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"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/paul-graham-the-whiteness-of-the-whale/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Paul Graham: The Whiteness of the Whale’\u003c/h2>\n\u003cdiv class=\"event-desc\">Over a decade of work by the New York-based photographer.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Feb. 29, 2016\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Pier 24 Photography\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/paul-graham-the-whiteness-of-the-whale/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>At Pier 24 Photography, three series of works taken by British photograph Paul Graham across the United States since 1998 come together in \u003cem>The Whiteness of the Whale\u003c/em>.\u003cem> \u003c/em>Each series utilizes the mechanics of photography to address issues of perception and observation. In Graham’s work, the formal functions of photography stand in for light, awareness and time to link with depictions of racial inequity, despair, everyday struggle and the mundane.\u003c/p>\n\u003cp>The series\u003ci> American Night\u003c/i> (1998-2002) grapples with light as a metaphor for what is hidden and what is highlighted in society. Crisp and colorful photographs document McMansions around the U.S. and the shiny SUVs parked in front of them. Interspersed throughout the gallery are nearly-whited-out photographs of distressed urban outskirts in places like Detroit, Memphis and Los Angeles. The light erases detail — though parking lots, golden arches and power lines can be made out, often with a single figure dwarfed by his or her surroundings and circumstances.\u003c/p>\n\u003cfigure id=\"attachment_10899514\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10899514 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/American_Night_03.jpg\" alt=\"Paul Graham, Installation view of 'The Whiteness of the Whale,' 2015. (Photo: Pier 24 Photography, San Francisco)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/American_Night_03.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/American_Night_03-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Graham, Installation view of ‘The Whiteness of the Whale,’ 2015. (Photo: Pier 24 Photography, San Francisco)\u003c/figcaption>\u003c/figure>\n\u003cp>A number of sequences of commonplace moments comprise \u003ci>a shimmer of possibility\u003c/i> (2004-06), depicting the passage of time created by the camera’s shutter. In \u003ci>California\u003c/i> (2005-06) a homeless man rifles through his belongings in front of a Jack in the Box. The sequence is paired with a young girl traveling down a sidewalk before abruptly stopping, spreading out her own belongings, and eating a fast food meal. Both subjects are seen carrying their possessions in public, thinly connected to each other by the thread of fast food.\u003c/p>\n\u003cp>\u003ci>New York & North Dakota\u003c/i> (2005) brings together two even more dissimilar scenes. An array of photos follows a woman through a brief, but seemingly trying, moment in her life. She is first seen walking with a slight hunch on a sidewalk before grasping her head as if to cope with some stressful situation. She stops in front of a building to smoke a cigarette, and in the final shot she is back on a busy sidewalk, clasping her head.\u003c/p>\n\u003cfigure id=\"attachment_10899521\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10899521 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Shimmer_ND_NYC_Detail_02.jpg\" alt=\"Paul Graham, 'New York & North Dakota' (detail) from the series 'a shimmer of possibility,' 2005 (Photo: Pace and Pace/MacGill Gallery, New York)\" width=\"640\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Shimmer_ND_NYC_Detail_02.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Shimmer_ND_NYC_Detail_02-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Graham, ‘New York & North Dakota’ (detail) from the series ‘a shimmer of possibility,’ 2005 (Photo: Pace and Pace/MacGill Gallery, New York)\u003c/figcaption>\u003c/figure>\n\u003cp>Above this sequence is a series documenting a beautiful North Dakota sunset. Peaceful orange, purple and blue clouds hang over the New York woman’s head, clashing with her anxiety.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>The Present\u003c/i> (2009-11) was shot entirely in New York City, Graham’s adopted hometown. In this body of street photographs, focus serves as a tool for exploring awareness. Each piece is composed of two or three photographs taken seconds apart. By focusing on different subjects, objects or locations, two images of an almost identical time and place conjure strikingly distinct stories.\u003c/p>\n\u003cp>One memorable piece first focuses on a crying woman in a pink shirt emblazoned with a winking smiley face. A number of pedestrians surround her, but her anguish commands the viewer’s attention. Seconds later a group of three individuals emerge from out-of-focus obscurity; their self-confident saunter, raised heads and sunglasses render the scene casual and leisurely. These conflicting moments share time and space without interacting, their cohabitation made jarring by the photographer’s selective focus.\u003c/p>\n\u003cfigure id=\"attachment_10899513\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10899513 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/The_Present_34th-Street.jpg\" alt=\"Paul Graham, '34th Street, 4th June 2010, 3.12.58 pm' from the series 'The Present,' 2010. (Photo: Pace and Pace/MacGill Gallery, New York)\" width=\"640\" height=\"236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The_Present_34th-Street.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The_Present_34th-Street-400x148.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Graham, ’34th Street, 4th June 2010, 3.12.58 pm’ from the series ‘The Present,’ 2010. (Photo: Pace and Pace/MacGill Gallery, New York)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Graham’s three bodies of work document very different places in America with very different conceptual and formal approaches. But even within the enormity of \u003cem>The Whiteness of the Whale\u003c/em>, the works collaborate to create a cohesive decade-long travelogue. Graham’s depiction of America is not comprehensive — perspectives and stories are notably absent — but of the perspectives he chooses to examine, his photographs bring life to those stories.\u003c/p>\n\n",
