. But organizers of a \u003ca href=\"http://www.windowsondeathrow.com/\" target=\"_blank\">Los Angeles exhibition\u003c/a> of art made by death row inmates from across the country say they hope to reveal the humanity of those people whose lives hang in the balance.\u003c/p>\n\u003cp>On July 16, 2014, U.S. District Judge Cormac J. Carney ruled that California’s death penalty violates the U.S. Constitution’s ban on cruel and unusual punishment because it is arbitrary and plagued with delays. But that decision was overturned on Nov. 12, 2015, on technical grounds, which means executions could potentially move forward. The last execution in the state was in 2006.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/237170725″ 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>\u003ca href=\"http://www.windowsondeathrow.com/incarceratedart/#/kevin-cooper/\" target=\"_blank\">Kevin Cooper\u003c/a> has been on death row in San Quentin State Prison for 30 years. He’s on a short list of at least 17 death row inmates who have exhausted their appeals and would be the first to be put to death if executions resume in California. He spends much of his day in his cell.\u003c/p>\n\u003cp>“I live in a cage that is 4½ feet wide by 11 feet long,” Cooper says. “And everything that I do within this cage I do mostly to stay sane. But I have a TV, a typewriter, my art supplies and my books.”\u003c/p>\n\u003cfigure id=\"attachment_10790891\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10790891 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers.jpg\" alt=\"\" width=\"1920\" height=\"1206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-1440x905.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-1180x741.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-960x603.jpg 960w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin death row inmate Kevin Cooper (C), with ‘Windows on Death Row’ organizers Patrick Chappatte (L) and Anne Widmann. \u003ccite>(Courtesy Patrick Chappatte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a tray slot in the door where guards pass him his meals or a cellphone. In 1985, Cooper was convicted of murdering four people in the Chino Hills area of Southern California. \u003ca href=\"http://articles.latimes.com/2010/jan/03/local/la-me-kevincooper3-2010jan03\" target=\"_blank\">His case is controversial\u003c/a>. People have marched to have him executed, while others have protested to demand his release. He has always maintained his innocence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2004, Cooper was scheduled to be executed. Less than four hours before he was set to receive a lethal injection, it was postponed to allow for more DNA testing, which still failed to exonerate him. Still, he’s become a figurehead in the movement to abolish the death penalty.\u003c/p>\n\u003cp>[contextly_sidebar id=”kvfLbDPqPmuNxu24neZbunnXMlc6wn65″]\u003c/p>\n\u003cp>“I knew after I survived that stuff that my life wasn’t my own no more, that it belonged to this movement. And I’ve been involved in this movement for a very long time. And that is where I get my strength,” Cooper says.\u003c/p>\n\u003cp>Cooper is one of a couple dozen inmate artists represented in “\u003ca href=\"http://www.windowsondeathrow.com/\">Windows on Death Row\u003c/a>,” an exhibition at the University of Southern California. His acrylic paintings draw connections between slavery and prison labor. One, called “It’s a Generation Thing in America,” shows three black men — a grandfather, father and son — all wearing prison uniforms. Another piece, “Free Me,” shows a man cupping his hand to his mouth and shouting.\u003c/p>\n\u003cfigure id=\"attachment_10790938\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10790938\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/CooperFreeMe.jpg\" alt=\"Kevin Cooper's "Free Me," part of the "Windows on Death Row" exhibition.\" width=\"1920\" height=\"2425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-400x505.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-800x1010.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-768x970.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-1440x1819.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-1180x1490.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-960x1213.jpg 960w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Cooper’s “Free Me,” part of the “Windows on Death Row” exhibition. \u003ccite>(Courtesy Kevin Cooper/Windows on Death Row)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Sometimes when you’re in a place like this and you tell people certain things, it’s just like they don’t hear. You have to scream it,” Cooper says. “And sometimes when you scream, they still don’t hear you.”\u003c/p>\n\u003cp>“Windows on Death Row” was organized by a Swiss couple: Patrick Chappatte, a political cartoonist for the International New York Times, and TV journalist and documentary filmmaker Anne Widmann. Chappatte says they wanted to reveal the humanity of the inmates.