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"content": "\u003cp>When the Berlin Wall fell in November 1989, Kani Alavi was a young artist living in an apartment overlooking the border between East and West Berlin. He remembers seeing East Berliners streaming through “like a wave of water,” he said through an interpreter. “Some were joyful, some were doubtful, some were afraid they might not [have the chance to] cross again.”\u003c/p>\n\u003cp>Alavi painted that moment: a flowing river of faces he calls “Es geschah im November,” or “It happened in November.”\u003c/p>\n\u003cp>Today, tourists can see that painting, alongside more than 100 others, covering a nearly mile-long stretch of the original cement Berlin Wall. It’s called the East Side Gallery.\u003c/p>\n\u003cp>Alavi and a group of artists created it in 1990, soon after the wall fell. They wanted to preserve part of history, and felt it was symbolic to paint on the East side — which was blank during the East-West division, since East German soldiers patrolled the area dubbed the “death strip.”\u003c/p>\n\u003cfigure id=\"attachment_10995680\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-1180x885.jpg\" alt=\"Kani Alavi stands before his painting It Happened in November, part of the open-air East Side Gallery built on fragments of the old Berlin Wall. He's fighting proposed development that would overshadow, relocate or remove segments of the gallery. "The fight to keep this wall intact, to preserve it, has become [my] life," he says.\" width=\"640\" height=\"480\" class=\"size-large wp-image-10995680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kani Alavi stands before his painting It Happened in November, part of the open-air East Side Gallery built on fragments of the old Berlin Wall. He’s fighting proposed development that would overshadow, relocate or remove segments of the gallery. “The fight to keep this wall intact, to preserve it, has become [my] life,” he says. \u003ccite>(Irene Noguchi for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, it’s covered in colorful paintings, including one depicting the famous “kiss” between former Soviet head Leonid Brezhnev and East German leader Erich Honecker. The open-air gallery gets an estimated 800,000 visitors each year, including graffiti artists and vandals who scribble across the colorful paintings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But for Alavi, the wall’s biggest threat isn’t vandalism. It’s developers.\u003c/p>\n\u003cp>Alavi and his supporters have spent the past few years fighting developers from building alongside the gallery wall. While he has taken some to court and won, one developer managed to get building permits off Alavi’s radar and recently constructed a luxury tower. The 14-story building with aquamarine windows overlooks the nearby Spree River, and as of this spring, had reportedly sold 80 percent of its units.\u003c/p>\n\u003cp>When construction started two years ago, 6,000 protesters showed up — including former \u003cem>Baywatch\u003c/em> actor David Hasselhoff, who happens to be a popular singer in Germany. (He sang “Looking for Freedom,” which he originally performed at the Berlin Wall in 1989 before a pro-reunification crowd.)\u003c/p>\n\u003cfigure id=\"attachment_10995681\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-934x1180.jpg\" alt=\"A luxury apartment building towers over the East Side Gallery, despite the objections of artists like Kani Alavi.\" width=\"640\" height=\"809\" class=\"size-large wp-image-10995681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-934x1180.jpg 934w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-400x506.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-475x600.jpg 475w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-1920x2427.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-1180x1491.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-960x1213.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A luxury apartment building towers over the East Side Gallery, despite the objections of artists like Kani Alavi. \u003ccite>(Irene Noguchi for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But 10 days later, construction workers removed a 6-meter portion of the wall under heavy police protection, so they could start building. A hotel was also granted a building permit right next to the luxury tower, though no construction date is set.\u003c/p>\n\u003cp>Standing in front of his painting on the wall, Kani says he hopes the East Side Gallery will one day become a UNESCO World Heritage site and be protected from further development. But the shiny new apartments tower behind him, and tourists strain to hear him above the rush of traffic.\u003c/p>\n\u003cp>It might seem like a losing battle (the Mercedes-Benz Arena sits right across the street, and already had part of the wall sliced out and relocated for an unobstructed view of the water). But Alavi feels it’s crucial to preserve the Berlin Wall so people remember the struggle for reunification, and how borders are treated as barriers — especially in light of Germany’s migrant crisis today.\u003c/p>\n\u003cp>German Chancellor Angela Merkel made the controversial announcement earlier this summer that the country would take in 800,000 refugees — far more than any European Union nation. The media photos of Syrians streaming across the border look eerily similar to Alavi’s own painting of East Berliners crossing the Berlin Wall.\u003c/p>\n\u003cp>“This painting has determined my future for 25 years,” says Alavi, who migrated from Iran himself in 1980. “The fight to keep this wall intact, to preserve it, has become [my] life.”\u003c/p>\n\u003cp>In 2011, Germany awarded him the prestigious Federal Cross of Merit for his efforts. Then in March 2014, he gave the South Korean president Park Geun-hye a tour of the East Side Gallery. She invited him to build a similar version along the DMZ border between North and South Korea, which he says will begin construction next year.\u003c/p>\n\u003cp>As Germany celebrates 25 years of reunification this Saturday, Alavi says, “We should get rid of psychological walls in our minds and our heads … to get rid of the physical walls around the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ironically, the man who was inspired by the fall of a wall is now determined to keep this one standing. It’s a physical reminder of the borders people once crossed, and the change that is possible. \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=Historic+Art%2C+Luxury+Apartments+Battle+Over+Berlin%27s+Famous+Wall&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Berlin Wall fell in November 1989, Kani Alavi was a young artist living in an apartment overlooking the border between East and West Berlin. He remembers seeing East Berliners streaming through “like a wave of water,” he said through an interpreter. “Some were joyful, some were doubtful, some were afraid they might not [have the chance to] cross again.”\u003c/p>\n\u003cp>Alavi painted that moment: a flowing river of faces he calls “Es geschah im November,” or “It happened in November.”\u003c/p>\n\u003cp>Today, tourists can see that painting, alongside more than 100 others, covering a nearly mile-long stretch of the original cement Berlin Wall. It’s called the East Side Gallery.\u003c/p>\n\u003cp>Alavi and a group of artists created it in 1990, soon after the wall fell. They wanted to preserve part of history, and felt it was symbolic to paint on the East side — which was blank during the East-West division, since East German soldiers patrolled the area dubbed the “death strip.”\u003c/p>\n\u003cfigure id=\"attachment_10995680\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-1180x885.jpg\" alt=\"Kani Alavi stands before his painting It Happened in November, part of the open-air East Side Gallery built on fragments of the old Berlin Wall. He's fighting proposed development that would overshadow, relocate or remove segments of the gallery. "The fight to keep this wall intact, to preserve it, has become [my] life," he says.\" width=\"640\" height=\"480\" class=\"size-large wp-image-10995680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kani Alavi stands before his painting It Happened in November, part of the open-air East Side Gallery built on fragments of the old Berlin Wall. He’s fighting proposed development that would overshadow, relocate or remove segments of the gallery. “The fight to keep this wall intact, to preserve it, has become [my] life,” he says. \u003ccite>(Irene Noguchi for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, it’s covered in colorful paintings, including one depicting the famous “kiss” between former Soviet head Leonid Brezhnev and East German leader Erich Honecker. The open-air gallery gets an estimated 800,000 visitors each year, including graffiti artists and vandals who scribble across the colorful paintings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for Alavi, the wall’s biggest threat isn’t vandalism. It’s developers.\u003c/p>\n\u003cp>Alavi and his supporters have spent the past few years fighting developers from building alongside the gallery wall. While he has taken some to court and won, one developer managed to get building permits off Alavi’s radar and recently constructed a luxury tower. The 14-story building with aquamarine windows overlooks the nearby Spree River, and as of this spring, had reportedly sold 80 percent of its units.\u003c/p>\n\u003cp>When construction started two years ago, 6,000 protesters showed up — including former \u003cem>Baywatch\u003c/em> actor David Hasselhoff, who happens to be a popular singer in Germany. (He sang “Looking for Freedom,” which he originally performed at the Berlin Wall in 1989 before a pro-reunification crowd.)\u003c/p>\n\u003cfigure id=\"attachment_10995681\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-934x1180.jpg\" alt=\"A luxury apartment building towers over the East Side Gallery, despite the objections of artists like Kani Alavi.\" width=\"640\" height=\"809\" class=\"size-large wp-image-10995681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-934x1180.jpg 934w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-400x506.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-475x600.jpg 475w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-1920x2427.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-1180x1491.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-960x1213.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A luxury apartment building towers over the East Side Gallery, despite the objections of artists like Kani Alavi. \u003ccite>(Irene Noguchi for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But 10 days later, construction workers removed a 6-meter portion of the wall under heavy police protection, so they could start building. A hotel was also granted a building permit right next to the luxury tower, though no construction date is set.\u003c/p>\n\u003cp>Standing in front of his painting on the wall, Kani says he hopes the East Side Gallery will one day become a UNESCO World Heritage site and be protected from further development. But the shiny new apartments tower behind him, and tourists strain to hear him above the rush of traffic.\u003c/p>\n\u003cp>It might seem like a losing battle (the Mercedes-Benz Arena sits right across the street, and already had part of the wall sliced out and relocated for an unobstructed view of the water). But Alavi feels it’s crucial to preserve the Berlin Wall so people remember the struggle for reunification, and how borders are treated as barriers — especially in light of Germany’s migrant crisis today.\u003c/p>\n\u003cp>German Chancellor Angela Merkel made the controversial announcement earlier this summer that the country would take in 800,000 refugees — far more than any European Union nation. The media photos of Syrians streaming across the border look eerily similar to Alavi’s own painting of East Berliners crossing the Berlin Wall.\u003c/p>\n\u003cp>“This painting has determined my future for 25 years,” says Alavi, who migrated from Iran himself in 1980. “The fight to keep this wall intact, to preserve it, has become [my] life.”\u003c/p>\n\u003cp>In 2011, Germany awarded him the prestigious Federal Cross of Merit for his efforts. Then in March 2014, he gave the South Korean president Park Geun-hye a tour of the East Side Gallery. She invited him to build a similar version along the DMZ border between North and South Korea, which he says will begin construction next year.\u003c/p>\n\u003cp>As Germany celebrates 25 years of reunification this Saturday, Alavi says, “We should get rid of psychological walls in our minds and our heads … to get rid of the physical walls around the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ironically, the man who was inspired by the fall of a wall is now determined to keep this one standing. It’s a physical reminder of the borders people once crossed, and the change that is possible. \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=Historic+Art%2C+Luxury+Apartments+Battle+Over+Berlin%27s+Famous+Wall&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Several months after the announcement of \u003ca href=\"http://ww2.kqed.org/arts/2015/05/27/pro-arts-executive-director-steps-down-latest-in-wave-of-recent-art-world-departures/\">Margo Dunlap’s departure from the Oakland arts nonprofit\u003c/a> Pro Arts, the organization named Natalia L. Mount as its new executive director.\u003c/p>\n\u003cp>Dunlap left Pro Arts in late May after 11 years. Mount will begin her position on Oct. 7. Recently moved from New York to Oakland, Mount served as executive director of Redhouse Arts Center in Syracuse, NY and of the New York-based arts nonprofit FLUX Digital Art Space, which she also co-founded.\u003c/p>\n\u003cp>In an email announcement addressed to the “Bay Area arts community,” Pro Arts’ board chair Rae Holzman writes, “We are confident that Mount will provide a fresh, new and exciting perspective and visionary leadership for Pro Arts. And we look forward to introducing Natalia to the Oakland community, and the arts of the greater region.”\u003c/p>\n\u003cp>Pro Arts is the first of the four local visual arts nonprofits that lost their executive directors this year to appoint a successor. SOMArts and \u003ca href=\"http://ww2.kqed.org/arts/2015/07/15/arts-shake-up-longtime-executive-director-leaves-southern-exposure/\">Southern Exposure\u003c/a> in San Francisco, and the di Rosa Preserve in the Napa Valley, are still at various stages of their searches, as leadership in the Bay Area nonprofit sector undergoes a massive changing of the guard.\u003c/p>\n\u003cdiv>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Several months after the announcement of \u003ca href=\"http://ww2.kqed.org/arts/2015/05/27/pro-arts-executive-director-steps-down-latest-in-wave-of-recent-art-world-departures/\">Margo Dunlap’s departure from the Oakland arts nonprofit\u003c/a> Pro Arts, the organization named Natalia L. Mount as its new executive director.\u003c/p>\n\u003cp>Dunlap left Pro Arts in late May after 11 years. Mount will begin her position on Oct. 7. Recently moved from New York to Oakland, Mount served as executive director of Redhouse Arts Center in Syracuse, NY and of the New York-based arts nonprofit FLUX Digital Art Space, which she also co-founded.\u003c/p>\n\u003cp>In an email announcement addressed to the “Bay Area arts community,” Pro Arts’ board chair Rae Holzman writes, “We are confident that Mount will provide a fresh, new and exciting perspective and visionary leadership for Pro Arts. And we look forward to introducing Natalia to the Oakland community, and the arts of the greater region.”\u003c/p>\n\u003cp>Pro Arts is the first of the four local visual arts nonprofits that lost their executive directors this year to appoint a successor. SOMArts and \u003ca href=\"http://ww2.kqed.org/arts/2015/07/15/arts-shake-up-longtime-executive-director-leaves-southern-exposure/\">Southern Exposure\u003c/a> in San Francisco, and the di Rosa Preserve in the Napa Valley, are still at various stages of their searches, as leadership in the Bay Area nonprofit sector undergoes a massive changing of the guard.\u003c/p>\n\u003cdiv>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In Japan, before mass-produced plastic bags took over, a square of cloth served to wrap purchases of varying shapes and sizes. What the Western world may have derided as a “hobo bundle,” was elevated to a visual art, using traditional Japanese cloths called furoshiki.\u003c/p>\n\u003cp>Pronounced \u003cem>fu-ro-shkee\u003c/em>, this cloth and its historical uses can be traced through the word’s etymology: “furo” means bath and “shiki” means mat. In communal Japanese bath houses, many people brought a cloth with them to wrap up their items while bathing and to use as a mat while getting dressed again.\u003c/p>\n\u003cp>Throughout the years, folding and tying furoshiki has become an art form in itself that demonstrates the utility and elegance of Japanese design. A traditional furoshiki represents thousands of different ways to wrap almost any object, with different colors and designs conveying unique meanings.\u003c/p>\n\u003cp>A red furoshiki is considered ideal for happy events, while cooler colors like blue are traditionally used for sad occasions. Muted earth tones are chic.\u003c/p>\n\u003cfigure id=\"attachment_10983370\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10983370 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Furoshiki2.jpg\" alt='How to use \"Furoshiki\"' width=\"1100\" height=\"1100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Furoshiki2.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Furoshiki2-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Furoshiki2-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Furoshiki2-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Furoshiki2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Furoshiki2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Furoshiki2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Furoshiki2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Furoshiki2-75x75.jpg 75w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">How to use “Furoshiki” \u003ccite>(Courtesy: Government of Japan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Japan’s post-World War II economic boom, furoshiki came to be seen as troublesome and old fashioned. Plastic bags were invented in 1965, eclipsing paper bags \u003ca href=\"http://www.theatlantic.com/technology/archive/2014/10/how-the-plastic-bag-became-so-popular/381065/\" target='_blank\"' rel=\"noopener\">in the 1990s\u003c/a>. And due to its wrapping culture, Japan has been \u003ca href=\"http://www.nbcnews.com/id/13266062/ns/world_news-world_environment/t/japan-its-bag-thats-problem/\" target=\"_blank\" rel=\"noopener\">singled out over the years\u003c/a> as disproportionately contributing to plastic bag waste by individually wrapping items.