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"excerpt": "At Pier 24, a decade of documentary and street photography explores the American condition.",
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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/paul-graham-the-whiteness-of-the-whale/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Paul Graham: The Whiteness of the Whale’\u003c/h2>\n\u003cdiv class=\"event-desc\">Over a decade of work by the New York-based photographer.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Feb. 29, 2016\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Pier 24 Photography\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/paul-graham-the-whiteness-of-the-whale/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>At Pier 24 Photography, three series of works taken by British photograph Paul Graham across the United States since 1998 come together in \u003cem>The Whiteness of the Whale\u003c/em>.\u003cem> \u003c/em>Each series utilizes the mechanics of photography to address issues of perception and observation. In Graham’s work, the formal functions of photography stand in for light, awareness and time to link with depictions of racial inequity, despair, everyday struggle and the mundane.\u003c/p>\n\u003cp>The series\u003ci> American Night\u003c/i> (1998-2002) grapples with light as a metaphor for what is hidden and what is highlighted in society. Crisp and colorful photographs document McMansions around the U.S. and the shiny SUVs parked in front of them. Interspersed throughout the gallery are nearly-whited-out photographs of distressed urban outskirts in places like Detroit, Memphis and Los Angeles. The light erases detail — though parking lots, golden arches and power lines can be made out, often with a single figure dwarfed by his or her surroundings and circumstances.\u003c/p>\n\u003cfigure id=\"attachment_10899514\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10899514 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/American_Night_03.jpg\" alt=\"Paul Graham, Installation view of 'The Whiteness of the Whale,' 2015. (Photo: Pier 24 Photography, San Francisco)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/American_Night_03.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/American_Night_03-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Graham, Installation view of ‘The Whiteness of the Whale,’ 2015. (Photo: Pier 24 Photography, San Francisco)\u003c/figcaption>\u003c/figure>\n\u003cp>A number of sequences of commonplace moments comprise \u003ci>a shimmer of possibility\u003c/i> (2004-06), depicting the passage of time created by the camera’s shutter. In \u003ci>California\u003c/i> (2005-06) a homeless man rifles through his belongings in front of a Jack in the Box. The sequence is paired with a young girl traveling down a sidewalk before abruptly stopping, spreading out her own belongings, and eating a fast food meal. Both subjects are seen carrying their possessions in public, thinly connected to each other by the thread of fast food.\u003c/p>\n\u003cp>\u003ci>New York & North Dakota\u003c/i> (2005) brings together two even more dissimilar scenes. An array of photos follows a woman through a brief, but seemingly trying, moment in her life. She is first seen walking with a slight hunch on a sidewalk before grasping her head as if to cope with some stressful situation. She stops in front of a building to smoke a cigarette, and in the final shot she is back on a busy sidewalk, clasping her head.\u003c/p>\n\u003cfigure id=\"attachment_10899521\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10899521 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Shimmer_ND_NYC_Detail_02.jpg\" alt=\"Paul Graham, 'New York & North Dakota' (detail) from the series 'a shimmer of possibility,' 2005 (Photo: Pace and Pace/MacGill Gallery, New York)\" width=\"640\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Shimmer_ND_NYC_Detail_02.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Shimmer_ND_NYC_Detail_02-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Graham, ‘New York & North Dakota’ (detail) from the series ‘a shimmer of possibility,’ 2005 (Photo: Pace and Pace/MacGill Gallery, New York)\u003c/figcaption>\u003c/figure>\n\u003cp>Above this sequence is a series documenting a beautiful North Dakota sunset. Peaceful orange, purple and blue clouds hang over the New York woman’s head, clashing with her anxiety.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The Present\u003c/i> (2009-11) was shot entirely in New York City, Graham’s adopted hometown. In this body of street photographs, focus serves as a tool for exploring awareness. Each piece is composed of two or three photographs taken seconds apart. By focusing on different subjects, objects or locations, two images of an almost identical time and place conjure strikingly distinct stories.\u003c/p>\n\u003cp>One memorable piece first focuses on a crying woman in a pink shirt emblazoned with a winking smiley face. A number of pedestrians surround her, but her anguish commands the viewer’s attention. Seconds later a group of three individuals emerge from out-of-focus obscurity; their self-confident saunter, raised heads and sunglasses render the scene casual and leisurely. These conflicting moments share time and space without interacting, their cohabitation made jarring by the photographer’s selective focus.