\u003c/p>\n\u003cp>“And that’s what is a bit unsettling, might be unsettling for some viewers, because death row is a place, is a forgotten place where we put, as a society we put people that are seen as monsters, and we don’t pay attention to what’s going on there. And what you see through the art is actually, you see beauty, you see human emotions,” Chappatte said.\u003c/p>\n\u003cp>Over 70 framed drawings and paintings line the walls. Some of those include political cartoons submitted by Chappatte’s fellow cartoonists. All the pieces in the show are critical of capital punishment. Chappatte said he reached out to conservative cartoonists but they, too, were against capital punishment.\u003c/p>\n\u003cp>“One of the cartoonists says that he’s describing in one of his cartoons that he was for death penalty, then changed his mind. Another of the conservative cartoonists told me, ‘You know what, I’m pro-life all the way, so I’m anti-abortion and anti-death penalty,’ ” Chappatte recalls.\u003c/p>\n\u003cp>[gallery type=\"rectangular\" size=\"large\" ids=\"10790941,10790943\"]\u003c/p>\n\u003cp>The cartoonist who changed his mind about the death penalty is Jack Ohman, editorial cartoonist for the Sacramento Bee and president of the Association of American Editorial Cartoonists.\u003c/p>\n\u003cp>“I don’t want to be executing somebody who — even if they had committed the crime — I don’t think that sends the right signal. As a society, if you’re saying killing is wrong, killing is wrong. We shouldn’t be killing,” Ohman says.\u003c/p>\n\u003cp>Widmann says “Windows on Death Row” is not about taking sides between criminals and victims. She points out that the group “Murder Victims’ Families for Human Rights” is one of the show’s sponsors. But she does want visitors to think about how race and class factor into how likely defendants are to be sentenced to death.\u003c/p>\n\u003cp>“I mean, look at this system. It’s broken. I mean, how come terrible murderers are not on death row, and how come some are? How come some people have money to hire great lawyers, and how come others don’t?” Widmann says. “It has nothing to do with empathy with criminals, you see what I mean?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Windows on Death Row” will travel to North Carolina and Ohio after it closes in Los Angeles on Dec. 18.\u003c/p>\n\n",
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"title": "L.A. Exhibition Showcases Art From Inside Death Row | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Right now, 746 inmates await execution in California. We don’t often hear from those inmates, let alone see artwork they make in prison. But organizers of a \u003ca href=\"http://www.windowsondeathrow.com/\" target=\"_blank\">Los Angeles exhibition\u003c/a> of art made by death row inmates from across the country say they hope to reveal the humanity of those people whose lives hang in the balance.\u003c/p>\n\u003cp>On July 16, 2014, U.S. District Judge Cormac J. Carney ruled that California’s death penalty violates the U.S. Constitution’s ban on cruel and unusual punishment because it is arbitrary and plagued with delays. But that decision was overturned on Nov. 12, 2015, on technical grounds, which means executions could potentially move forward. The last execution in the state was in 2006.\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/237170725″&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/237170725″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.windowsondeathrow.com/incarceratedart/#/kevin-cooper/\" target=\"_blank\">Kevin Cooper\u003c/a> has been on death row in San Quentin State Prison for 30 years. He’s on a short list of at least 17 death row inmates who have exhausted their appeals and would be the first to be put to death if executions resume in California. He spends much of his day in his cell.\u003c/p>\n\u003cp>“I live in a cage that is 4½ feet wide by 11 feet long,” Cooper says. “And everything that I do within this cage I do mostly to stay sane. But I have a TV, a typewriter, my art supplies and my books.”\u003c/p>\n\u003cfigure id=\"attachment_10790891\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10790891 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers.jpg\" alt=\"\" width=\"1920\" height=\"1206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-1440x905.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-1180x741.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-960x603.jpg 960w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin death row inmate Kevin Cooper (C), with ‘Windows on Death Row’ organizers Patrick Chappatte (L) and Anne Widmann. \u003ccite>(Courtesy Patrick Chappatte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a tray slot in the door where guards pass him his meals or a cellphone. In 1985, Cooper was convicted of murdering four people in the Chino Hills area of Southern California. \u003ca href=\"http://articles.latimes.com/2010/jan/03/local/la-me-kevincooper3-2010jan03\" target=\"_blank\">His case is controversial\u003c/a>. People have marched to have him executed, while others have protested to demand his release. He has always maintained his innocence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2004, Cooper was scheduled to be executed. Less than four hours before he was set to receive a lethal injection, it was postponed to allow for more DNA testing, which still failed to exonerate him. Still, he’s become a figurehead in the movement to abolish the death penalty.