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today, \u003ca href=\"https://www.env.go.jp/en/focus/attach/060403-5.html\" target=\"_blank\" rel=\"noopener\">Japan’s Ministry of the Environment\u003c/a> hopes to bring this resourceful practice back as a way to reduce plastic bag waste. Beyond being eco-friendly, these stylishly tied cloths represent a different way of thinking.\u003c/p>\n\u003cp>Vipada Wongpatansin, a San Francisco jewelry designer at \u003ca href=\"http://www.cinqworkshop.com/\" target=\"_blank\" rel=\"noopener\">CinqWorkshop\u003c/a>, sees parallels between the aesthetic qualities of furoshiki and her life as an artist. “I personally relate to furoshiki for its simplicity and function,” Wongpatansin says. “Beyond efficiency, the aesthetic is both organic and modern all at once.”\u003c/p>\n\u003cfigure id=\"attachment_10989902\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10989902\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM-1180x1176.png\" alt=\"Image from Vipada Wongpatansin's Instagram.\" width=\"640\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM-1180x1176.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM-400x399.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM-602x600.png 602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM-960x957.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM-75x75.png 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM.png 1196w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Image from Vipada Wongpatansin’s Instagram. \u003ccite>((Photo: @cinqworkshop))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vicky Mihara Avery, who demonstrated furoshiki techniques on Martha Stewart’s self-titled television show, explains, “Just the simplicity of having a square cloth and learning how to use that square in many different ways is a very useful tool.” But she admits, “Sometimes simple is difficult to do.”\u003c/p>\n\u003cp>As a third generation Japanese-American, Mihara Avery understands the differences between the two cultures. “In the United States we like ‘more,’ we like a lot of embellishments, we like a lot of ribbon, and that’s fine too, but the Japanese aesthetic is a little more elegant and simple,” she says.\u003c/p>\n\u003cp>Much like her grandfather, who published one of the first origami books written in English, Mihara Avery hopes the next generation will learn from Japanese traditions. She carries on this legacy with her sister, Linda Mihara, as Japanese stationary store owners at \u003ca href=\"http://paper-tree.com/\" target=\"_blank\" rel=\"noopener\">Paper Tree\u003c/a> in San Francisco’s Japantown and \u003ca href=\"http://mikispaper.com/\" target=\"_blank\" rel=\"noopener\">Miki’s Paper\u003c/a> in Berkeley.\u003c/p>\n\u003cp>[gallery type=\"square\" ids=\"10992289,10992290,10992291,10992292,10992293,10989986\"]\u003c/p>\n\u003cp>Learn how to tie furoshiki into a simple bag for groceries, a nifty two-pack for beer cans and countless other wrapping styles, from a selection of books available at \u003ca href=\"http://www.kinokuniya.com/us/\" target=\"_blank\" rel=\"noopener\">Kinokuniya bookstore\u003c/a> in San Francisco’s Japantown. After learning the basic knots, you may even be inspired to create your own design.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Soko Hardware in San Francisco’s Japantown features furoshiki designed by Clifton Karhu, the notable Japanese-American artist. And although traditional furoshiki can range anywhere from $10 to $100, depending on the size and fabric, any square of cloth can do — because the true spirit of furoshiki is functionality.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Japan, before mass-produced plastic bags took over, a square of cloth served to wrap purchases of varying shapes and sizes. What the Western world may have derided as a “hobo bundle,” was elevated to a visual art, using traditional Japanese cloths called furoshiki.\u003c/p>\n\u003cp>Pronounced \u003cem>fu-ro-shkee\u003c/em>, this cloth and its historical uses can be traced through the word’s etymology: “furo” means bath and “shiki” means mat. In communal Japanese bath houses, many people brought a cloth with them to wrap up their items while bathing and to use as a mat while getting dressed again.\u003c/p>\n\u003cp>Throughout the years, folding and tying furoshiki has become an art form in itself that demonstrates the utility and elegance of Japanese design. A traditional furoshiki represents thousands of different ways to wrap almost any object, with different colors and designs conveying unique meanings.\u003c/p>\n\u003cp>A red furoshiki is considered ideal for happy events, while cooler colors like blue are traditionally used for sad occasions. Muted earth tones are chic.\u003c/p>\n\u003cfigure id=\"attachment_10983370\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10983370 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Furoshiki2.jpg\" alt='How to use \"Furoshiki\"' width=\"1100\" height=\"1100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Furoshiki2.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Furoshiki2-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Furoshiki2-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Furoshiki2-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Furoshiki2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Furoshiki2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Furoshiki2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Furoshiki2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Furoshiki2-75x75.jpg 75w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">How to use “Furoshiki” \u003ccite>(Courtesy: Government of Japan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Japan’s post-World War II economic boom, furoshiki came to be seen as troublesome and old fashioned. Plastic bags were invented in 1965, eclipsing paper bags \u003ca href=\"http://www.theatlantic.com/technology/archive/2014/10/how-the-plastic-bag-became-so-popular/381065/\" target='_blank\"' rel=\"noopener\">in the 1990s\u003c/a>. And due to its wrapping culture, Japan has been \u003ca href=\"http://www.nbcnews.com/id/13266062/ns/world_news-world_environment/t/japan-its-bag-thats-problem/\" target=\"_blank\" rel=\"noopener\">singled out over the years\u003c/a> as disproportionately contributing to plastic bag waste by individually wrapping items.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today, \u003ca href=\"https://www.env.go.jp/en/focus/attach/060403-5.html\" target=\"_blank\" rel=\"noopener\">Japan’s Ministry of the Environment\u003c/a> hopes to bring this resourceful practice back as a way to reduce plastic bag waste. Beyond being eco-friendly, these stylishly tied cloths represent a different way of thinking.\u003c/p>\n\u003cp>Vipada Wongpatansin, a San Francisco jewelry designer at \u003ca href=\"http://www.cinqworkshop.com/\" target=\"_blank\" rel=\"noopener\">CinqWorkshop\u003c/a>, sees parallels between the aesthetic qualities of furoshiki and her life as an artist. “I personally relate to furoshiki for its simplicity and function,” Wongpatansin says. “Beyond efficiency, the aesthetic is both organic and modern all at once.”\u003c/p>\n\u003cfigure id=\"attachment_10989902\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10989902\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM-1180x1176.png\" alt=\"Image from Vipada Wongpatansin's Instagram.\" width=\"640\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM-1180x1176.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM-400x399.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM-602x600.png 602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM-960x957.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM-75x75.png 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Screen-Shot-2015-10-01-at-9.07.58-AM.png 1196w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Image from Vipada Wongpatansin’s Instagram. \u003ccite>((Photo: @cinqworkshop))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vicky Mihara Avery, who demonstrated furoshiki techniques on Martha Stewart’s self-titled television show, explains, “Just the simplicity of having a square cloth and learning how to use that square in many different ways is a very useful tool.” But she admits, “Sometimes simple is difficult to do.”\u003c/p>\n\u003cp>As a third generation Japanese-American, Mihara Avery understands the differences between the two cultures. “In the United States we like ‘more,’ we like a lot of embellishments, we like a lot of ribbon, and that’s fine too, but the Japanese aesthetic is a little more elegant and simple,” she says.\u003c/p>\n\u003cp>Much like her grandfather, who published one of the first origami books written in English, Mihara Avery hopes the next generation will learn from Japanese traditions. She carries on this legacy with her sister, Linda Mihara, as Japanese stationary store owners at \u003ca href=\"http://paper-tree.com/\" target=\"_blank\" rel=\"noopener\">Paper Tree\u003c/a> in San Francisco’s Japantown and \u003ca href=\"http://mikispaper.com/\" target=\"_blank\" rel=\"noopener\">Miki’s Paper\u003c/a> in Berkeley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Learn how to tie furoshiki into a simple bag for groceries, a nifty two-pack for beer cans and countless other wrapping styles, from a selection of books available at \u003ca href=\"http://www.kinokuniya.com/us/\" target=\"_blank\" rel=\"noopener\">Kinokuniya bookstore\u003c/a> in San Francisco’s Japantown. After learning the basic knots, you may even be inspired to create your own design.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Soko Hardware in San Francisco’s Japantown features furoshiki designed by Clifton Karhu, the notable Japanese-American artist. And although traditional furoshiki can range anywhere from $10 to $100, depending on the size and fabric, any square of cloth can do — because the true spirit of furoshiki is functionality.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dozens Mourn Slain Oakland Artist During Vigil at Mural",
"headTitle": "Dozens Mourn Slain Oakland Artist During Vigil at Mural | KQED",
"content": "\u003cp>Over a hundred mourners held candles and prayed under a west Oakland freeway underpass Wednesday morning, where Antonio Ramos was shot and killed while painting a mural the day before.\u003c/p>\n\u003cp>“It’s a shocking moment. It’s disbelief,” said Javier Rocabado, who designed the mural. “I saw my friend standing up and getting shot and next thing he’s on the floor dying for nothing.”\u003c/p>\n\u003cp>[contextly_sidebar id=”bNutdr7CJXa0ZPWUNiVyJjjocTqDcxpE”]\u003c/p>\n\u003cp>Before the shooting around 10:30am Tuesday, there were unconfirmed reports of an argument, after which an unknown assailant shot 27-year-old Ramos. The Emeryville resident later died at the hospital.\u003c/p>\n\u003cp>The mural’s project director David Burke was present at the time of the shooting, but says he saw nothing and only heard a gunshot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As muralists, when you go out in the community, you are totally exposed, your backs are to the street and you are about 3 or 4 inches from the wall. And it’s difficult to keep track of who’s around and you know to always be scanning and looking. But we were all working, and it happened in a moment. There was no time to react,” said Burke.\u003c/p>\n\u003cfigure id=\"attachment_10702681\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/mural-vigil-wide.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10702681\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/mural-vigil-wide-400x225.jpg\" alt=\"The mural in progress on West between 35th and 36th streets\" width=\"400\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The mural in progress on West between 35th and 36th streets\u003c/figcaption>\u003c/figure>\n\u003cp>One ironic aspect of the incident is that the \u003ca href=\"http://oaklandmuralproject.com/\" target=\"_blank\" rel=\"noopener\">Oakland Superheroes Mural Project\u003c/a> was itself a means to mitigate violence in the neighborhood, in this case working with students at West Oakland Middle School.\u003c/p>\n\u003cp>“The students go through a process where they learn about themselves, their strengths their weaknesses and think about what issues there are in the community that they want change,” said Justin Metoyer Mullon, who primed the wall two weeks ago to begin the painting process.\u003c/p>\n\u003cp>“They recreate themselves as a superhero character who addresses these issues in a non-traditional superhero way, in a non-violent way.”\u003c/p>\n\u003cfigure id=\"attachment_10702682\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/body-part-of-mural.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10702682 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/body-part-of-mural-400x711.jpg\" alt=\"One of the superheros envisioned by West Oakland Middle School students\" width=\"400\" height=\"711\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the superheros envisioned by West Oakland Middle School Students\u003c/figcaption>\u003c/figure>\n\u003cp>“The premise of these projects is to promote peace and live in our communities. To actually break the cycle of violence that we witnessed first-hand yesterday morning. That is why we are out here in the first place doing this work,” explained Burke.\u003c/p>\n\u003cp>Bridget Chavis, who previously lived in the same Emeryville building as the Ramos family, called Antonio “a very young talented man at a young age,” who “loved skateboarding and artwork.”\u003c/p>\n\u003cp>“He had a heart and he helped out and he just was there for people. If you needed help, Tony was there,” said Chavis.\u003c/p>\n\u003cp>Chavis’ son David Burch called Ramos “a little brother.”\u003c/p>\n\u003cp>“I remember there was a time I was actually going to do a paper for one of my classes on him, as an artist…another great young man was taken yesterday,” said Burch.\u003c/p>\n\u003cp>“The value of life has gone down” said Marcus Norris, who has known Ramos since childhood. “People are ignorant. Instead of being able to conversate or talk like adults, or duke it out like men, they have to grab a gun like a child and not know what the f–k they’re doing with it.”\u003c/p>\n\u003cfigure id=\"attachment_10702729\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/family-member-on-ground.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10702729\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/family-member-on-ground-400x711.jpg\" alt=\"Ramos' sister mourns during the vigil\" width=\"400\" height=\"711\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ramos’ sister mourns during the vigil\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland police said that as of Wednesday, the investigation was still ongoing and no arrests had been made.\u003c/p>\n\u003cp>City councilman Dan Kalb, whose district abuts the freeway underpass where the shooting took place, attended the vigil.\u003c/p>\n\u003cp>While Kalb said “There’s no magic solution to 100 percent eliminate violent crime in any city,” he added that there are ways to “dramatically reduce it.”\u003c/p>\n\u003cp>“We need more police officers, more investments in crime prevention programs, more after school programs, re-entry programs, job training. Those all have to be part of the solution.”\u003c/p>\n\u003cp>Chavis has since moved to Berkeley and says she believes “gangs are coming on the rise again” in the West Oakland neighborhood where the shooting took place. Her son has lost five friends in the last couple of years — four to gun violence.\u003c/p>\n\u003cp>“Only thing I can tell him is just be aware, and if someone wants to be confrontational just walk away,” said Chavis. “Run in fact and don’t engage into it.”\u003c/p>\n\u003cp>This mural was the third in a series of six that are planned. Burke said Ramos started out as a volunteer when they were painting the first one back in 2012.\u003c/p>\n\u003cp>“We were out there working on the first day and Antonio just walked up and said ‘Hey, I love what you guys are doing, I want to be a part of it.’ And he just started volunteering his time. And he just showed up every day and that was the beginning.”\u003c/p>\n\u003cp>This time around, the \u003ca href=\"http://ahc-oakland.org/\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection\u003c/a> (ACH) hired Ramos as an assistant to help paint the mural. Ramos last contribution was a purple house, one of several local homes recreated for the mural.\u003c/p>\n\u003cfigure id=\"attachment_10702683\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/purple-house.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10702683\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/purple-house-400x225.jpg\" alt=\"This purple house was Ramos' last work\" width=\"400\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This purple house was Ramos’ last work\u003c/figcaption>\u003c/figure>\n\u003cp>“He was special,” said ACH Executive Director Amana Harris. “We don’t take on every volunteer that shows up… He showed up 100 percent and he had the skills and the talent and he lived in the community. He was a team player, he had a lot of love in his heart, he loved to paint. There’s a million and one reasons why he was a good fit.”\u003c/p>\n\u003cp>“He had a future. He was doing a community service in his own community, in his own neighborhood,” said Rocabado.\u003c/p>\n\u003cp>Project staff say the mural will be completed with Ramos’ image incorporated into it, and it will be dedicated to the fallen artist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s personal now,” said Harris. “This is such a tragedy that we are committed to turn into fuel that will progress this project immensely and spread a message of intolerance for these types of incidents for anyone.”\u003c/p>\n\n",
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"excerpt": "Antonio Ramos is remembered as an artist, skateboarder, and local \"superhero.\"",