\u003c/p>\n\u003cfigure id=\"attachment_10899513\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10899513 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/The_Present_34th-Street.jpg\" alt=\"Paul Graham, '34th Street, 4th June 2010, 3.12.58 pm' from the series 'The Present,' 2010. (Photo: Pace and Pace/MacGill Gallery, New York)\" width=\"640\" height=\"236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The_Present_34th-Street.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The_Present_34th-Street-400x148.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Graham, ’34th Street, 4th June 2010, 3.12.58 pm’ from the series ‘The Present,’ 2010. (Photo: Pace and Pace/MacGill Gallery, New York)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Graham’s three bodies of work document very different places in America with very different conceptual and formal approaches. But even within the enormity of \u003cem>The Whiteness of the Whale\u003c/em>, the works collaborate to create a cohesive decade-long travelogue. Graham’s depiction of America is not comprehensive — perspectives and stories are notably absent — but of the perspectives he chooses to examine, his photographs bring life to those stories.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Archive Preserves People’s Memories of South Asia’s Partition",
"title": "Archive Preserves People’s Memories of South Asia’s Partition",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>This weekend, Indians and Pakistanis around the world celebrate their country’s respective independence days. It’s been 68 years since the subcontinent was hastily divided along religious lines into \u003ca href=\"http://newsvote.bbc.co.uk/2/hi/south_asia/6924732.stm\" target=\"_blank\">two countries\u003c/a>.\u003c/p>\n\u003cp>People on both sides of the border share traumatic memories of partition. Now a new archive, located in Berkeley, is collecting the stories of people who lived through the partition.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/219660768\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=_5dyEjkzs_U\" target=\"_blank\">Ravi Chopra\u003c/a> shared his story as part of the archive. He says those kind of memories never fade away.\u003c/p>\n\u003cp>“You have played with them, you have lived with them, you have eaten together! And the same people [are] coming and burning your houses and killing you and looting everything,” Chopra says about the riots he witnessed in 1947.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Guneeta Singh Bhalla, founder of the \u003ca href=\"http://www.1947partitionarchive.org/\" target=\"_blank\">1947 Partition Archive\u003c/a>, says she grew up listening to her grandparents’ frightening tales of partition.\u003c/p>\n\u003cp>“My grandmother had told me harrowing stories of the train rides that they took to come to India,” Bhalla says. “Also at one point how [she said] she was in a jeep with her brother and they literally were having to drive over dead bodies.”\u003c/p>\n\u003cfigure id=\"attachment_10637014\" class=\"wp-caption aligncenter\" style=\"max-width: 924px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut.jpg\">\u003cimg class=\"size-full wp-image-10637014\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut.jpg\" alt=\"Millions of people were displaced from their ancestral homes as partition divided South Asia along religious lines. Many refugees took the harrowing journey via train.\" width=\"924\" height=\"690\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut.jpg 924w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut-400x299.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut-800x597.jpg 800w\" sizes=\"(max-width: 924px) 100vw, 924px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Millions of people were displaced from their ancestral homes as partition divided South Asia along religious lines. Many refugees took the harrowing journey via train. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>About 15 million people were displaced during the partition, the largest mass migration of the 20th century. But at the time, western media praised it as a triumph of democracy.\u003c/p>\n\u003cp>Bhalla says she never even learned about partition in her high school history class. Years later, she took a trip to Hiroshima that inspired her.\u003c/p>\n\u003cp>“I saw the oral testimony archives there,” she explains. “For me it was sort of that moment, it clicked. It was like OH. Wow. \u003ci>This\u003c/i> is what we need to do. My grandmother needs to tell her own story.”\u003c/p>\n\u003cp>So she created the 1947 Partition Archive, in a small office in downtown Berkeley. In the last 4 years they’ve collected about 2,000 video and audio testimonies.They plan to publish them in a few years. Some people are telling their story for the first time, like \u003ca href=\"https://www.youtube.com/watch?v=Lcx6O2Fltrc\" target=\"_blank\">Ali Shan\u003c/a>.\u003c/p>\n\u003cp>He was 6 years old in 1947. His life changed when a mob attacked his ancestral town, near the newly created India/Pakistan border. In his video testimony as he struggles to tell his story, its evident that the memories still haunt him.\u003c/p>\n\u003cp>“I was standing there not knowing what's happening. He, the gunman, was only about 10 feet away,” Shan says, with a shake in his voice. “You know, he shot at me few times. Every time he missed. So I start running.”\u003c/p>\n\u003cp>During that attack, Shan saw his mother and brother murdered and he was orphaned. It was months before he was reunited with some distant relatives. They already crossed the border into Pakistan.\u003c/p>\n\u003cfigure id=\"attachment_10637015\" class=\"wp-caption alignright\" style=\"max-width: 923px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut.jpg\">\u003cimg class=\"size-full wp-image-10637015\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut.jpg\" alt=\"British officials visit a scene from the Punjab riots. The province of Punjab was split in two during partition and in the aftermath had some of the most violent riots.