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I knew after I survived that stuff that my life wasn’t my own no more, that it belonged to this movement. And I’ve been involved in this movement for a very long time. And that is where I get my strength,” Cooper says.\u003c/p>\n\u003cp>Cooper is one of a couple dozen inmate artists represented in “\u003ca href=\"http://www.windowsondeathrow.com/\">Windows on Death Row\u003c/a>,” an exhibition at the University of Southern California. His acrylic paintings draw connections between slavery and prison labor. One, called “It’s a Generation Thing in America,” shows three black men — a grandfather, father and son — all wearing prison uniforms. Another piece, “Free Me,” shows a man cupping his hand to his mouth and shouting.\u003c/p>\n\u003cfigure id=\"attachment_10790938\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10790938\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/CooperFreeMe.jpg\" alt=\"Kevin Cooper's "Free Me," part of the "Windows on Death Row" exhibition.\" width=\"1920\" height=\"2425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-400x505.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-800x1010.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-768x970.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-1440x1819.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-1180x1490.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-960x1213.jpg 960w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Cooper’s “Free Me,” part of the “Windows on Death Row” exhibition. \u003ccite>(Courtesy Kevin Cooper/Windows on Death Row)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Sometimes when you’re in a place like this and you tell people certain things, it’s just like they don’t hear. You have to scream it,” Cooper says. “And sometimes when you scream, they still don’t hear you.”\u003c/p>\n\u003cp>“Windows on Death Row” was organized by a Swiss couple: Patrick Chappatte, a political cartoonist for the International New York Times, and TV journalist and documentary filmmaker Anne Widmann. Chappatte says they wanted to reveal the humanity of the inmates.\u003c/p>\n\u003cp>“And that’s what is a bit unsettling, might be unsettling for some viewers, because death row is a place, is a forgotten place where we put, as a society we put people that are seen as monsters, and we don’t pay attention to what’s going on there. And what you see through the art is actually, you see beauty, you see human emotions,” Chappatte said.\u003c/p>\n\u003cp>Over 70 framed drawings and paintings line the walls. Some of those include political cartoons submitted by Chappatte’s fellow cartoonists. All the pieces in the show are critical of capital punishment. Chappatte said he reached out to conservative cartoonists but they, too, were against capital punishment.\u003c/p>\n\u003cp>“One of the cartoonists says that he’s describing in one of his cartoons that he was for death penalty, then changed his mind. Another of the conservative cartoonists told me, ‘You know what, I’m pro-life all the way, so I’m anti-abortion and anti-death penalty,’ ” Chappatte recalls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The cartoonist who changed his mind about the death penalty is Jack Ohman, editorial cartoonist for the Sacramento Bee and president of the Association of American Editorial Cartoonists.\u003c/p>\n\u003cp>“I don’t want to be executing somebody who — even if they had committed the crime — I don’t think that sends the right signal. As a society, if you’re saying killing is wrong, killing is wrong. We shouldn’t be killing,” Ohman says.\u003c/p>\n\u003cp>Widmann says “Windows on Death Row” is not about taking sides between criminals and victims. She points out that the group “Murder Victims’ Families for Human Rights” is one of the show’s sponsors. But she does want visitors to think about how race and class factor into how likely defendants are to be sentenced to death.\u003c/p>\n\u003cp>“I mean, look at this system. It’s broken. I mean, how come terrible murderers are not on death row, and how come some are? How come some people have money to hire great lawyers, and how come others don’t?” Widmann says. “It has nothing to do with empathy with criminals, you see what I mean?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Windows on Death Row” will travel to North Carolina and Ohio after it closes in Los Angeles on Dec. 18.\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
"closealltabs": {
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"order": 9
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"meta": {
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"source": "WNYC"
},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
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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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"order": 15
},
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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