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"title": "Dozens Mourn Slain Oakland Artist During Vigil at Mural | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over a hundred mourners held candles and prayed under a west Oakland freeway underpass Wednesday morning, where Antonio Ramos was shot and killed while painting a mural the day before.\u003c/p>\n\u003cp>“It’s a shocking moment. It’s disbelief,” said Javier Rocabado, who designed the mural. “I saw my friend standing up and getting shot and next thing he’s on the floor dying for nothing.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Before the shooting around 10:30am Tuesday, there were unconfirmed reports of an argument, after which an unknown assailant shot 27-year-old Ramos. The Emeryville resident later died at the hospital.\u003c/p>\n\u003cp>The mural’s project director David Burke was present at the time of the shooting, but says he saw nothing and only heard a gunshot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As muralists, when you go out in the community, you are totally exposed, your backs are to the street and you are about 3 or 4 inches from the wall. And it’s difficult to keep track of who’s around and you know to always be scanning and looking. But we were all working, and it happened in a moment. There was no time to react,” said Burke.\u003c/p>\n\u003cfigure id=\"attachment_10702681\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/mural-vigil-wide.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10702681\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/mural-vigil-wide-400x225.jpg\" alt=\"The mural in progress on West between 35th and 36th streets\" width=\"400\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The mural in progress on West between 35th and 36th streets\u003c/figcaption>\u003c/figure>\n\u003cp>One ironic aspect of the incident is that the \u003ca href=\"http://oaklandmuralproject.com/\" target=\"_blank\" rel=\"noopener\">Oakland Superheroes Mural Project\u003c/a> was itself a means to mitigate violence in the neighborhood, in this case working with students at West Oakland Middle School.\u003c/p>\n\u003cp>“The students go through a process where they learn about themselves, their strengths their weaknesses and think about what issues there are in the community that they want change,” said Justin Metoyer Mullon, who primed the wall two weeks ago to begin the painting process.\u003c/p>\n\u003cp>“They recreate themselves as a superhero character who addresses these issues in a non-traditional superhero way, in a non-violent way.”\u003c/p>\n\u003cfigure id=\"attachment_10702682\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/body-part-of-mural.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10702682 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/body-part-of-mural-400x711.jpg\" alt=\"One of the superheros envisioned by West Oakland Middle School students\" width=\"400\" height=\"711\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the superheros envisioned by West Oakland Middle School Students\u003c/figcaption>\u003c/figure>\n\u003cp>“The premise of these projects is to promote peace and live in our communities. To actually break the cycle of violence that we witnessed first-hand yesterday morning. That is why we are out here in the first place doing this work,” explained Burke.\u003c/p>\n\u003cp>Bridget Chavis, who previously lived in the same Emeryville building as the Ramos family, called Antonio “a very young talented man at a young age,” who “loved skateboarding and artwork.”\u003c/p>\n\u003cp>“He had a heart and he helped out and he just was there for people. If you needed help, Tony was there,” said Chavis.\u003c/p>\n\u003cp>Chavis’ son David Burch called Ramos “a little brother.”\u003c/p>\n\u003cp>“I remember there was a time I was actually going to do a paper for one of my classes on him, as an artist…another great young man was taken yesterday,” said Burch.\u003c/p>\n\u003cp>“The value of life has gone down” said Marcus Norris, who has known Ramos since childhood. “People are ignorant. Instead of being able to conversate or talk like adults, or duke it out like men, they have to grab a gun like a child and not know what the f–k they’re doing with it.”\u003c/p>\n\u003cfigure id=\"attachment_10702729\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/family-member-on-ground.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10702729\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/family-member-on-ground-400x711.jpg\" alt=\"Ramos' sister mourns during the vigil\" width=\"400\" height=\"711\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ramos’ sister mourns during the vigil\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland police said that as of Wednesday, the investigation was still ongoing and no arrests had been made.\u003c/p>\n\u003cp>City councilman Dan Kalb, whose district abuts the freeway underpass where the shooting took place, attended the vigil.\u003c/p>\n\u003cp>While Kalb said “There’s no magic solution to 100 percent eliminate violent crime in any city,” he added that there are ways to “dramatically reduce it.”\u003c/p>\n\u003cp>“We need more police officers, more investments in crime prevention programs, more after school programs, re-entry programs, job training. Those all have to be part of the solution.”\u003c/p>\n\u003cp>Chavis has since moved to Berkeley and says she believes “gangs are coming on the rise again” in the West Oakland neighborhood where the shooting took place. Her son has lost five friends in the last couple of years — four to gun violence.\u003c/p>\n\u003cp>“Only thing I can tell him is just be aware, and if someone wants to be confrontational just walk away,” said Chavis. “Run in fact and don’t engage into it.”\u003c/p>\n\u003cp>This mural was the third in a series of six that are planned. Burke said Ramos started out as a volunteer when they were painting the first one back in 2012.\u003c/p>\n\u003cp>“We were out there working on the first day and Antonio just walked up and said ‘Hey, I love what you guys are doing, I want to be a part of it.’ And he just started volunteering his time. And he just showed up every day and that was the beginning.”\u003c/p>\n\u003cp>This time around, the \u003ca href=\"http://ahc-oakland.org/\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection\u003c/a> (ACH) hired Ramos as an assistant to help paint the mural. Ramos last contribution was a purple house, one of several local homes recreated for the mural.\u003c/p>\n\u003cfigure id=\"attachment_10702683\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/purple-house.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10702683\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/purple-house-400x225.jpg\" alt=\"This purple house was Ramos' last work\" width=\"400\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This purple house was Ramos’ last work\u003c/figcaption>\u003c/figure>\n\u003cp>“He was special,” said ACH Executive Director Amana Harris. “We don’t take on every volunteer that shows up… He showed up 100 percent and he had the skills and the talent and he lived in the community. He was a team player, he had a lot of love in his heart, he loved to paint. There’s a million and one reasons why he was a good fit.”\u003c/p>\n\u003cp>“He had a future. He was doing a community service in his own community, in his own neighborhood,” said Rocabado.\u003c/p>\n\u003cp>Project staff say the mural will be completed with Ramos’ image incorporated into it, and it will be dedicated to the fallen artist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s personal now,” said Harris. “This is such a tragedy that we are committed to turn into fuel that will progress this project immensely and spread a message of intolerance for these types of incidents for anyone.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Alternative Press Expo Returns Triumphantly to San Jose",
"headTitle": "Alternative Press Expo Returns Triumphantly to San Jose | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/alternative-press-expo/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Alternative Press Expo\u003c/h2>\n\u003cdiv class=\"event-desc\">Comics, zines, graphic novels galore!\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 3-4, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">San Jose Convention Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/alternative-press-expo/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 1994, Dan Vado, owner of the comics and graphic novel publishing house \u003ca href=\"http://www.slgcomic.com/\" target=\"_blank\" rel=\"noopener\">Slave Labor Graphics\u003c/a>, set out to do something heroic for the little guy. He founded the \u003ca href=\"http://www.alternativepressexpo.com/\" target=\"_blank\" rel=\"noopener\">Alternative Press Expo\u003c/a> (APE) in San Jose, a comic art fair connecting the indie publishers of comics, graphic novels and zines with the people who appreciate them.\u003c/p>\n\u003cp>“I wanted to send a message that just because you may be a small publisher without a lot of funding doesn’t mean you aren’t serious about your business,” says Vado.\u003c/p>\n\u003cp>During that pre-internet time, self-produced comics were rarely seen at the large-scale comics conventions that came with hefty exhibitors fees. Vado wanted to provided a different kind of platform for these artist storytellers; he envisioned a fair without curatorial limitations .\u003c/p>\n\u003cfigure id=\"attachment_10977034\" class=\"wp-caption alignright\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10977034\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/JhonenVasquezJHM.jpg\" alt=\"Johnny the Homicidal Maniac.\" width=\"510\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/JhonenVasquezJHM.jpg 574w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/JhonenVasquezJHM-400x502.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/JhonenVasquezJHM-478x600.jpg 478w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">Johnny the Homicidal Maniac. \u003ccite>(Courtesy: Jhonen Vasquez and SLG Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Immediately after APE began, Vado realized the expo would require financial support to grow. Vado’s personal funds were already allocated towards his own publishing company, so he amicably handed the event (and corresponding financial liability) over to \u003ca href=\"http://www.comic-con.org/\" target=\"_blank\" rel=\"noopener\">Comic-Con\u003c/a>.\u003c/p>\n\u003cp>Vado continued to help produce the expo for the next four years, until Comic-Con moved it to San Francisco. Fifteen years of successful growth later, when given the opportunity to “take APE back,” Vado agreed to grab the reins once more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This weekend, APE returns to the South Bay, where Vado hopes to make the event self-sustainable and increasingly relevant for the digital age.\u003c/p>\n\u003cp>“APE has an opportunity to be a bigger deal here in San Jose than it ever was in San Francisco because there’s so much happening all at once up there and it’s too expensive,” says Vado. “APE coming to San Jose is almost a parable for what’s going on in San Francisco with the artists being pushed out.”\u003c/p>\n\u003cfigure id=\"attachment_10977036\" class=\"wp-caption alignright\" style=\"max-width: 416px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10977036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jason-Shiga_demon.jpg\" alt=\"Demon by Jason Shiga\" width=\"416\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Jason-Shiga_demon.jpg 468w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Jason-Shiga_demon-400x615.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Jason-Shiga_demon-390x600.jpg 390w\" sizes=\"(max-width: 416px) 100vw, 416px\">\u003cfigcaption class=\"wp-caption-text\">Demon by Jason Shiga \u003ccite>(Courtesy of Alternative Press Expo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The question now is: \u003cem>What is APE an alternative to?\u003c/em>\u003c/p>\n\u003cp>Vado is quick to respond: “Perhaps it’s an alternative to \u003cem>insincerity\u003c/em>. I like to think that everyone that’s there is committed to their work on a personal level, regardless of where it’s coming from or if they’re being published by someone bigger… If you’re into working with us, we’re here to back you.”\u003c/p>\n\u003cp>His philosophy pays off. Over \u003ca href=\"http://www.alternativepressexpo.com/#!exhibitors/c1icp\" target=\"_blank\" rel=\"noopener\">250 vendors\u003c/a> have booked space at the expo, making this year’s event a full house.\u003c/p>\n\u003cp>Vado has already made some subtle but significant changes to the event. Each vendor will have a 10 by 10-foot booth rather than the typical 6-foot table, allowing them to be more creative with the space.\u003c/p>\n\u003cp>For the first time ever, educators, librarians and retailers can sign up for free entry and attend professional development workshops on how comics and graphic novels can be utilized in the classroom. Vado also set up \u003ca href=\"http://www.alternativepressexpo.com/?gclid=COT5tffTkMgCFQaNaQodm34E8w#!guests/cee5\" target=\"_blank\" rel=\"noopener\">panel discussions\u003c/a> at local businesses outside the San Jose Convention Center so people can explore local arts and culture.\u003c/p>\n\u003cfigure id=\"attachment_10977038\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10977038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/ShoMurase_RedRiding_Sho.jpg\" alt=\"\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/ShoMurase_RedRiding_Sho.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/ShoMurase_RedRiding_Sho-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Illustration by Sho Murase \u003ccite>(Courtesy of Alternative Press Expo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>APE’s continued existence may be due in part to our craving for the tangible in a digital age. A web comic scrolling across a screen doesn’t provide the same satisfaction as a cliffhanger at the bottom of a page — and the split second of anticipation you experience as you turn that page to find out what happens next.\u003c/p>\n\u003cp>APE also allows people to get together in real spaces around shared interests. Watching an artist talk at you on YouTube is far less memorable than speaking with an artist in person about their story inspirations while they autograph your book.\u003c/p>\n\u003cp>Vado aims for APE to be a platform for people who want a physical representation of their work, and an immersive experience for the audience. “When you put people in a group environment, you put civility back into the experience. You put thought and discourse into what you’re going to say because it has immediate consequences,” Vado says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So long as comics provide the reassurances and hope so often lacking in the real world, the need for APE will continue. “In comics there’s still a sense of fairness and a sense of good versus evil,” he says. “If you live by a certain code and ethics, the good guy wins.” APE will supply plenty of that and more in San Jose this weekend.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/alternative-press-expo/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Alternative Press Expo\u003c/h2>\n\u003cdiv class=\"event-desc\">Comics, zines, graphic novels galore!\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 3-4, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">San Jose Convention Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/alternative-press-expo/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 1994, Dan Vado, owner of the comics and graphic novel publishing house \u003ca href=\"http://www.slgcomic.com/\" target=\"_blank\" rel=\"noopener\">Slave Labor Graphics\u003c/a>, set out to do something heroic for the little guy. He founded the \u003ca href=\"http://www.alternativepressexpo.com/\" target=\"_blank\" rel=\"noopener\">Alternative Press Expo\u003c/a> (APE) in San Jose, a comic art fair connecting the indie publishers of comics, graphic novels and zines with the people who appreciate them.\u003c/p>\n\u003cp>“I wanted to send a message that just because you may be a small publisher without a lot of funding doesn’t mean you aren’t serious about your business,” says Vado.\u003c/p>\n\u003cp>During that pre-internet time, self-produced comics were rarely seen at the large-scale comics conventions that came with hefty exhibitors fees. Vado wanted to provided a different kind of platform for these artist storytellers; he envisioned a fair without curatorial limitations .\u003c/p>\n\u003cfigure id=\"attachment_10977034\" class=\"wp-caption alignright\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10977034\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/JhonenVasquezJHM.jpg\" alt=\"Johnny the Homicidal Maniac.\" width=\"510\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/JhonenVasquezJHM.jpg 574w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/JhonenVasquezJHM-400x502.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/JhonenVasquezJHM-478x600.jpg 478w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">Johnny the Homicidal Maniac. \u003ccite>(Courtesy: Jhonen Vasquez and SLG Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Immediately after APE began, Vado realized the expo would require financial support to grow. Vado’s personal funds were already allocated towards his own publishing company, so he amicably handed the event (and corresponding financial liability) over to \u003ca href=\"http://www.comic-con.org/\" target=\"_blank\" rel=\"noopener\">Comic-Con\u003c/a>.\u003c/p>\n\u003cp>Vado continued to help produce the expo for the next four years, until Comic-Con moved it to San Francisco. Fifteen years of successful growth later, when given the opportunity to “take APE back,” Vado agreed to grab the reins once more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This weekend, APE returns to the South Bay, where Vado hopes to make the event self-sustainable and increasingly relevant for the digital age.\u003c/p>\n\u003cp>“APE has an opportunity to be a bigger deal here in San Jose than it ever was in San Francisco because there’s so much happening all at once up there and it’s too expensive,” says Vado. “APE coming to San Jose is almost a parable for what’s going on in San Francisco with the artists being pushed out.”\u003c/p>\n\u003cfigure id=\"attachment_10977036\" class=\"wp-caption alignright\" style=\"max-width: 416px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10977036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jason-Shiga_demon.jpg\" alt=\"Demon by Jason Shiga\" width=\"416\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Jason-Shiga_demon.jpg 468w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Jason-Shiga_demon-400x615.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Jason-Shiga_demon-390x600.jpg 390w\" sizes=\"(max-width: 416px) 100vw, 416px\">\u003cfigcaption class=\"wp-caption-text\">Demon by Jason Shiga \u003ccite>(Courtesy of Alternative Press Expo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The question now is: \u003cem>What is APE an alternative to?\u003c/em>\u003c/p>\n\u003cp>Vado is quick to respond: “Perhaps it’s an alternative to \u003cem>insincerity\u003c/em>. I like to think that everyone that’s there is committed to their work on a personal level, regardless of where it’s coming from or if they’re being published by someone bigger… If you’re into working with us, we’re here to back you.”\u003c/p>\n\u003cp>His philosophy pays off. Over \u003ca href=\"http://www.alternativepressexpo.com/#!exhibitors/c1icp\" target=\"_blank\" rel=\"noopener\">250 vendors\u003c/a> have booked space at the expo, making this year’s event a full house.