\" width=\"923\" height=\"784\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut.jpg 923w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut-400x340.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut-800x680.jpg 800w\" sizes=\"(max-width: 923px) 100vw, 923px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">British officials visit a scene from the Punjab riots. The province of Punjab was split in two during partition and in the aftermath had some of the most violent riots. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you don’t have a mother, father, and your own home and family, all the relatives are there to help you, but its not the same, it never was,” Shan says.\u003c/p>\n\u003cp>The archive has dispatched volunteers, called citizen historians, to record these stories. Most stories come from people in India, Pakistan and Bangladesh. But many come from South Asians living in the U.S.\u003c/p>\n\u003cp>An event at Santa Clara University spread the word about the archive among the South Asian community here. As witnesses told their stories, a packed audience hung on their every word.\u003c/p>\n\u003cp>Bhalla says hearing these first hand accounts inspires others to share their stories.\u003c/p>\n\u003cp>“Because partition has been at the crux of so much politics in South Asia and even war that a lot of that memory has been sort of shoved under the carpet,” she says. “Maybe not on purpose, maybe that's just been the circumstance. But yeah, the people haven't had an opportunity to share their stories and that's the gap that we're trying to fill.”\u003c/p>\n\u003cp>Bhalla says she regrets that she never got the chance to record her grandmother’s story. And time is running out for other survivors.\u003c/p>\n\u003cp>“Those who experienced partition as teenagers are in their 80s today. And those who were young adults are in their 90s and over 100,” Bhalla says. “So there's a really huge urgency in getting these stories recorded as fast as possible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The archive wants 8,000 more stories recorded by 2017, the 70th anniversary of partition, while witnesses are still alive.\u003c/p>\n\n",
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"description": "This weekend, Indians and Pakistanis around the world celebrate their country’s respective independence days. It’s been 68 years since the subcontinent was hastily divided along religious lines into two countries. People on both sides of the border share traumatic memories of partition. Now a new archive, located in Berkeley, is collecting the stories of people who",
"title": "Archive Preserves People’s Memories of South Asia’s Partition | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This weekend, Indians and Pakistanis around the world celebrate their country’s respective independence days. It’s been 68 years since the subcontinent was hastily divided along religious lines into \u003ca href=\"http://newsvote.bbc.co.uk/2/hi/south_asia/6924732.stm\" target=\"_blank\">two countries\u003c/a>.\u003c/p>\n\u003cp>People on both sides of the border share traumatic memories of partition. Now a new archive, located in Berkeley, is collecting the stories of people who lived through the partition.\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/219660768&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/219660768'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=_5dyEjkzs_U\" target=\"_blank\">Ravi Chopra\u003c/a> shared his story as part of the archive. He says those kind of memories never fade away.\u003c/p>\n\u003cp>“You have played with them, you have lived with them, you have eaten together! And the same people [are] coming and burning your houses and killing you and looting everything,” Chopra says about the riots he witnessed in 1947.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Guneeta Singh Bhalla, founder of the \u003ca href=\"http://www.1947partitionarchive.org/\" target=\"_blank\">1947 Partition Archive\u003c/a>, says she grew up listening to her grandparents’ frightening tales of partition.\u003c/p>\n\u003cp>“My grandmother had told me harrowing stories of the train rides that they took to come to India,” Bhalla says. “Also at one point how [she said] she was in a jeep with her brother and they literally were having to drive over dead bodies.”\u003c/p>\n\u003cfigure id=\"attachment_10637014\" class=\"wp-caption aligncenter\" style=\"max-width: 924px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut.jpg\">\u003cimg class=\"size-full wp-image-10637014\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut.jpg\" alt=\"Millions of people were displaced from their ancestral homes as partition divided South Asia along religious lines. Many refugees took the harrowing journey via train.\" width=\"924\" height=\"690\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut.jpg 924w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut-400x299.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16297_Refugees_en_route_to_Pakistan-qut-800x597.jpg 800w\" sizes=\"(max-width: 924px) 100vw, 924px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Millions of people were displaced from their ancestral homes as partition divided South Asia along religious lines. Many refugees took the harrowing journey via train. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>About 15 million people were displaced during the partition, the largest mass migration of the 20th century. But at the time, western media praised it as a triumph of democracy.\u003c/p>\n\u003cp>Bhalla says she never even learned about partition in her high school history class. Years later, she took a trip to Hiroshima that inspired her.\u003c/p>\n\u003cp>“I saw the oral testimony archives there,” she explains. “For me it was sort of that moment, it clicked. It was like OH. Wow. \u003ci>This\u003c/i> is what we need to do. My grandmother needs to tell her own story.”\u003c/p>\n\u003cp>So she created the 1947 Partition Archive, in a small office in downtown Berkeley. In the last 4 years they’ve collected about 2,000 video and audio testimonies.They plan to publish them in a few years. Some people are telling their story for the first time, like \u003ca href=\"https://www.youtube.com/watch?v=Lcx6O2Fltrc\" target=\"_blank\">Ali Shan\u003c/a>.\u003c/p>\n\u003cp>He was 6 years old in 1947. His life changed when a mob attacked his ancestral town, near the newly created India/Pakistan border. In his video testimony as he struggles to tell his story, its evident that the memories still haunt him.\u003c/p>\n\u003cp>“I was standing there not knowing what's happening. He, the gunman, was only about 10 feet away,” Shan says, with a shake in his voice. “You know, he shot at me few times. Every time he missed. So I start running.”\u003c/p>\n\u003cp>During that attack, Shan saw his mother and brother murdered and he was orphaned. It was months before he was reunited with some distant relatives. They already crossed the border into Pakistan.\u003c/p>\n\u003cfigure id=\"attachment_10637015\" class=\"wp-caption alignright\" style=\"max-width: 923px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut.jpg\">\u003cimg class=\"size-full wp-image-10637015\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut.jpg\" alt=\"British officials visit a scene from the Punjab riots. The province of Punjab was split in two during partition and in the aftermath had some of the most violent riots.\" width=\"923\" height=\"784\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut.jpg 923w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut-400x340.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16298_Lord_Mountbatten_visits_Punjabi_riot_scenes-qut-800x680.jpg 800w\" sizes=\"(max-width: 923px) 100vw, 923px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">British officials visit a scene from the Punjab riots. The province of Punjab was split in two during partition and in the aftermath had some of the most violent riots. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you don’t have a mother, father, and your own home and family, all the relatives are there to help you, but its not the same, it never was,” Shan says.\u003c/p>\n\u003cp>The archive has dispatched volunteers, called citizen historians, to record these stories. Most stories come from people in India, Pakistan and Bangladesh. But many come from South Asians living in the U.S.\u003c/p>\n\u003cp>An event at Santa Clara University spread the word about the archive among the South Asian community here. As witnesses told their stories, a packed audience hung on their every word.\u003c/p>\n\u003cp>Bhalla says hearing these first hand accounts inspires others to share their stories.\u003c/p>\n\u003cp>“Because partition has been at the crux of so much politics in South Asia and even war that a lot of that memory has been sort of shoved under the carpet,” she says. “Maybe not on purpose, maybe that's just been the circumstance. But yeah, the people haven't had an opportunity to share their stories and that's the gap that we're trying to fill.”\u003c/p>\n\u003cp>Bhalla says she regrets that she never got the chance to record her grandmother’s story. And time is running out for other survivors.\u003c/p>\n\u003cp>“Those who experienced partition as teenagers are in their 80s today. And those who were young adults are in their 90s and over 100,” Bhalla says. “So there's a really huge urgency in getting these stories recorded as fast as possible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The archive wants 8,000 more stories recorded by 2017, the 70th anniversary of partition, while witnesses are still alive.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Editor’s Note: ‘Backstage Heroes’ spotlights the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is \u003ca href=\"http://ww2.kqed.org/arts/author/hswanhuyser/\" target=\"_blank\" rel=\"noopener\">Hiya Swanhuyser\u003c/a>, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the \u003c/em>SF Weekly\u003cem>, giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>You never see them. They’re like janitors, or stagehands, or elves. And Charlene Tan is one of them.\u003c/p>\n\u003cp>Tan is an art preparator — she physically hangs art on museum walls. Among many, many other duties, that is, and in addition to her own art practice. Like many working artists, the SF Art Institute graduate handles other people’s art as her day job, creating by hand the experiences that allow viewers to focus on the art, not the wall. And then she disappears.\u003c/p>\n\u003cp>“We actually have to scurry!” she says, laughing. “During the install, curators or artists come in, we place something, and then we have to get away, visually. Literally, like ‘shoosh!’” She mimes a hand waving critters away. “We’re like glamorous art cockroaches.” \u003c/p>\n\u003cp>The element of art preparatorship that captures my attention is that Tan gets to \u003cem>touch\u003c/em> the art. For most of us, it’s just the opposite. “When you see artwork, it’s very static. It doesn’t move, and you’re not supposed to touch it,” Tan tells me as we make our way carefully through the half-finished \u003ca href=\"http://www.dirosaart.org/body-talk/\" target=\"_blank\" rel=\"noopener\">\u003cem>Body Talk\u003c/em>\u003c/a> exhibition in the Gatehouse Gallery at \u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">di Rosa\u003c/a>, the immense art preserve between Sonoma and Napa.