\u003c/p>\n\u003cp>Vado has already made some subtle but significant changes to the event. Each vendor will have a 10 by 10-foot booth rather than the typical 6-foot table, allowing them to be more creative with the space.\u003c/p>\n\u003cp>For the first time ever, educators, librarians and retailers can sign up for free entry and attend professional development workshops on how comics and graphic novels can be utilized in the classroom. Vado also set up \u003ca href=\"http://www.alternativepressexpo.com/?gclid=COT5tffTkMgCFQaNaQodm34E8w#!guests/cee5\" target=\"_blank\" rel=\"noopener\">panel discussions\u003c/a> at local businesses outside the San Jose Convention Center so people can explore local arts and culture.\u003c/p>\n\u003cfigure id=\"attachment_10977038\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10977038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/ShoMurase_RedRiding_Sho.jpg\" alt=\"\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/ShoMurase_RedRiding_Sho.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/ShoMurase_RedRiding_Sho-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Illustration by Sho Murase \u003ccite>(Courtesy of Alternative Press Expo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>APE’s continued existence may be due in part to our craving for the tangible in a digital age. A web comic scrolling across a screen doesn’t provide the same satisfaction as a cliffhanger at the bottom of a page — and the split second of anticipation you experience as you turn that page to find out what happens next.\u003c/p>\n\u003cp>APE also allows people to get together in real spaces around shared interests. Watching an artist talk at you on YouTube is far less memorable than speaking with an artist in person about their story inspirations while they autograph your book.\u003c/p>\n\u003cp>Vado aims for APE to be a platform for people who want a physical representation of their work, and an immersive experience for the audience. “When you put people in a group environment, you put civility back into the experience. You put thought and discourse into what you’re going to say because it has immediate consequences,” Vado says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So long as comics provide the reassurances and hope so often lacking in the real world, the need for APE will continue. “In comics there’s still a sense of fairness and a sense of good versus evil,” he says. “If you live by a certain code and ethics, the good guy wins.” APE will supply plenty of that and more in San Jose this weekend.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">KQED Art School is on a mission to find out how artists develop their signature style, and we’re asking some prolific Bay Area artists to tackle this compelling question in order to figure out how one goes about developing an artistic approach that is recognizable and unique. Elisabeth Higgins O'Connor creates poignant, larger-than-life figures that are seemingly cobbled together with reused scrap materials including wood, textiles and newspaper. Like marginalized creatures who are attempting to overcome adversity, her sculptures evoke empathy with their perceived resiliency, towering stature and patchwork bodies. While these figures are utterly unusual, the use everyday materials can make them feel familiar and domestic.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Higgins O'Connor explains in the latest episode of Art School, her style has been significantly influenced by the work of 18th/19th-century Spanish printmaker and romantic painter, Francisco Goya, particularly his \u003c/span>\u003ci style=\"line-height: 1.5\">Los Caprichos\u003c/i>\u003cspan style=\"font-weight: 400\"> series of etchings that commented on Spain's societal shortcomings. Higgins O'Connor is also influenced by the ingenuity and creativity of shanty towns, such as the favelas in Brazil. She has exhibited her sculptures and drawings throughout California and the United States and has been a professor of figurative and ceramic sculpture at UC Davis and Sierra College, where she currently teaches. Find out more about how Elisabeth Higgins O'Connor's style developed as she offers ideas for discovering your own unique artistic style.\u003c/span>\u003c/p>\n\u003cp>See more of Elisabeth Higgins O’connor’s work on her \u003ca href=\"http://www.elisabethhigginsoconnor.net\">website\u003c/a>.\u003c/p>\n\u003cp>This episode of Art School was filmed at the \u003ca href=\"http://www.sfartscommission.org/gallery/about/\">San Francisco Arts Commission \u003c/a>Grove Street Gallery.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">KQED Art School is on a mission to find out how artists develop their signature style, and we’re asking some prolific Bay Area artists to tackle this compelling question in order to figure out how one goes about developing an artistic approach that is recognizable and unique. Elisabeth Higgins O'Connor creates poignant, larger-than-life figures that are seemingly cobbled together with reused scrap materials including wood, textiles and newspaper. Like marginalized creatures who are attempting to overcome adversity, her sculptures evoke empathy with their perceived resiliency, towering stature and patchwork bodies. While these figures are utterly unusual, the use everyday materials can make them feel familiar and domestic.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Higgins O'Connor explains in the latest episode of Art School, her style has been significantly influenced by the work of 18th/19th-century Spanish printmaker and romantic painter, Francisco Goya, particularly his \u003c/span>\u003ci style=\"line-height: 1.5\">Los Caprichos\u003c/i>\u003cspan style=\"font-weight: 400\"> series of etchings that commented on Spain's societal shortcomings. Higgins O'Connor is also influenced by the ingenuity and creativity of shanty towns, such as the favelas in Brazil. She has exhibited her sculptures and drawings throughout California and the United States and has been a professor of figurative and ceramic sculpture at UC Davis and Sierra College, where she currently teaches. Find out more about how Elisabeth Higgins O'Connor's style developed as she offers ideas for discovering your own unique artistic style.\u003c/span>\u003c/p>\n\u003cp>See more of Elisabeth Higgins O’connor’s work on her \u003ca href=\"http://www.elisabethhigginsoconnor.net\">website\u003c/a>.\u003c/p>\n\u003cp>This episode of Art School was filmed at the \u003ca href=\"http://www.sfartscommission.org/gallery/about/\">San Francisco Arts Commission \u003c/a>Grove Street Gallery.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Artist Shot, Killed While Working on West Oakland Community Mural",
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"content": "\u003cp>\u003cstrong>Updated:\u003c/strong> Sept. 30, 2015, 12:33pm\u003c/p>\n\u003cp>Emeryville artist Antonio Ramos, 27, was shot and killed Tuesday morning while working on a community mural under the 580 freeway in West Oakland, according to sources close to the victim.\u003c/p>\n\u003cp>Police responded to reports of gunshots near the underpass on West St. around 10:30am and found Ramos suffering from a gunshot wound.\u003c/p>\n\u003cfigure id=\"attachment_10986510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10986510\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-800x450.jpg\" alt=\"Antonio Ramos (Photo: Facebook)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antonio Ramos \u003ccite>(Courtesy: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artist was working with a group of other muralists when he reportedly had an exchange of words with an unidentified man. At some point, the man shot Ramos and walked away. Ramos was taken to the hospital and later pronounced dead, according to Oakland police. As of Tuesday afternoon, police were still seeking information on the shooter.\u003c/p>\n\u003cp>Ramos was painting a mural sponsored by the \u003ca href=\"http://ahc-oakland.org/\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection of Oakland\u003c/a> (AHC), a nonprofit dedicated to building healthy communities by breaking cycles of violence through arts, creativity and education. Through their \u003ca href=\"http://oaklandmuralproject.com/sponsors/\" target=\"_blank\" rel=\"noopener\">Oakland Superheroes Mural Project\u003c/a>, AHC pairs professional muralists with local middle school students to design and execute murals inspired by envisioning the students as superheroes.\u003c/p>\n\u003cfigure id=\"attachment_10986513\" class=\"wp-caption alignright\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10986513 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/s9ic8thibhpxjivppoee.jpg\" alt=\"Sketch for a portion of the West St. mural. (Photo: AHC)\" width=\"620\" height=\"219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/s9ic8thibhpxjivppoee.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/s9ic8thibhpxjivppoee-400x141.jpg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003cfigcaption class=\"wp-caption-text\">Sketch for a portion of the West St. mural. \u003ccite>(Courtesy: Attitudinal Healing Connection of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to AHC Executive Director Amana Harris, Ramos was “a really good kid who loved art” and was a victim of the violence he sought to end through his work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fellow muralist Frederick Alvarado, who worked with Ramos on the first Oakland Superheroes Mural Project, remembers him as a “good fellow” who loved skateboarding and crabbing at night.\u003c/p>\n\u003cfigure id=\"attachment_10986693\" class=\"wp-caption alignright\" style=\"max-width: 338px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10986693\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Ramos-memorial-338x600.jpg\" alt=\"An impromptu memorial at the shooting site.\" width=\"338\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ramos-memorial-338x600.jpg 338w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ramos-memorial-400x711.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ramos-memorial.jpg 540w\" sizes=\"(max-width: 338px) 100vw, 338px\">\u003cfigcaption class=\"wp-caption-text\">An impromptu memorial at the shooting site. \u003ccite>(Courtesy: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Work on \u003ca href=\"http://ahc-oakland.org/2015/09/22/the-west-street-mural-is-going-up-now/\" target=\"_blank\" rel=\"noopener\">the mural\u003c/a> is just one week underway. The design, spread across 4,000 sq. feet of underpass wall, depicts children as gigantic figures overseeing and caring for their community. Students from West Oakland Middle School planned to help paint the mural along with professional muralists at an event scheduled for Wednesday, according to project organizers.\u003c/p>\n\u003cp>“We will be dedicating this wall to Antonio Ramos,” Harris said. “And we will not stop. We will not be intimidated to bring light and love and hope into our communities.”\u003c/p>\n\u003cp>Friends have created a \u003ca href=\"https://www.youcaring.com/antonio-s-parents-442193\" target=\"_blank\" rel=\"noopener\">crowdfunding campaign\u003c/a> to help the Ramos family with funeral costs.\u003c/p>\n\u003cp>\u003cem>We will update this story as more information becomes available. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Bay City News contributed to this report.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated:\u003c/strong> Sept. 30, 2015, 12:33pm\u003c/p>\n\u003cp>Emeryville artist Antonio Ramos, 27, was shot and killed Tuesday morning while working on a community mural under the 580 freeway in West Oakland, according to sources close to the victim.\u003c/p>\n\u003cp>Police responded to reports of gunshots near the underpass on West St. around 10:30am and found Ramos suffering from a gunshot wound.\u003c/p>\n\u003cfigure id=\"attachment_10986510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10986510\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-800x450.jpg\" alt=\"Antonio Ramos (Photo: Facebook)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antonio Ramos \u003ccite>(Courtesy: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artist was working with a group of other muralists when he reportedly had an exchange of words with an unidentified man. At some point, the man shot Ramos and walked away. Ramos was taken to the hospital and later pronounced dead, according to Oakland police. As of Tuesday afternoon, police were still seeking information on the shooter.\u003c/p>\n\u003cp>Ramos was painting a mural sponsored by the \u003ca href=\"http://ahc-oakland.org/\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection of Oakland\u003c/a> (AHC), a nonprofit dedicated to building healthy communities by breaking cycles of violence through arts, creativity and education. Through their \u003ca href=\"http://oaklandmuralproject.com/sponsors/\" target=\"_blank\" rel=\"noopener\">Oakland Superheroes Mural Project\u003c/a>, AHC pairs professional muralists with local middle school students to design and execute murals inspired by envisioning the students as superheroes.\u003c/p>\n\u003cfigure id=\"attachment_10986513\" class=\"wp-caption alignright\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10986513 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/s9ic8thibhpxjivppoee.jpg\" alt=\"Sketch for a portion of the West St. mural. (Photo: AHC)\" width=\"620\" height=\"219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/s9ic8thibhpxjivppoee.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/s9ic8thibhpxjivppoee-400x141.jpg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003cfigcaption class=\"wp-caption-text\">Sketch for a portion of the West St. mural. \u003ccite>(Courtesy: Attitudinal Healing Connection of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to AHC Executive Director Amana Harris, Ramos was “a really good kid who loved art” and was a victim of the violence he sought to end through his work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fellow muralist Frederick Alvarado, who worked with Ramos on the first Oakland Superheroes Mural Project, remembers him as a “good fellow” who loved skateboarding and crabbing at night.\u003c/p>\n\u003cfigure id=\"attachment_10986693\" class=\"wp-caption alignright\" style=\"max-width: 338px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10986693\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Ramos-memorial-338x600.jpg\" alt=\"An impromptu memorial at the shooting site.\" width=\"338\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ramos-memorial-338x600.jpg 338w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ramos-memorial-400x711.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ramos-memorial.jpg 540w\" sizes=\"(max-width: 338px) 100vw, 338px\">\u003cfigcaption class=\"wp-caption-text\">An impromptu memorial at the shooting site. \u003ccite>(Courtesy: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Work on \u003ca href=\"http://ahc-oakland.org/2015/09/22/the-west-street-mural-is-going-up-now/\" target=\"_blank\" rel=\"noopener\">the mural\u003c/a> is just one week underway. The design, spread across 4,000 sq. feet of underpass wall, depicts children as gigantic figures overseeing and caring for their community. Students from West Oakland Middle School planned to help paint the mural along with professional muralists at an event scheduled for Wednesday, according to project organizers.\u003c/p>\n\u003cp>“We will be dedicating this wall to Antonio Ramos,” Harris said. “And we will not stop. We will not be intimidated to bring light and love and hope into our communities.”\u003c/p>\n\u003cp>Friends have created a \u003ca href=\"https://www.youcaring.com/antonio-s-parents-442193\" target=\"_blank\" rel=\"noopener\">crowdfunding campaign\u003c/a> to help the Ramos family with funeral costs.\u003c/p>\n\u003cp>\u003cem>We will update this story as more information becomes available. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Bay City News contributed to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Quilts Abandon Rigid Patterns for Crushed-Velvet Chaos",
"headTitle": "Quilts Abandon Rigid Patterns for Crushed-Velvet Chaos | KQED",