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A group show featuring several Bay Area artists, \u003cem>Body Talk\u003c/em> looks good, but of course it’s hard to tell, mid-installation. A large salmon-colored woven fabric piece is partially unraveled on the floor with a blue packing blanket beneath it, and several wall works have wads of plastic bag protecting the white paint beneath them. Amy Owen, the curator, greets us and asks Tan to check on the video art again. From inside the space’s video room, Tan monitors the screen. “How about now?” Owen asks from the main room. “Nope, still nothing,” Tan says, futzing with a control console. \u003c/p>\n\u003cp>As a curator, Owen knows Tan’s multifaceted role well. “Preparators assist in the handling and installation of works of art,” Owen says, “including a wide range of varied tasks: general preparation of the gallery space — spackling, sanding, painting — packing and unpacking objects, hanging and deinstalling artworks, fabricating exhibition furniture, installing exhibition graphics and labels, lighting, cleaning, and generally working directly with artists and curators to realize their vision in the exhibition space.”\u003c/p>\n\u003cp>It also includes troubleshooting video installations like this one, “Shoulder Babies,” a new commissioned work by brothers Christian and Kevin Nagler that eventually flickers to life. “The pool of skilled preparators in the Bay Area is primarily based in the city center,” Owen says. “So we’re always grateful to establish relationships with folks who are willing and able to make the journey to get involved in bringing our projects to life.”\u003c/p>\n\u003cfigure id=\"attachment_10896134\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/CharleneTanEmbed-1180x791.jpg\" alt=\"Charlene Tan, right, assesses a Cindy Sherman install at SFMOMA. (Photo courtesy SFMOMA)\" width=\"640\" height=\"429\" class=\"size-large wp-image-10896134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CharleneTanEmbed-1180x791.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CharleneTanEmbed-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CharleneTanEmbed-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CharleneTanEmbed-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CharleneTanEmbed.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Charlene Tan, right, assesses a Cindy Sherman install at SFMOMA. (Photo courtesy SFMOMA)\u003c/figcaption>\u003c/figure>\n\u003cp>Tan is a tall, dramatic woman, and today sports a chic white minidress and enormous sunglasses. It’s a hot day in Napa County’s Carneros valley, in the hundred-degree range. “I’m installing art in a dress,” Tan texted me earlier. “Never happens.”\u003c/p>\n\u003cp>But even if she’s not in her usual costume, she retains a sense of control and ease among the chaos. I wonder if that confidence flows automatically from getting to touch the art. \u003c/p>\n\u003cp>“I’ll drive you up to the residence,” she says. As we leave the gallery, I notice a tour group led by a woman in a visor hat around the center, 200 acres of rolling hills dotted with giant outdoor pieces: ceramics, a giant portal made of poured concrete, an actual glass house. That’s in addition to this Gatehouse space, the Main Gallery complex, and the Historic Residence. The founder, Rene di Rosa, bought art as a hobby when he tired of winemaking, and Tan leads us through his original home, pointing out particular pieces. His taste runs to busy, figurative, and whimsical.\u003c/p>\n\u003cp>“This is my favorite,” she says of a malachite-colored jacuzzi tub filled with black bowling balls, each etched with the word “Me.” And as we move through the house, Tan describes her work here (“I re-installed this area, suggested we replace the old mattresses with a pedestal bed, did some ‘baby conservation.’”) I notice that as we go, she’s constantly rearranging, adjusting, testing. She’s touching the art; it’s her job. Maybe I’m jealous, or maybe I’m just reflexively alarmed; you’re not supposed to touch it. \u003c/p>\n\u003cp>At lunchtime we sip iced coffees at the Carneros Inn, just up Sonoma Highway. I want to know about touching all that delicate or valuable material — is it more stressful, or more awesome? \u003c/p>\n\u003cp>“I started out at Yerba Buena Center for the Arts,” she says, thinking back to 2003. Another local artist, Michael Arcega, had been her studio neighbor at the time, and advised her to volunteer at non-profit galleries and local museums. She essentially never left, and remembers those years as “kind of a glory time. It was like a little community of fellow artists and musicians who were installing art and playing great music while we were doing it.” (Today, she’s playing \u003ca href=\"http://www.leralynn.com/\" target=\"_blank\" rel=\"noopener\">Lera Lynn\u003c/a> in her car as we drive up the hill to the residence.) She explains that the YBCA was intensely professional in its handling practices, but had a certain casual, informal element, as well. Her definition of “casual” isn’t what I expect, to put it mildly.\u003c/p>\n\u003cp>“It was living artists, and emerging artists,” she says, “so nothing was really worth over a million dollars.” She breaks up laughing, loudly, at my reaction — I’ve made a bizarre expression, but at the same time, I just got an insight into this kind of work: It’s exactly equal parts stressful and awesome. \u003c/p>\n\u003cp>After the YBCA, Tan went to work at the San Francisco Museum of Modern Art, installing shows by \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/459\" target=\"_blank\" rel=\"noopener\">Rafael Lozano-Hemmer\u003c/a>, \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/420\" target=\"_blank\" rel=\"noopener\">Sharon Lockhart\u003c/a>, \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/416\" target=\"_blank\" rel=\"noopener\">Bill Fontana\u003c/a>, and her favorite yet, \u003ca href=\"http://ww2.kqed.org/arts/2013/04/06/telling-time-with-christian-marclays-the-clock/?essid=118979\" target=\"_blank\" rel=\"noopener\">Christian Marclay’s \u003cem>The Clock\u003c/em>\u003c/a>, a 24-hour–long piece of film art showing every minute in a day as cribbed from cinema, for which she and a team constructed an entire theater space to the artist’s specifications.\u003c/p>\n\u003cp>At SFMOMA, the work she handled wasn’t piddly million-dollar Tinker-Toy stuff. Tan follows public art auctions, and art sales of world-class museum-quality art, so when it came time to dig into SFMOMA’s permanent collection, for example, she was well aware of what she had in her hands. “When I held a Picasso in a frame, I knew the price of it.” \u003c/p>\n\u003cp>Inside, I panic when she says “Picasso.” What if it broke? What if you fell over? Tan answers with another revelation, something I’d never thought about before: when a young woman is in a room, moving a Picasso from one place to another, “There’s the registrar, and the conservation team, and you have more than enough [preparators] on hand. Sometimes the insurance people are there. There’s a kind of grace to it.” \u003c/p>\n\u003cp>She has plenty of stories, like the time her team spent months playing their favorite music over the MOMA’s half-million-dollar sound system after hours, or how cool it was to work with great artists she’d only read about, or how it was being obliged to work with the assistants of said artists, or about bonding with Arcega about being Filipino-American artists. Or the story about the time a certain artist — she won’t name names — demanded a very specific radio tower, and had been trying to find it for months. With only days to go before the exhibition’s opening, Tan found it in three hours. She’s just that way. “I know how to build, I know materials, I know people who can get it done… Or, you know, there’s always Google on your phone. Which I’ve done. In the dark. Under an installation, on my back.” \u003c/p>\n\u003cp>It’s hard physical work. Tan weathered a bike injury not too long ago, and had to shift into project manager mode, instead of getting her hands dirty and building crates. She’s now recovered, but realizes that it’s easy to devalue skills aimed at erasing their own existence. It can be misunderstood as grunt work. In reality, she explains, it’s highly skilled labor. “You can tell when you’re handling art with people who haven’t done it before, and it’s actually kind of scary,” she says. “You worry.” \u003c/p>\n\u003cp>Tan talks a lot about crates, since building and opening them is actually her most important and elf-like activity. Preparators build crates around every piece of art you’ve ever seen, essentially, and this can be fairly creative in its own right. It’s an engineering triumph, a logic problem, and a security question; it’s also one of the best parts of the job. \u003c/p>\n\u003cp>“Sometimes it feels like I’m finding treasure. Because I’m opening this crate, like (woodworking Formalist sculptor) Martin Puryear, when you open his crates, you’re just like ‘Oh my god, this sculpture is literally floating in the crate with ratchet straps.’ And then it’s a whole orchestra to drop it down, move these pieces around.” \u003c/p>\n\u003cp>So you don’t see them, but if you look closely, you’ll see their work, or maybe just feel it, sensing the echoes of their tiny feet receding in the distance.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s like how ballerinas are supposed to be graceful — you’re not supposed to know that they’re working hard,” Tan tells me. “It’s supposed to look like it’s just miraculously there.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: ‘Backstage Heroes’ spotlights the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is \u003ca href=\"http://ww2.kqed.org/arts/author/hswanhuyser/\" target=\"_blank\" rel=\"noopener\">Hiya Swanhuyser\u003c/a>, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the \u003c/em>SF Weekly\u003cem>, giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>You never see them. They’re like janitors, or stagehands, or elves. And Charlene Tan is one of them.\u003c/p>\n\u003cp>Tan is an art preparator — she physically hangs art on museum walls. Among many, many other duties, that is, and in addition to her own art practice. Like many working artists, the SF Art Institute graduate handles other people’s art as her day job, creating by hand the experiences that allow viewers to focus on the art, not the wall. And then she disappears.\u003c/p>\n\u003cp>“We actually have to scurry!” she says, laughing. “During the install, curators or artists come in, we place something, and then we have to get away, visually. Literally, like ‘shoosh!’” She mimes a hand waving critters away. “We’re like glamorous art cockroaches.” \u003c/p>\n\u003cp>The element of art preparatorship that captures my attention is that Tan gets to \u003cem>touch\u003c/em> the art. For most of us, it’s just the opposite. “When you see artwork, it’s very static. It doesn’t move, and you’re not supposed to touch it,” Tan tells me as we make our way carefully through the half-finished \u003ca href=\"http://www.dirosaart.org/body-talk/\" target=\"_blank\" rel=\"noopener\">\u003cem>Body Talk\u003c/em>\u003c/a> exhibition in the Gatehouse Gallery at \u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">di Rosa\u003c/a>, the immense art preserve between Sonoma and Napa.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A group show featuring several Bay Area artists, \u003cem>Body Talk\u003c/em> looks good, but of course it’s hard to tell, mid-installation. A large salmon-colored woven fabric piece is partially unraveled on the floor with a blue packing blanket beneath it, and several wall works have wads of plastic bag protecting the white paint beneath them. Amy Owen, the curator, greets us and asks Tan to check on the video art again. From inside the space’s video room, Tan monitors the screen. “How about now?” Owen asks from the main room. “Nope, still nothing,” Tan says, futzing with a control console. \u003c/p>\n\u003cp>As a curator, Owen knows Tan’s multifaceted role well. “Preparators assist in the handling and installation of works of art,” Owen says, “including a wide range of varied tasks: general preparation of the gallery space — spackling, sanding, painting — packing and unpacking objects, hanging and deinstalling artworks, fabricating exhibition furniture, installing exhibition graphics and labels, lighting, cleaning, and generally working directly with artists and curators to realize their vision in the exhibition space.”