"content": "\u003cp>A quilt at its most basic is three layers (quilt top, backing and batting—that’s the layer of insulation between the top and bottom layers) connected by the process of stitching a pattern through all three. Within that structure, a quilt can be many things—a functional necessity, a memorial, an heirloom or a work of art. \u003ci>Yo-Yos and Half Squares: Contemporary California Quilts\u003c/i>, an exhibition of improvisational quilts from the collection of Eli Leon, proves those categories are not exclusive.\u003c/p>\n\u003cfigure id=\"attachment_10983054\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10983054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RomanStripe640.jpg\" alt=\"Pieced by Sherry Byrd, quilted by Willia Ette Graham and Johnnie Wade, 'Roman Stripe Variations,' 1989. (Courtesy of the collection of Eli Leon and OMCA)\" width=\"640\" height=\"717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RomanStripe640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RomanStripe640-400x448.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RomanStripe640-536x600.jpg 536w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Pieced by Sherry Byrd, quilted by Willia Ette Graham and Johnnie Wade, ‘Roman Stripe Variations,’ 1989. (Courtesy of the collection of Eli Leon and OMCA)\u003c/figcaption>\u003c/figure>\n\u003cp>The artists behind this Oakland Museum of California (OMCA) exhibition—Angie Tobias, Arbie Williams, Mattie Pickett, Rosie Lee Tompkins and Sherry Byrd—are all African-American women who at one time resided in the Bay Area. Their quilts are vivid, free-form and anything but soporific. They incorporate nontraditional materials like crushed velvet, denim and beaded belts, and make wild departures from traditional patterns.\u003c/p>\n\u003cp>Unlike many art forms, where a sketch or an underpainting allows the artist to imagine their work in its finished state long before that moment of completion, an improvised quilt unfolds as it is made, each piece changing the balance and shape of the composition as a whole. In painting terms, quilting is like stitching together a canvas, piece by pre-painted piece.\u003c/p>\n\u003cp>While some quilts play with color, material and print, the works on view at OMCA abandon tradition almost entirely. Instead of time-honored arrangements of geometric shapes, quilts like \u003ci>Texas Star\u003c/i> (pieced by Mattie Pickett, quilted by Willia Ette Graham) reference the familiar without succumbing to it. The result is thrilling: the tight starburst arrangement gradually crumbles into diamonds of pulsating color as it moves to the outer edges of the fabric.\u003c/p>\n\u003cfigure id=\"attachment_10983053\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10983053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/TexasStar640.jpg\" alt=\"Pieced by Mattie Pickett, quilted by Willia Ette Graham, 'Texas Star,' 1987. (Courtesy of the collection of Eli Leon and OMCA)\" width=\"640\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TexasStar640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TexasStar640-400x390.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TexasStar640-615x600.jpg 615w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TexasStar640-32x32.jpg 32w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Pieced by Mattie Pickett, quilted by Willia Ette Graham, ‘Texas Star,’ 1987. (Courtesy of the collection of Eli Leon and OMCA)\u003c/figcaption>\u003c/figure>\n\u003cp>Collector Eli Leon’s particular passion for quilts began while he was pursuing another passion: collecting green things. The entry to \u003ci>Yo-Yos and Half Squares\u003c/i> is a portal of shiny green plastic. Inside the exhibition a green-painted space showcases a quilt of Leon’s own making, along with what I presume to be a very small sampling from his stockpile of green objects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The quirkiness of the collector seeps through again and again in the exhibition’s wall text. Most of the works were pieced by one woman and quilted by another, sometimes in the same year, sometimes over a span of decades. Leon was the conduit from one quilter to another. At times he requested changes to a quilt top design. Once he even cut off the edge of quilt that he thought was uneven.\u003c/p>\n\u003cp>In the fine art world, altering a quilt top seems akin to an unasked-for “improvement” on someone else’s artwork. But in the world of textiles, it’s not rare for piecers to outsource their quilting. Intention is secondary, in this context, to a communal understanding of how quilts should be finished. In \u003ci>Mamaloo\u003c/i>, a work featuring whole pant legs and sleeves stitched on a bed of black and yellow gingham, quilter Willia Ette Graham left the pockets of Arbie Williams’ original composition open, should anyone wish to stash some spare change in the quilt later down the line.\u003c/p>\n\u003cfigure id=\"attachment_10983055\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10983055\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Pocket640.jpg\" alt=\"Pieced by Arbie Williams, quilted by Willia Ette Graham, 'Mamaloo' (detail). (Courtesy of collection of Eli Leon; Photo: Terry Lorant)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Pocket640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Pocket640-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Pieced by Arbie Williams, quilted by Willia Ette Graham, ‘Mamaloo’\u003cbr>(detail). (Courtesy of collection of Eli Leon; Photo: Terry Lorant)\u003c/figcaption>\u003c/figure>\n\u003cp>While Leon’s very active hand in these quilters’ processes clashes with my understanding of fine art, viewing this work in a place like OMCA is a pleasurable learning experience.\u003c/p>\n\u003cp>This incredible showcase of talent—informed by generations of instruction—transcends the realms of craft, folk art or whatever sub-category one might assign to work not usually seen on the walls of a museum. It is then simply inspiring—a little bit of chaos in a well-ordered world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And as my quilter friend remarked as we emerged from \u003ci>Yo-Yos and Half Squares\u003c/i>, it felt weird to look at straight lines again.\u003c/p>\n\n",
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"excerpt": "A riotous exhibition of quilts at the Oakland Museum of California shows the myriad possibiilties of this time-honored folk art form. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A quilt at its most basic is three layers (quilt top, backing and batting—that’s the layer of insulation between the top and bottom layers) connected by the process of stitching a pattern through all three. Within that structure, a quilt can be many things—a functional necessity, a memorial, an heirloom or a work of art. \u003ci>Yo-Yos and Half Squares: Contemporary California Quilts\u003c/i>, an exhibition of improvisational quilts from the collection of Eli Leon, proves those categories are not exclusive.\u003c/p>\n\u003cfigure id=\"attachment_10983054\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10983054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RomanStripe640.jpg\" alt=\"Pieced by Sherry Byrd, quilted by Willia Ette Graham and Johnnie Wade, 'Roman Stripe Variations,' 1989. (Courtesy of the collection of Eli Leon and OMCA)\" width=\"640\" height=\"717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RomanStripe640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RomanStripe640-400x448.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RomanStripe640-536x600.jpg 536w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Pieced by Sherry Byrd, quilted by Willia Ette Graham and Johnnie Wade, ‘Roman Stripe Variations,’ 1989. (Courtesy of the collection of Eli Leon and OMCA)\u003c/figcaption>\u003c/figure>\n\u003cp>The artists behind this Oakland Museum of California (OMCA) exhibition—Angie Tobias, Arbie Williams, Mattie Pickett, Rosie Lee Tompkins and Sherry Byrd—are all African-American women who at one time resided in the Bay Area. Their quilts are vivid, free-form and anything but soporific. They incorporate nontraditional materials like crushed velvet, denim and beaded belts, and make wild departures from traditional patterns.\u003c/p>\n\u003cp>Unlike many art forms, where a sketch or an underpainting allows the artist to imagine their work in its finished state long before that moment of completion, an improvised quilt unfolds as it is made, each piece changing the balance and shape of the composition as a whole. In painting terms, quilting is like stitching together a canvas, piece by pre-painted piece.\u003c/p>\n\u003cp>While some quilts play with color, material and print, the works on view at OMCA abandon tradition almost entirely. Instead of time-honored arrangements of geometric shapes, quilts like \u003ci>Texas Star\u003c/i> (pieced by Mattie Pickett, quilted by Willia Ette Graham) reference the familiar without succumbing to it. The result is thrilling: the tight starburst arrangement gradually crumbles into diamonds of pulsating color as it moves to the outer edges of the fabric.\u003c/p>\n\u003cfigure id=\"attachment_10983053\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10983053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/TexasStar640.jpg\" alt=\"Pieced by Mattie Pickett, quilted by Willia Ette Graham, 'Texas Star,' 1987. (Courtesy of the collection of Eli Leon and OMCA)\" width=\"640\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TexasStar640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TexasStar640-400x390.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TexasStar640-615x600.jpg 615w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TexasStar640-32x32.jpg 32w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Pieced by Mattie Pickett, quilted by Willia Ette Graham, ‘Texas Star,’ 1987. (Courtesy of the collection of Eli Leon and OMCA)\u003c/figcaption>\u003c/figure>\n\u003cp>Collector Eli Leon’s particular passion for quilts began while he was pursuing another passion: collecting green things. The entry to \u003ci>Yo-Yos and Half Squares\u003c/i> is a portal of shiny green plastic. Inside the exhibition a green-painted space showcases a quilt of Leon’s own making, along with what I presume to be a very small sampling from his stockpile of green objects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The quirkiness of the collector seeps through again and again in the exhibition’s wall text. Most of the works were pieced by one woman and quilted by another, sometimes in the same year, sometimes over a span of decades. Leon was the conduit from one quilter to another. At times he requested changes to a quilt top design. Once he even cut off the edge of quilt that he thought was uneven.\u003c/p>\n\u003cp>In the fine art world, altering a quilt top seems akin to an unasked-for “improvement” on someone else’s artwork. But in the world of textiles, it’s not rare for piecers to outsource their quilting. Intention is secondary, in this context, to a communal understanding of how quilts should be finished. In \u003ci>Mamaloo\u003c/i>, a work featuring whole pant legs and sleeves stitched on a bed of black and yellow gingham, quilter Willia Ette Graham left the pockets of Arbie Williams’ original composition open, should anyone wish to stash some spare change in the quilt later down the line.\u003c/p>\n\u003cfigure id=\"attachment_10983055\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10983055\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Pocket640.jpg\" alt=\"Pieced by Arbie Williams, quilted by Willia Ette Graham, 'Mamaloo' (detail). (Courtesy of collection of Eli Leon; Photo: Terry Lorant)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Pocket640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Pocket640-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Pieced by Arbie Williams, quilted by Willia Ette Graham, ‘Mamaloo’\u003cbr>(detail). (Courtesy of collection of Eli Leon; Photo: Terry Lorant)\u003c/figcaption>\u003c/figure>\n\u003cp>While Leon’s very active hand in these quilters’ processes clashes with my understanding of fine art, viewing this work in a place like OMCA is a pleasurable learning experience.\u003c/p>\n\u003cp>This incredible showcase of talent—informed by generations of instruction—transcends the realms of craft, folk art or whatever sub-category one might assign to work not usually seen on the walls of a museum. It is then simply inspiring—a little bit of chaos in a well-ordered world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And as my quilter friend remarked as we emerged from \u003ci>Yo-Yos and Half Squares\u003c/i>, it felt weird to look at straight lines again.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Banksy's 'Dismaland' to be Dismantled And Sent To House Migrants In France",
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"content": "\u003cp>After five weeks, Banksy’s “bemusement park” art exhibit, Dismaland, is closing permanently. What’s more, the anonymous artist \u003ca href=\"http://dismaland.co.uk/\" target=\"_blank\" rel=\"noopener\">announced on Dismaland’s website\u003c/a> that the structures and material from the park will be sent to a refugee camp in France.\u003c/p>\n\u003cp>The short announcement read, “All the timber and fixtures from Dismaland are being sent to the ‘jungle’ refugee camp near Calais to build shelters. No online tickets will be available.”\u003c/p>\n\u003cp>Some 5,000 displaced people are camped out in and around the French port there, NPR’s Leila Fadel reports from London.\u003c/p>\n\u003cp>Here’s more from Leila:\u003c/p>\n\u003cblockquote>\n\u003cp>“The park was billed as the U.K.’s most disappointing tourist attraction, and it was built purposely gloomy. Banksy, the anonymous English graffiti artist, said it was a family attraction that acknowledges inequality and impending catastrophe. \u003c/p>\n\u003cp>“But tonight it closes its doors. … It sold out every day it was open and some 150,000 people visited in the five-week run.”\u003c/p>\n\u003c/blockquote>\n\u003cp>After an initial \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/21/433476889/banksys-dismaland-living-up-to-its-name-with-ticket-debacle\" target=\"_blank\" rel=\"noopener\">online-ticketing snafu\u003c/a>, the park in Weston-super-Mare, England, was a huge success, bringing 20 million euros to the seaside town, \u003ca href=\"http://www.bbc.com/news/uk-england-bristol-34364808\" target=\"_blank\" rel=\"noopener\">according to the BBC\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Featuring work from more than 50 artists from around the world, the exhibit’s installations included a dead Cinderella and a grim reaper in a bumper car. \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/21/433476889/banksys-dismaland-living-up-to-its-name-with-ticket-debacle\" target=\"_blank\" rel=\"noopener\">Banksy called the dark theme park\u003c/a> a “festival of art, amusements and entry-level anarchism.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/21/433476889/banksys-dismaland-living-up-to-its-name-with-ticket-debacle\" target=\"_blank\" rel=\"noopener\">As we previously reported for the Two-Way\u003c/a>, the show was characterized by the subversive work for which Banksy is known. Other exhibits showed “a woman on a bench being attacked by seagulls, a killer whale emerging from a toilet to jump though a hoop, and an oil caliphate-themed mini golf course.”\u003c/p>\n\u003cblockquote>\n\u003cp>“In the \u003ca href=\"http://www.juxtapoz.com/current/october-2015-banksy-s-dismaland-exclusive-interview\" target=\"_blank\" rel=\"noopener\">October issue of Juxtapoz\u003c/a>, Banksy writes that the atmosphere of the park is that of a ‘neglected prison yard.’ It’s a ‘deadly serious attempt to assemble a show that takes stock of its generation,’ he writes.\u003c/p>\n\u003cp>“Set in a former pool yard compound, he says, the show is ‘scrappy, incoherent and self-obsessed, so maybe we’re halfway there.’\u003c/p>\n\u003cp>“While the name Dismaland is parodied from Disneyland, Banksy says the show isn’t meant to target Disney. He even banned anything Mickey-related from the website. What the show is supposed to be is an ‘art show for the 99 percent who would rather not be at an art show.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The park also pointed to Europe’s migrant crisis, with an installation showing a boat packed with migrants floating on a pond. Now, with park materials going to the refugee camp, the art will provide more concrete aid.\u003c/p>\n\u003cblockquote>\n\u003c/blockquote>\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=Banksy%27s+%27Dismaland%27+To+Be+Dismantled+And+Sent+To+House+Migrants+In+France&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After five weeks, Banksy’s “bemusement park” art exhibit, Dismaland, is closing permanently. What’s more, the anonymous artist \u003ca href=\"http://dismaland.co.uk/\" target=\"_blank\" rel=\"noopener\">announced on Dismaland’s website\u003c/a> that the structures and material from the park will be sent to a refugee camp in France.\u003c/p>\n\u003cp>The short announcement read, “All the timber and fixtures from Dismaland are being sent to the ‘jungle’ refugee camp near Calais to build shelters. No online tickets will be available.”\u003c/p>\n\u003cp>Some 5,000 displaced people are camped out in and around the French port there, NPR’s Leila Fadel reports from London.\u003c/p>\n\u003cp>Here’s more from Leila:\u003c/p>\n\u003cblockquote>\n\u003cp>“The park was billed as the U.K.’s most disappointing tourist attraction, and it was built purposely gloomy. Banksy, the anonymous English graffiti artist, said it was a family attraction that acknowledges inequality and impending catastrophe. \u003c/p>\n\u003cp>“But tonight it closes its doors. … It sold out every day it was open and some 150,000 people visited in the five-week run.”\u003c/p>\n\u003c/blockquote>\n\u003cp>After an initial \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/21/433476889/banksys-dismaland-living-up-to-its-name-with-ticket-debacle\" target=\"_blank\" rel=\"noopener\">online-ticketing snafu\u003c/a>, the park in Weston-super-Mare, England, was a huge success, bringing 20 million euros to the seaside town, \u003ca href=\"http://www.bbc.com/news/uk-england-bristol-34364808\" target=\"_blank\" rel=\"noopener\">according to the BBC\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Featuring work from more than 50 artists from around the world, the exhibit’s installations included a dead Cinderella and a grim reaper in a bumper car. \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/21/433476889/banksys-dismaland-living-up-to-its-name-with-ticket-debacle\" target=\"_blank\" rel=\"noopener\">Banksy called the dark theme park\u003c/a> a “festival of art, amusements and entry-level anarchism.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/21/433476889/banksys-dismaland-living-up-to-its-name-with-ticket-debacle\" target=\"_blank\" rel=\"noopener\">As we previously reported for the Two-Way\u003c/a>, the show was characterized by the subversive work for which Banksy is known. Other exhibits showed “a woman on a bench being attacked by seagulls, a killer whale emerging from a toilet to jump though a hoop, and an oil caliphate-themed mini golf course.”\u003c/p>\n\u003cblockquote>\n\u003cp>“In the \u003ca href=\"http://www.juxtapoz.com/current/october-2015-banksy-s-dismaland-exclusive-interview\" target=\"_blank\" rel=\"noopener\">October issue of Juxtapoz\u003c/a>, Banksy writes that the atmosphere of the park is that of a ‘neglected prison yard.’ It’s a ‘deadly serious attempt to assemble a show that takes stock of its generation,’ he writes.\u003c/p>\n\u003cp>“Set in a former pool yard compound, he says, the show is ‘scrappy, incoherent and self-obsessed, so maybe we’re halfway there.’\u003c/p>\n\u003cp>“While the name Dismaland is parodied from Disneyland, Banksy says the show isn’t meant to target Disney. He even banned anything Mickey-related from the website. What the show is supposed to be is an ‘art show for the 99 percent who would rather not be at an art show.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The park also pointed to Europe’s migrant crisis, with an installation showing a boat packed with migrants floating on a pond. Now, with park materials going to the refugee camp, the art will provide more concrete aid.\u003c/p>\n\u003cblockquote>\n\u003c/blockquote>\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=Banksy%27s+%27Dismaland%27+To+Be+Dismantled+And+Sent+To+House+Migrants+In+France&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Painting Right Now: Jennie Ottinger’s Gross Realities",
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"content": "\u003cp>\u003cem>Editor’s Note: \u003c/em>Bay Area Painting Right Now\u003cem> peers into the studios of local painters to find out what they’re making, how they’re making it and why. Guiding our tour is \u003ca href=\"http://ww2.kqed.org/arts/author/bbrown/\" target=\"_blank\" rel=\"noopener\">Brandon Brown\u003c/a>, poet, writer, editor and unabashed fan of contemporary painting.\u003c/em>\u003c/p>\n\u003cp>“I cleaned,” Jennie Ottinger told me when I arrived at her studio in the Bayview. Her studio building is sprawling, cavernous and as big as a city block. We made our way to the ground floor where Ottinger shares space with a friend. And it \u003cem>was\u003c/em> tidy, even with dozens of canvasses, sculptural objects and fragments of paintings lining the walls.\u003c/p>\n\u003cp>Ottinger’s paintings are — forgive me — intense. That word is so recklessly applied it becomes almost meaningless, but it fittingly addresses the extremes of play and pathos in her work. For all their wit and humor, Ottinger’s paintings are portraits of tense situations that provoke hard feelings.\u003c/p>\n\u003cp>The figurative vignettes she paints represent devastating scenes of belonging, alienation and the violence that accompanies these modes of being. She plays in this space as well, but her works aren’t totally irreverent; they traffic in real contemporary pain.\u003c/p>\n\u003cfigure id=\"attachment_10966244\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10966244 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jennie-Ottinger-9-of-14-e1443016864272.jpg\" alt=\"Catalogue from the Contemporary Jewish Museum in Ottinger's studio. (Photo: Jeremy Raff/KQED)\" width=\"1200\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">Catalogue from the Contemporary Jewish Museum in Ottinger’s studio. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Painting is her primary medium, but like \u003ca href=\"http://ww2.kqed.org/arts/2015/07/30/bay-area-painting-right-now-lana-williams-breaks-the-rules/\">Lana Williams\u003c/a> and \u003ca href=\"http://ww2.kqed.org/arts/2015/08/27/bay-area-painting-right-now-katie-dorame/\" target=\"_blank\" rel=\"noopener\">Katie Dorame\u003c/a> (the previous subjects of “Bay Area Painting Right Now”), Ottinger has an expanded sense of what is included in the activity of painting. Her studio contains plaster masks impaled on empty wine bottles, dissected and reassembled teddy bears, reimagined covers for famous books and a group of small fragmentary canvasses used in \u003cem>You Know I’m No Good\u003c/em>,a stop-motion animated video about the late singer Amy Winehouse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of these painting fragments are currently on view at the Contemporary Jewish Museum. Regrouped as an installation titled \u003cem>Mouth to Mouth\u003c/em>,they are part of a companion exhibition to \u003cem>\u003ca href=\"http://www.thecjm.org/on-view/currently/amy-winehouse-a-family-portrait/about\" target=\"_blank\" rel=\"noopener\">Amy Winehouse: A Family Portrait\u003c/a>\u003c/em>, a traveling show on Winehouse’s life and career.\u003c/p>\n\u003cp>Wall text accompanying Ottinger’s paintings at the museum addresses the problem of Winehouse’s cultural appropriation of African-American musical traditions. “I wanted to underline that as amazing as Winehouse was, she built on the work of talented predecessors who sadly never achieved the level of appreciation she did,” Ottinger says.\u003c/p>\n\u003cfigure id=\"attachment_10966243\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10966243 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jennie-Ottinger-10-of-14-e1443016923223.jpg\" alt=\"Jennie Ottinger, canvas fragments from 'I Know I'm No Good,' 2015. (Photo: Jeremy Raff/KQED)\" width=\"1200\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">Jennie Ottinger, canvas fragments from ‘I Know I’m No Good,’ 2015. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>If \u003cem>Mouth to Mouth\u003c/em>, which shows the severed and rearranged mouths of the Black singers Winehouse mined for her sound, look and musical ideas, alludes to this discrepancy, the animation \u003cem>You Know I’m No Good\u003c/em> delivers the message explicitly. It shows a series of Black singers emerging one by one against green screen. Nina Simone, the Supremes and other singers take turns as their tunes score a halting, sinister accumulation of figures. Suddenly, Amy Winehouse arrives from the left of the screen like a lily white beehived Godzilla and summarily devours the singers.\u003c/p>\n\u003cp>The allegory is obvious perhaps, but this video is remarkably both funny and ruthless. There’s no ambiguity or apology for Winehouse’s “appropriation” of Black music. Nor does Ottinger try to conceal or whitewash her own complicity or the potential complicity of her viewers in these social disasters. Her paintings instead offer frank and frequently grotesque stagings of them.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Ottinger is obsessed with clubs and groups; she went to Catholic schools and joined a sorority in college. Her paintings routinely explore tropes of camaraderie and organized shunning. A central example of this, expressed in canvas after canvas, is cheerleading. Cheerleading is a sport whose athletes proverbially control massive amounts of high school cultural capital. But in Ottinger’s representations, their solidarity is more menacing than merely cliquish.\u003c/p>\n\u003cfigure id=\"attachment_10966241\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10966241 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jennie-Ottinger-6-of-14-e1443016965311.jpg\" alt=\"Jennie Ottinger, 'Try Outs,' 2015. (Photo: Jeremy Raff/KQED)\" width=\"1200\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">Jennie Ottinger, ‘Try Outs,’ 2015. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Try Outs\u003c/em>, the brutal scenarios of group formation are emphasized by showing a massive pile of white faces with red hair sprawled on the ground in front of a cheerleading squad. The figures on the ground are literally “abject,” hurled together and cast away like indistinguishable grubs. Some of the cheerleaders are hard at play, stacking their bodies into a pyramid, a metaphor for the rigid social structures they tyrannically reinforce. The figures on the ground are virtually identical to the cheerleaders, except those who’ve made the squad are blonde, get uniforms and look down upon their peers with supercilious approbation.\u003c/p>\n\u003cp>Ottinger’s interest in cheerleaders as an allegory for various systems of supremacy has led her to study what I would call a cinematic masterpiece, the 2000 film \u003cem>Bring It On\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Bring It On \u003c/em>tells the story of a champion squad of white cheerleaders from a rich LA suburb known as Rancho Carne. For years, they have stolen their routines from the all-Black East Compton High cheerleading team. Hijinks and internal conflicts ensue as Rancho Carne captain Torrance (Kirsten Dunst) attempts to bring reforms by relying on the squad’s own resources. In the end (spoiler alert), they finish second while East Compton deservedly wins the national competition.\u003c/p>\n\u003cfigure id=\"attachment_10966238\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10966238 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jennie-Ottinger-1-of-14-e1443017021666.jpg\" alt=\"Jennie Ottinger, unfinished canvas, 2015. (Photo: Jeremy Raff/KQED)\" width=\"1200\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">Jennie Ottinger, unfinished canvas, 2015. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Ottinger’s study of what many might consider a trashy teen rom-com will undoubtedly strike some viewers as simply witty or overly generous. But \u003cem>Bring It On\u003c/em>,like Ottinger’s paintings, tells a crucial story about expropriation and insufficient reparations while also providing 100 minutes of true entertainment. Though the casual “good white girl” narrative of \u003cem>Bring It On\u003c/em>is rarely referenced in critical work on the film, Ottinger makes the insufficiency of that narrative legible.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A large canvas, still unfinished in her studio when I visited, shows the Rancho Carne cheerleaders and other squads in a triangle surrounding a larger-than-life image of the Rancho Carne mascot, a bull. Without this fearsome and glowering creature, the scene might read as celebratory. I keep thinking about the bull as a quasi-mythological harbinger of the real evil glossed over by the bouncing haircuts of Torrance and her friends. Like Amy Winehouse and her ilk, these squads try to pass off as beautiful what is finally stinking. Jennie Ottinger’s outrageous paintings show the gross transmissions that make the engine our culture move.\u003c/p>\n\n",
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"title": "Bay Area Painting Right Now: Jennie Ottinger’s Gross Realities | KQED",
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"headline": "Bay Area Painting Right Now: Jennie Ottinger’s Gross Realities",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: \u003c/em>Bay Area Painting Right Now\u003cem> peers into the studios of local painters to find out what they’re making, how they’re making it and why. Guiding our tour is \u003ca href=\"http://ww2.kqed.org/arts/author/bbrown/\" target=\"_blank\" rel=\"noopener\">Brandon Brown\u003c/a>, poet, writer, editor and unabashed fan of contemporary painting.\u003c/em>\u003c/p>\n\u003cp>“I cleaned,” Jennie Ottinger told me when I arrived at her studio in the Bayview. Her studio building is sprawling, cavernous and as big as a city block. We made our way to the ground floor where Ottinger shares space with a friend. And it \u003cem>was\u003c/em> tidy, even with dozens of canvasses, sculptural objects and fragments of paintings lining the walls.\u003c/p>\n\u003cp>Ottinger’s paintings are — forgive me — intense. That word is so recklessly applied it becomes almost meaningless, but it fittingly addresses the extremes of play and pathos in her work. For all their wit and humor, Ottinger’s paintings are portraits of tense situations that provoke hard feelings.\u003c/p>\n\u003cp>The figurative vignettes she paints represent devastating scenes of belonging, alienation and the violence that accompanies these modes of being. She plays in this space as well, but her works aren’t totally irreverent; they traffic in real contemporary pain.\u003c/p>\n\u003cfigure id=\"attachment_10966244\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10966244 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jennie-Ottinger-9-of-14-e1443016864272.jpg\" alt=\"Catalogue from the Contemporary Jewish Museum in Ottinger's studio. (Photo: Jeremy Raff/KQED)\" width=\"1200\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">Catalogue from the Contemporary Jewish Museum in Ottinger’s studio. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Painting is her primary medium, but like \u003ca href=\"http://ww2.kqed.org/arts/2015/07/30/bay-area-painting-right-now-lana-williams-breaks-the-rules/\">Lana Williams\u003c/a> and \u003ca href=\"http://ww2.kqed.org/arts/2015/08/27/bay-area-painting-right-now-katie-dorame/\" target=\"_blank\" rel=\"noopener\">Katie Dorame\u003c/a> (the previous subjects of “Bay Area Painting Right Now”), Ottinger has an expanded sense of what is included in the activity of painting. Her studio contains plaster masks impaled on empty wine bottles, dissected and reassembled teddy bears, reimagined covers for famous books and a group of small fragmentary canvasses used in \u003cem>You Know I’m No Good\u003c/em>,a stop-motion animated video about the late singer Amy Winehouse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of these painting fragments are currently on view at the Contemporary Jewish Museum. Regrouped as an installation titled \u003cem>Mouth to Mouth\u003c/em>,they are part of a companion exhibition to \u003cem>\u003ca href=\"http://www.thecjm.org/on-view/currently/amy-winehouse-a-family-portrait/about\" target=\"_blank\" rel=\"noopener\">Amy Winehouse: A Family Portrait\u003c/a>\u003c/em>, a traveling show on Winehouse’s life and career.\u003c/p>\n\u003cp>Wall text accompanying Ottinger’s paintings at the museum addresses the problem of Winehouse’s cultural appropriation of African-American musical traditions. “I wanted to underline that as amazing as Winehouse was, she built on the work of talented predecessors who sadly never achieved the level of appreciation she did,” Ottinger says.\u003c/p>\n\u003cfigure id=\"attachment_10966243\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10966243 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jennie-Ottinger-10-of-14-e1443016923223.jpg\" alt=\"Jennie Ottinger, canvas fragments from 'I Know I'm No Good,' 2015. (Photo: Jeremy Raff/KQED)\" width=\"1200\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">Jennie Ottinger, canvas fragments from ‘I Know I’m No Good,’ 2015. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>If \u003cem>Mouth to Mouth\u003c/em>, which shows the severed and rearranged mouths of the Black singers Winehouse mined for her sound, look and musical ideas, alludes to this discrepancy, the animation \u003cem>You Know I’m No Good\u003c/em> delivers the message explicitly. It shows a series of Black singers emerging one by one against green screen. Nina Simone, the Supremes and other singers take turns as their tunes score a halting, sinister accumulation of figures. Suddenly, Amy Winehouse arrives from the left of the screen like a lily white beehived Godzilla and summarily devours the singers.\u003c/p>\n\u003cp>The allegory is obvious perhaps, but this video is remarkably both funny and ruthless. There’s no ambiguity or apology for Winehouse’s “appropriation” of Black music. Nor does Ottinger try to conceal or whitewash her own complicity or the potential complicity of her viewers in these social disasters. Her paintings instead offer frank and frequently grotesque stagings of them.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Ottinger is obsessed with clubs and groups; she went to Catholic schools and joined a sorority in college. Her paintings routinely explore tropes of camaraderie and organized shunning. A central example of this, expressed in canvas after canvas, is cheerleading. Cheerleading is a sport whose athletes proverbially control massive amounts of high school cultural capital. But in Ottinger’s representations, their solidarity is more menacing than merely cliquish.\u003c/p>\n\u003cfigure id=\"attachment_10966241\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10966241 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jennie-Ottinger-6-of-14-e1443016965311.jpg\" alt=\"Jennie Ottinger, 'Try Outs,' 2015. (Photo: Jeremy Raff/KQED)\" width=\"1200\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">Jennie Ottinger, ‘Try Outs,’ 2015. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Try Outs\u003c/em>, the brutal scenarios of group formation are emphasized by showing a massive pile of white faces with red hair sprawled on the ground in front of a cheerleading squad. The figures on the ground are literally “abject,” hurled together and cast away like indistinguishable grubs. Some of the cheerleaders are hard at play, stacking their bodies into a pyramid, a metaphor for the rigid social structures they tyrannically reinforce. The figures on the ground are virtually identical to the cheerleaders, except those who’ve made the squad are blonde, get uniforms and look down upon their peers with supercilious approbation.\u003c/p>\n\u003cp>Ottinger’s interest in cheerleaders as an allegory for various systems of supremacy has led her to study what I would call a cinematic masterpiece, the 2000 film \u003cem>Bring It On\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Bring It On \u003c/em>tells the story of a champion squad of white cheerleaders from a rich LA suburb known as Rancho Carne. For years, they have stolen their routines from the all-Black East Compton High cheerleading team. Hijinks and internal conflicts ensue as Rancho Carne captain Torrance (Kirsten Dunst) attempts to bring reforms by relying on the squad’s own resources. In the end (spoiler alert), they finish second while East Compton deservedly wins the national competition.\u003c/p>\n\u003cfigure id=\"attachment_10966238\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10966238 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jennie-Ottinger-1-of-14-e1443017021666.jpg\" alt=\"Jennie Ottinger, unfinished canvas, 2015. (Photo: Jeremy Raff/KQED)\" width=\"1200\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">Jennie Ottinger, unfinished canvas, 2015. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Ottinger’s study of what many might consider a trashy teen rom-com will undoubtedly strike some viewers as simply witty or overly generous. But \u003cem>Bring It On\u003c/em>,like Ottinger’s paintings, tells a crucial story about expropriation and insufficient reparations while also providing 100 minutes of true entertainment. Though the casual “good white girl” narrative of \u003cem>Bring It On\u003c/em>is rarely referenced in critical work on the film, Ottinger makes the insufficiency of that narrative legible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A large canvas, still unfinished in her studio when I visited, shows the Rancho Carne cheerleaders and other squads in a triangle surrounding a larger-than-life image of the Rancho Carne mascot, a bull. Without this fearsome and glowering creature, the scene might read as celebratory. I keep thinking about the bull as a quasi-mythological harbinger of the real evil glossed over by the bouncing haircuts of Torrance and her friends. Like Amy Winehouse and her ilk, these squads try to pass off as beautiful what is finally stinking. Jennie Ottinger’s outrageous paintings show the gross transmissions that make the engine our culture move.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Artist Experiments Underwater and Upside Down at SFAI",
"headTitle": "Artist Experiments Underwater and Upside Down at SFAI | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/everything-but-the-kitchen-sank/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Everything but the kitchen sank’\u003c/h2>\n\u003cdiv class=\"event-desc\">The culmination of Alejandro Almanza Pereda’s residency at SFAI\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Oct. 3 and Dec. 12\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Walter and McBean Galleries & Diego Rivera Gallery\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/everything-but-the-kitchen-sank/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>For four harrowing months this summer, the sculpture studio at San Francisco Art Institute’s (SFAI) North Beach campus operated under the threat of flooding from above. The source — which thankfully, never leaked — was a 3,000 gallon tank of water in the center of the Walter and McBean Galleries one floor up.\u003c/p>\n\u003cp>With the help of student workers, protective Plexiglas boxes and countless items of bric-a-brac sourced from thrift stores across the Bay Area, Mexico City-based artist in residence Alejandro Almanza Pereda staged a series of object-filled underwater scenes captured by black and white digital prints and a 20-minute film. The artistic output of his residency is now on view in the same space where all the work was made, in an exhibition titled \u003cem>Everything but the kitchen sank.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10975088\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10975088\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Almanza_Production640.jpg\" alt=\"Alejandro Almanza Pereda, 'Everything but the kitchen sank' (installation view during production stage), Walter and McBean Galleries, San Francisco Art Institute, 2015. (Photo: Gregory Goode)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Almanza_Production640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Almanza_Production640-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Alejandro Almanza Pereda, ‘Everything but the kitchen sank’ (installation view during production stage), Walter and McBean Galleries, San Francisco Art Institute, 2015. (Photo: Gregory Goode)\u003c/figcaption>\u003c/figure>\n\u003cp>Outside the exhibition and just a few doors down the hall is Pereda’s radical intervention in the Diego Rivera Gallery. \u003cem>Change the world or go home\u003c/em> uses fluorescent tubes to erect a scaffolding of pure white light in front of the 1931 Rivera fresco \u003cem>The Making of a Fresco Showing the Building of a City\u003c/em>.\u003c/p>\n\u003cp>The fresco itself depicts the wooden armature of the scaffolding Rivera and his assistants used to complete the project. Pereda’s ghostly reminder of invisible labor is part of an ongoing series, but in the Bay Area it takes on added significance. The scaffold becomes not just a symbol of construction, but also one of gentrification, hammered home for me by the “Dreamboat,” dominating the view from SFAI’s rooftop. That was, if you don’t remember, the gigantic cruise ship rented by Salesforce to host attendees of the tech giant’s annual Dreamforce conference because San Francisco didn’t have enough hotel rooms to accommodate the crowd.\u003c/p>\n\u003cfigure id=\"attachment_10975087\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10975087\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Almanza_Install640.jpg\" alt=\"Alejandro Almanza Pereda, 'Everything but the kitchen sank' (installation view), Walter and McBean Galleries, San Francisco Art Institute, 2015. (Photo: Benjamin Ashlock)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Almanza_Install640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Almanza_Install640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Alejandro Almanza Pereda, ‘Everything but the kitchen sank’ (installation view), Walter and McBean Galleries, San Francisco Art Institute, 2015. (Photo: Benjamin Ashlock)\u003c/figcaption>\u003c/figure>\n\u003cp>Back in the Walter and McBean Galleries, the installation is spare and soothingly monochromatic. Pereda’s large-scale prints of different gravity-defying still life arrangements sit flush on the gallery walls like pieces of vinyl. Photographed through Plexiglas and water, the images take on a somber and surreal brushy quality as dish ware, fruits, vegetables and concrete blocks combine in tableaux punctuated by Pereda’s groan-worthy punny titles. (The photograph \u003cem>Just five blocks away\u003c/em> contains an arrangement with — you guessed it — five concrete blocks.)\u003c/p>\n\u003cfigure id=\"attachment_10975090\" class=\"wp-caption alignright\" style=\"max-width: 360px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10975090\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Like-Steaks-and-Salads.jpg\" alt=\"Alejandro Almanza Pereda, 'Like Steaks and Salads' (video still), 2015. (Courtesy of the artist and Curro & Poncho, Guadalajara)\" width=\"360\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Like-Steaks-and-Salads.jpg 360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Like-Steaks-and-Salads-338x600.jpg 338w\" sizes=\"(max-width: 360px) 100vw, 360px\">\u003cfigcaption class=\"wp-caption-text\">Alejandro Almanza Pereda, ‘Like Steaks and Salads’ (video still), 2015. (Courtesy of the artist and Curro & Poncho, Guadalajara)\u003c/figcaption>\u003c/figure>\n\u003cp>Upstairs in a darkened video room, the black and white film \u003cem>Like Steaks and Salads\u003c/em> is the true highlight of the show. A vertical projection captures different experiments with buoyancy and humor, all to the soundtrack of wonderfully clanking piano notes. Does a potato float? No. Does a pencil float? Yes. Pencil shavings hover in stasis, exploding out from the moment of sharpening. If Charlie Chaplin or Buster Keaton were making movies in a 3,000 gallon tank of water with the help of a small army of art school students, they might produce something like this.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While the finished exhibition is a tightly restrained view of the months of watery activity that took place inside that same space, it is in \u003cem>Like Steaks and Salads\u003c/em> that the spirit of collaboration and play comes to life as a fitting document of Pereda’s time spent at SFAI. And in the Diego Rivera Gallery, he proves that play can also shift to critique, skillfully inserting himself into Rivera’s legacy at SFAI. Sometimes it takes an outsider’s eyes to call attention to a repeating cycle of history — in this case, both Rivera and Pereda point to San Francisco as a city constantly rebuilding itself, on the backs of a unidentified laborers.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/everything-but-the-kitchen-sank/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Everything but the kitchen sank’\u003c/h2>\n\u003cdiv class=\"event-desc\">The culmination of Alejandro Almanza Pereda’s residency at SFAI\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Oct. 3 and Dec. 12\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Walter and McBean Galleries & Diego Rivera Gallery\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/everything-but-the-kitchen-sank/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>For four harrowing months this summer, the sculpture studio at San Francisco Art Institute’s (SFAI) North Beach campus operated under the threat of flooding from above. The source — which thankfully, never leaked — was a 3,000 gallon tank of water in the center of the Walter and McBean Galleries one floor up.\u003c/p>\n\u003cp>With the help of student workers, protective Plexiglas boxes and countless items of bric-a-brac sourced from thrift stores across the Bay Area, Mexico City-based artist in residence Alejandro Almanza Pereda staged a series of object-filled underwater scenes captured by black and white digital prints and a 20-minute film. The artistic output of his residency is now on view in the same space where all the work was made, in an exhibition titled \u003cem>Everything but the kitchen sank.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10975088\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10975088\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Almanza_Production640.jpg\" alt=\"Alejandro Almanza Pereda, 'Everything but the kitchen sank' (installation view during production stage), Walter and McBean Galleries, San Francisco Art Institute, 2015. (Photo: Gregory Goode)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Almanza_Production640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Almanza_Production640-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Alejandro Almanza Pereda, ‘Everything but the kitchen sank’ (installation view during production stage), Walter and McBean Galleries, San Francisco Art Institute, 2015. (Photo: Gregory Goode)\u003c/figcaption>\u003c/figure>\n\u003cp>Outside the exhibition and just a few doors down the hall is Pereda’s radical intervention in the Diego Rivera Gallery. \u003cem>Change the world or go home\u003c/em> uses fluorescent tubes to erect a scaffolding of pure white light in front of the 1931 Rivera fresco \u003cem>The Making of a Fresco Showing the Building of a City\u003c/em>.\u003c/p>\n\u003cp>The fresco itself depicts the wooden armature of the scaffolding Rivera and his assistants used to complete the project. Pereda’s ghostly reminder of invisible labor is part of an ongoing series, but in the Bay Area it takes on added significance. The scaffold becomes not just a symbol of construction, but also one of gentrification, hammered home for me by the “Dreamboat,” dominating the view from SFAI’s rooftop. That was, if you don’t remember, the gigantic cruise ship rented by Salesforce to host attendees of the tech giant’s annual Dreamforce conference because San Francisco didn’t have enough hotel rooms to accommodate the crowd.\u003c/p>\n\u003cfigure id=\"attachment_10975087\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10975087\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Almanza_Install640.jpg\" alt=\"Alejandro Almanza Pereda, 'Everything but the kitchen sank' (installation view), Walter and McBean Galleries, San Francisco Art Institute, 2015. (Photo: Benjamin Ashlock)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Almanza_Install640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Almanza_Install640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Alejandro Almanza Pereda, ‘Everything but the kitchen sank’ (installation view), Walter and McBean Galleries, San Francisco Art Institute, 2015. (Photo: Benjamin Ashlock)\u003c/figcaption>\u003c/figure>\n\u003cp>Back in the Walter and McBean Galleries, the installation is spare and soothingly monochromatic. Pereda’s large-scale prints of different gravity-defying still life arrangements sit flush on the gallery walls like pieces of vinyl. Photographed through Plexiglas and water, the images take on a somber and surreal brushy quality as dish ware, fruits, vegetables and concrete blocks combine in tableaux punctuated by Pereda’s groan-worthy punny titles. (The photograph \u003cem>Just five blocks away\u003c/em> contains an arrangement with — you guessed it — five concrete blocks.)\u003c/p>\n\u003cfigure id=\"attachment_10975090\" class=\"wp-caption alignright\" style=\"max-width: 360px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10975090\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Like-Steaks-and-Salads.jpg\" alt=\"Alejandro Almanza Pereda, 'Like Steaks and Salads' (video still), 2015. (Courtesy of the artist and Curro & Poncho, Guadalajara)\" width=\"360\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Like-Steaks-and-Salads.jpg 360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Like-Steaks-and-Salads-338x600.jpg 338w\" sizes=\"(max-width: 360px) 100vw, 360px\">\u003cfigcaption class=\"wp-caption-text\">Alejandro Almanza Pereda, ‘Like Steaks and Salads’ (video still), 2015. (Courtesy of the artist and Curro & Poncho, Guadalajara)\u003c/figcaption>\u003c/figure>\n\u003cp>Upstairs in a darkened video room, the black and white film \u003cem>Like Steaks and Salads\u003c/em> is the true highlight of the show. A vertical projection captures different experiments with buoyancy and humor, all to the soundtrack of wonderfully clanking piano notes. Does a potato float? No. Does a pencil float? Yes. Pencil shavings hover in stasis, exploding out from the moment of sharpening. If Charlie Chaplin or Buster Keaton were making movies in a 3,000 gallon tank of water with the help of a small army of art school students, they might produce something like this.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While the finished exhibition is a tightly restrained view of the months of watery activity that took place inside that same space, it is in \u003cem>Like Steaks and Salads\u003c/em> that the spirit of collaboration and play comes to life as a fitting document of Pereda’s time spent at SFAI. And in the Diego Rivera Gallery, he proves that play can also shift to critique, skillfully inserting himself into Rivera’s legacy at SFAI. Sometimes it takes an outsider’s eyes to call attention to a repeating cycle of history — in this case, both Rivera and Pereda point to San Francisco as a city constantly rebuilding itself, on the backs of a unidentified laborers.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Lake County Cracks Down on Looting of Native American Artifacts",
"title": "Lake County Cracks Down on Looting of Native American Artifacts",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The wildfires ravaging Lake County this summer might have an impact unnoticed by most people: the increased looting of ancient Native American artifacts.\u003c/p>\n\u003cp>Local Pomo residents worry that the fires, which have cleared trees and structures off land, and the drought, which has lowered water levels at Clear Lake, are making it easier for looters to unearth relics that belonged to their ancestors.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/225040171\" 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>Although theft at Native American sites is nothing new, local sheriff's deputies are being trained for the first time in how to identify and investigate these crimes. That led to the arrest last month of a man suspected of stealing obsidian arrowheads and other artifacts.\u003c/p>\n\u003cp>The case may be the first arrest of its kind in Lake County, according to the Lake County Sheriff’s Office.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Cultural treasures\u003c/strong>\u003c/p>\n\u003cp>The obsidian cutting tools at the center of this case look similar to the arrowheads that Batsulwin Brown is pulling out of a small box at Big Valley Rancheria near the city of Lakeport. The reservation is home to Pomo Indians who have a long history of hunting and fishing in Clear Lake, the largest natural freshwater lake wholly within the state.\u003c/p>\n\u003cp>Brown, tribal historic preservation officer at Big Valley, picks through the arrowheads, which he estimates are at least 500 years old.\u003c/p>\n\u003cfigure id=\"attachment_10692360\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10692360\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/ObsidianHeads-800x562.jpg\" alt=\"Obsidian spear and arrowheads such as these at the Big Valley Rancheria of Pomo Indians in Lake County may fetch hundreds of dollars in the black market. Local Pomo people want to recover these items and stop these crimes.\" width=\"800\" height=\"562\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads-800x562.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads-400x281.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads-1440x1011.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads-1180x828.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads-960x674.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Obsidian spear and arrowheads such as these at the Big Valley Rancheria of Pomo Indians in Lake County may fetch hundreds of dollars in the black market. Local Pomo people want to recover these items and stop these crimes. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is one of the most defined pieces here. Feel the edges. It still has a very sharp edge,” says Brown.\u003c/p>\n\u003cp>Next, he carefully removes a collection of clam shell beads from labeled plastic bags. He estimates these beads are about 5,000 years old.\u003c/p>\n\u003cp>“They are fragile. You can see some of the white residue coming on my fingers from the shells,” says Brown, adding that local authorities returned these beads to the Big Valley Band of Pomo Indians after a landowner dug them up from his garden and turned them in.\u003c/p>\n\u003cp>For Brown, these artifacts are invaluable. They connect today’s Pomo to their ancestors in a physical way.\u003c/p>\n\u003cp>“Helps paint a picture for us of what went on out there if we don’t have any members or direct descendants who lived at that site to give us more information,” says Brown, who grew up at the Elem Pomo reservation near the town of Clearlake Oaks, playing at a \u003ca href=\"http://www.epa.gov/superfund/eparecovery/sulphur_bank.html\" target=\"_blank\">Superfund site\u003c/a> next door.\u003c/p>\n\u003cp>He considers the mercury pollution from that mine, which he says led to deadly cancers among his relatives, as one of many injustices faced by local tribes.\u003c/p>\n\u003cfigure id=\"attachment_10692355\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10692355 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/BatsulwinBrown-800x489.jpg\" alt=\"Batsulwin Brown, tribal historic preservation officer for the Big Valley Band of Pomo Indians, at Clear Lake on Sept. 10. Brown is concerned that the lake’s drop in water levels and wildfires are making archaeological sites easier to loot.\" width=\"800\" height=\"489\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown-800x489.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown-400x244.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown-1440x880.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown-1180x721.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown-960x587.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Batsulwin Brown, tribal historic preservation officer for the Big Valley Rancheria at Clear Lake on Sept. 10. Brown is concerned that wildfires and the lake’s drop in water levels are making archaeological sites more accessible to looters. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of the healing needed by Native American communities, says Brown, is brought about by piecing together their rich history from ancient artifacts.\u003c/p>\n\u003cp>But Brown and other native residents fear that in many cases, tools, effigies and other remains from Pomo archaeological sites are stolen for commercial gain.\u003c/p>\n\u003cp>\u003cstrong>The arrest\u003c/strong>\u003c/p>\n\u003cp>On Aug. 22, Lake County Deputy Sheriff Richard Kreutzer discovered obsidian cutting tools and other artifacts inside the van of a man he suspected of being high on methamphetamines and trespassing on private property.\u003c/p>\n\u003cp>“I booked him on felony possession of these artifacts, and the investigation is ongoing,” says Kreutzer, who has worked with the sheriff’s office since 2012. “I’m currently trying to confirm where the items were removed from to bring this evidence to a judge.”\u003c/p>\n\u003cfigure id=\"attachment_10685641\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut.jpg\">\u003cimg class=\"wp-image-10685641 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-800x533.jpg\" alt=\"Two days after receiving a training on archaeological crimes, Lake County Deputy Sheriff Richard Kreutzer arrested a transient man suspected of looting Native American artifacts on August 22. This arrest may be the first its kind in Lake County. Kreutzer was photographed at the Sheriff's offices in Lakeport.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Two days after receiving a training on archaeological crimes, Lake County Deputy Sheriff Richard Kreutzer arrested a transient man suspected of looting Native American artifacts on Aug. 22. This arrest may be the first its kind in Lake County. Kreutzer was photographed at the Sheriff's offices in Lakeport. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The arrest came only two days after Kreutzer and other deputies took an intensive, three-day training on archeological crimes. The event was co-hosted by the \u003ca href=\"http://www.koination.com/\" target=\"_blank\">Koi Nation of Northern California\u003c/a>, the \u003ca href=\"http://www.upperlakepomo.com/\" target=\"_blank\">Habematolel Pomo of Upper Lake\u003c/a> and Kreutzer’s boss, Sheriff Brian Martin, who took office this year.\u003c/p>\n\u003cp>Federal and state laws prohibit people from taking these artifacts. In California, the \u003ca href=\"http://www.leginfo.ca.gov/pub/01-02/bill/sen/sb_1801-1850/sb_1816_bill_20020630_amended_asm.pdf\" target=\"_blank\">Native American Historic Resource Protection Act\u003c/a> punishes the unlawful excavation or destruction of Native American sites as a misdemeanor.\u003c/p>\n\u003cp>But until now, this law hadn't been enforced here. That is why the sheriff’s office says this arrest might be the first of its kind in Lake County.\u003c/p>\n\u003cp>“In all honesty, I might have come across these types of things in other calls but didn’t necessarily knew what they were,” says Kreutzer. “Now thanks to this training ... we are a little more aware of what we are looking at.”\u003c/p>\n\u003cp>Forensic archaeologist Martin McAllister led the training and has worked on hundreds of cases involving looters in Arizona and other parts of the country since 1977. He says archaeological crimes are frequently connected to drug use, especially meth, with looters selling relics to buy drugs.\u003c/p>\n\u003cfigure id=\"attachment_10692364\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10692364 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/BeadsAndHead-800x530.jpg\" alt=\"Clam shell beads and an obsidian spearhead are some of the items recovered by the Big Valley Band of Pomo Indians near Clear Lake.\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead-1440x955.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clam shell beads and an obsidian spearhead were recovered by the Big Valley Band of Pomo Indians near the city of Lakeport. A local landowner found the beads in his property and turned them in to local authorities, while the Big Valley historic preservation team identified the spearhead during a public works project. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Typically (looters) are going to be high on some type of drug like methamphetamine. They are going to be armed, and they know what they are doing is illegal, so it can create a very dangerous situation out there on the ground,” says McAllister by phone from Missoula, Montana, where he resides.\u003c/p>\n\u003cp>McAllister says that once these items wind up in the black market, they can fetch big money.\u003c/p>\n\u003cp>“It’s a multimillion-dollar industry here in the United States,” says McAllister, adding that the international black market for all archaeologically significant items is estimated at $7 billion. “It’s second only to drugs and weapons, in terms of the amount of money it generates every year.”\u003c/p>\n\u003cp>The high incidence of meth use in Lake County likely plays a role in looting, says McAllister. Lake County leads the state's 58 counties in terms of drug-induced deaths, according to the most recent \u003ca href=\"http://www.cdph.ca.gov/programs/ohir/Documents/OHIRProfiles2015.pdf\">figures\u003c/a> from the California Department of Public Health.\u003c/p>\n\u003cp>McAllister says that drought conditions and wildfires are exposing archaeological sites around Clear Lake that were not visible, making these potential troves more accessible than before.\u003c/p>\n\u003cp>\u003cstrong>Wildfires and drought increase access in Lake County\u003c/strong>\u003c/p>\n\u003cp>Wildfires raging in the area since July have burned vegetation and structures in 171,000 acres so far. At the same time, the state’s four-year drought is making Clear Lake’s shoreline recede as water levels drop.\u003c/p>\n\u003cp>In September 2011, Clear Lake’s water levels were about 2 feet higher than today, says Andrew Watson, field office chief at the U.S. Geological Survey Ukiah branch. During a wet year such as 1984, water levels were 10 feet higher than today, he says.\u003c/p>\n\u003cp>[contextly_sidebar id=\"tv6V4uHzKsYZriZwzLbfJiFDY0J1FgoL\"]\u003c/p>\n\u003cp>But Dino Beltran, from the Koi Nation, says the theft of Native American relics has occurred for many decades, regardless of the weather. He first alerted authorities to these crimes after he spotted a pair of suspicious diggers on marshland near his ancestral home.\u003c/p>\n\u003cp>“People trying to benefit from somebody else's belongings that should be left on the ground,” says Beltran, who pushed for the training with local law enforcement. “I mean they are sacred objects. You don’t see Native Americans going to a cemetery and digging up the cemetery, so why would anyone want to do anything sacrilegious to a Native American site?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Though the looting case in Lake County is still under investigation, the sheriff’s office and Beltran believe that the items recovered by Kreutzer are most likely from the Koi Nation. The suspect was released on bail a few days after the arrest.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The wildfires ravaging Lake County this summer might have an impact unnoticed by most people: the increased looting of ancient Native American artifacts.\u003c/p>\n\u003cp>Local Pomo residents worry that the fires, which have cleared trees and structures off land, and the drought, which has lowered water levels at Clear Lake, are making it easier for looters to unearth relics that belonged to their ancestors.\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/225040171&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/225040171'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Although theft at Native American sites is nothing new, local sheriff's deputies are being trained for the first time in how to identify and investigate these crimes. That led to the arrest last month of a man suspected of stealing obsidian arrowheads and other artifacts.\u003c/p>\n\u003cp>The case may be the first arrest of its kind in Lake County, according to the Lake County Sheriff’s Office.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Cultural treasures\u003c/strong>\u003c/p>\n\u003cp>The obsidian cutting tools at the center of this case look similar to the arrowheads that Batsulwin Brown is pulling out of a small box at Big Valley Rancheria near the city of Lakeport. The reservation is home to Pomo Indians who have a long history of hunting and fishing in Clear Lake, the largest natural freshwater lake wholly within the state.\u003c/p>\n\u003cp>Brown, tribal historic preservation officer at Big Valley, picks through the arrowheads, which he estimates are at least 500 years old.\u003c/p>\n\u003cfigure id=\"attachment_10692360\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10692360\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/ObsidianHeads-800x562.jpg\" alt=\"Obsidian spear and arrowheads such as these at the Big Valley Rancheria of Pomo Indians in Lake County may fetch hundreds of dollars in the black market. Local Pomo people want to recover these items and stop these crimes.\" width=\"800\" height=\"562\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads-800x562.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads-400x281.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads-1440x1011.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads-1180x828.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/ObsidianHeads-960x674.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Obsidian spear and arrowheads such as these at the Big Valley Rancheria of Pomo Indians in Lake County may fetch hundreds of dollars in the black market. Local Pomo people want to recover these items and stop these crimes. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is one of the most defined pieces here. Feel the edges. It still has a very sharp edge,” says Brown.\u003c/p>\n\u003cp>Next, he carefully removes a collection of clam shell beads from labeled plastic bags. He estimates these beads are about 5,000 years old.\u003c/p>\n\u003cp>“They are fragile. You can see some of the white residue coming on my fingers from the shells,” says Brown, adding that local authorities returned these beads to the Big Valley Band of Pomo Indians after a landowner dug them up from his garden and turned them in.\u003c/p>\n\u003cp>For Brown, these artifacts are invaluable. They connect today’s Pomo to their ancestors in a physical way.\u003c/p>\n\u003cp>“Helps paint a picture for us of what went on out there if we don’t have any members or direct descendants who lived at that site to give us more information,” says Brown, who grew up at the Elem Pomo reservation near the town of Clearlake Oaks, playing at a \u003ca href=\"http://www.epa.gov/superfund/eparecovery/sulphur_bank.html\" target=\"_blank\">Superfund site\u003c/a> next door.\u003c/p>\n\u003cp>He considers the mercury pollution from that mine, which he says led to deadly cancers among his relatives, as one of many injustices faced by local tribes.\u003c/p>\n\u003cfigure id=\"attachment_10692355\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10692355 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/BatsulwinBrown-800x489.jpg\" alt=\"Batsulwin Brown, tribal historic preservation officer for the Big Valley Band of Pomo Indians, at Clear Lake on Sept. 10. Brown is concerned that the lake’s drop in water levels and wildfires are making archaeological sites easier to loot.\" width=\"800\" height=\"489\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown-800x489.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown-400x244.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown-1440x880.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown-1180x721.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BatsulwinBrown-960x587.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Batsulwin Brown, tribal historic preservation officer for the Big Valley Rancheria at Clear Lake on Sept. 10. Brown is concerned that wildfires and the lake’s drop in water levels are making archaeological sites more accessible to looters. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of the healing needed by Native American communities, says Brown, is brought about by piecing together their rich history from ancient artifacts.\u003c/p>\n\u003cp>But Brown and other native residents fear that in many cases, tools, effigies and other remains from Pomo archaeological sites are stolen for commercial gain.\u003c/p>\n\u003cp>\u003cstrong>The arrest\u003c/strong>\u003c/p>\n\u003cp>On Aug. 22, Lake County Deputy Sheriff Richard Kreutzer discovered obsidian cutting tools and other artifacts inside the van of a man he suspected of being high on methamphetamines and trespassing on private property.\u003c/p>\n\u003cp>“I booked him on felony possession of these artifacts, and the investigation is ongoing,” says Kreutzer, who has worked with the sheriff’s office since 2012. “I’m currently trying to confirm where the items were removed from to bring this evidence to a judge.”\u003c/p>\n\u003cfigure id=\"attachment_10685641\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut.jpg\">\u003cimg class=\"wp-image-10685641 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-800x533.jpg\" alt=\"Two days after receiving a training on archaeological crimes, Lake County Deputy Sheriff Richard Kreutzer arrested a transient man suspected of looting Native American artifacts on August 22. This arrest may be the first its kind in Lake County. Kreutzer was photographed at the Sheriff's offices in Lakeport.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/RS16686_IMG_9481.JPG-qut-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Two days after receiving a training on archaeological crimes, Lake County Deputy Sheriff Richard Kreutzer arrested a transient man suspected of looting Native American artifacts on Aug. 22. This arrest may be the first its kind in Lake County. Kreutzer was photographed at the Sheriff's offices in Lakeport. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The arrest came only two days after Kreutzer and other deputies took an intensive, three-day training on archeological crimes. The event was co-hosted by the \u003ca href=\"http://www.koination.com/\" target=\"_blank\">Koi Nation of Northern California\u003c/a>, the \u003ca href=\"http://www.upperlakepomo.com/\" target=\"_blank\">Habematolel Pomo of Upper Lake\u003c/a> and Kreutzer’s boss, Sheriff Brian Martin, who took office this year.\u003c/p>\n\u003cp>Federal and state laws prohibit people from taking these artifacts. In California, the \u003ca href=\"http://www.leginfo.ca.gov/pub/01-02/bill/sen/sb_1801-1850/sb_1816_bill_20020630_amended_asm.pdf\" target=\"_blank\">Native American Historic Resource Protection Act\u003c/a> punishes the unlawful excavation or destruction of Native American sites as a misdemeanor.\u003c/p>\n\u003cp>But until now, this law hadn't been enforced here. That is why the sheriff’s office says this arrest might be the first of its kind in Lake County.\u003c/p>\n\u003cp>“In all honesty, I might have come across these types of things in other calls but didn’t necessarily knew what they were,” says Kreutzer. “Now thanks to this training ... we are a little more aware of what we are looking at.”\u003c/p>\n\u003cp>Forensic archaeologist Martin McAllister led the training and has worked on hundreds of cases involving looters in Arizona and other parts of the country since 1977. He says archaeological crimes are frequently connected to drug use, especially meth, with looters selling relics to buy drugs.\u003c/p>\n\u003cfigure id=\"attachment_10692364\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10692364 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/BeadsAndHead-800x530.jpg\" alt=\"Clam shell beads and an obsidian spearhead are some of the items recovered by the Big Valley Band of Pomo Indians near Clear Lake.\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead-1440x955.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/BeadsAndHead-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clam shell beads and an obsidian spearhead were recovered by the Big Valley Band of Pomo Indians near the city of Lakeport. A local landowner found the beads in his property and turned them in to local authorities, while the Big Valley historic preservation team identified the spearhead during a public works project. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Typically (looters) are going to be high on some type of drug like methamphetamine. They are going to be armed, and they know what they are doing is illegal, so it can create a very dangerous situation out there on the ground,” says McAllister by phone from Missoula, Montana, where he resides.\u003c/p>\n\u003cp>McAllister says that once these items wind up in the black market, they can fetch big money.\u003c/p>\n\u003cp>“It’s a multimillion-dollar industry here in the United States,” says McAllister, adding that the international black market for all archaeologically significant items is estimated at $7 billion. “It’s second only to drugs and weapons, in terms of the amount of money it generates every year.”\u003c/p>\n\u003cp>The high incidence of meth use in Lake County likely plays a role in looting, says McAllister. Lake County leads the state's 58 counties in terms of drug-induced deaths, according to the most recent \u003ca href=\"http://www.cdph.ca.gov/programs/ohir/Documents/OHIRProfiles2015.pdf\">figures\u003c/a> from the California Department of Public Health.\u003c/p>\n\u003cp>McAllister says that drought conditions and wildfires are exposing archaeological sites around Clear Lake that were not visible, making these potential troves more accessible than before.\u003c/p>\n\u003cp>\u003cstrong>Wildfires and drought increase access in Lake County\u003c/strong>\u003c/p>\n\u003cp>Wildfires raging in the area since July have burned vegetation and structures in 171,000 acres so far. At the same time, the state’s four-year drought is making Clear Lake’s shoreline recede as water levels drop.\u003c/p>\n\u003cp>In September 2011, Clear Lake’s water levels were about 2 feet higher than today, says Andrew Watson, field office chief at the U.S. Geological Survey Ukiah branch. During a wet year such as 1984, water levels were 10 feet higher than today, he says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But Dino Beltran, from the Koi Nation, says the theft of Native American relics has occurred for many decades, regardless of the weather. He first alerted authorities to these crimes after he spotted a pair of suspicious diggers on marshland near his ancestral home.\u003c/p>\n\u003cp>“People trying to benefit from somebody else's belongings that should be left on the ground,” says Beltran, who pushed for the training with local law enforcement. “I mean they are sacred objects. You don’t see Native Americans going to a cemetery and digging up the cemetery, so why would anyone want to do anything sacrilegious to a Native American site?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though the looting case in Lake County is still under investigation, the sheriff’s office and Beltran believe that the items recovered by Kreutzer are most likely from the Koi Nation. The suspect was released on bail a few days after the arrest.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 9
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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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"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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"order": 18
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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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"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",
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"source": "American Public Media"
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"masters-of-scale": {
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"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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},
"mindshift": {
"id": "mindshift",
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"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>",
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"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",
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"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.",
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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?",
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"order": 11
},
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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",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"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",
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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"
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
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