\u003c/p>\n\u003cp>It also includes troubleshooting video installations like this one, “Shoulder Babies,” a new commissioned work by brothers Christian and Kevin Nagler that eventually flickers to life. “The pool of skilled preparators in the Bay Area is primarily based in the city center,” Owen says. “So we’re always grateful to establish relationships with folks who are willing and able to make the journey to get involved in bringing our projects to life.”\u003c/p>\n\u003cfigure id=\"attachment_10896134\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/CharleneTanEmbed-1180x791.jpg\" alt=\"Charlene Tan, right, assesses a Cindy Sherman install at SFMOMA. (Photo courtesy SFMOMA)\" width=\"640\" height=\"429\" class=\"size-large wp-image-10896134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CharleneTanEmbed-1180x791.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CharleneTanEmbed-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CharleneTanEmbed-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CharleneTanEmbed-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/CharleneTanEmbed.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Charlene Tan, right, assesses a Cindy Sherman install at SFMOMA. (Photo courtesy SFMOMA)\u003c/figcaption>\u003c/figure>\n\u003cp>Tan is a tall, dramatic woman, and today sports a chic white minidress and enormous sunglasses. It’s a hot day in Napa County’s Carneros valley, in the hundred-degree range. “I’m installing art in a dress,” Tan texted me earlier. “Never happens.”\u003c/p>\n\u003cp>But even if she’s not in her usual costume, she retains a sense of control and ease among the chaos. I wonder if that confidence flows automatically from getting to touch the art. \u003c/p>\n\u003cp>“I’ll drive you up to the residence,” she says. As we leave the gallery, I notice a tour group led by a woman in a visor hat around the center, 200 acres of rolling hills dotted with giant outdoor pieces: ceramics, a giant portal made of poured concrete, an actual glass house. That’s in addition to this Gatehouse space, the Main Gallery complex, and the Historic Residence. The founder, Rene di Rosa, bought art as a hobby when he tired of winemaking, and Tan leads us through his original home, pointing out particular pieces. His taste runs to busy, figurative, and whimsical.\u003c/p>\n\u003cp>“This is my favorite,” she says of a malachite-colored jacuzzi tub filled with black bowling balls, each etched with the word “Me.” And as we move through the house, Tan describes her work here (“I re-installed this area, suggested we replace the old mattresses with a pedestal bed, did some ‘baby conservation.’”) I notice that as we go, she’s constantly rearranging, adjusting, testing. She’s touching the art; it’s her job. Maybe I’m jealous, or maybe I’m just reflexively alarmed; you’re not supposed to touch it. \u003c/p>\n\u003cp>At lunchtime we sip iced coffees at the Carneros Inn, just up Sonoma Highway. I want to know about touching all that delicate or valuable material — is it more stressful, or more awesome? \u003c/p>\n\u003cp>“I started out at Yerba Buena Center for the Arts,” she says, thinking back to 2003. Another local artist, Michael Arcega, had been her studio neighbor at the time, and advised her to volunteer at non-profit galleries and local museums. She essentially never left, and remembers those years as “kind of a glory time. It was like a little community of fellow artists and musicians who were installing art and playing great music while we were doing it.” (Today, she’s playing \u003ca href=\"http://www.leralynn.com/\" target=\"_blank\" rel=\"noopener\">Lera Lynn\u003c/a> in her car as we drive up the hill to the residence.) She explains that the YBCA was intensely professional in its handling practices, but had a certain casual, informal element, as well. Her definition of “casual” isn’t what I expect, to put it mildly.\u003c/p>\n\u003cp>“It was living artists, and emerging artists,” she says, “so nothing was really worth over a million dollars.” She breaks up laughing, loudly, at my reaction — I’ve made a bizarre expression, but at the same time, I just got an insight into this kind of work: It’s exactly equal parts stressful and awesome. \u003c/p>\n\u003cp>After the YBCA, Tan went to work at the San Francisco Museum of Modern Art, installing shows by \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/459\" target=\"_blank\" rel=\"noopener\">Rafael Lozano-Hemmer\u003c/a>, \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/420\" target=\"_blank\" rel=\"noopener\">Sharon Lockhart\u003c/a>, \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/416\" target=\"_blank\" rel=\"noopener\">Bill Fontana\u003c/a>, and her favorite yet, \u003ca href=\"http://ww2.kqed.org/arts/2013/04/06/telling-time-with-christian-marclays-the-clock/?essid=118979\" target=\"_blank\" rel=\"noopener\">Christian Marclay’s \u003cem>The Clock\u003c/em>\u003c/a>, a 24-hour–long piece of film art showing every minute in a day as cribbed from cinema, for which she and a team constructed an entire theater space to the artist’s specifications.\u003c/p>\n\u003cp>At SFMOMA, the work she handled wasn’t piddly million-dollar Tinker-Toy stuff. Tan follows public art auctions, and art sales of world-class museum-quality art, so when it came time to dig into SFMOMA’s permanent collection, for example, she was well aware of what she had in her hands. “When I held a Picasso in a frame, I knew the price of it.” \u003c/p>\n\u003cp>Inside, I panic when she says “Picasso.” What if it broke? What if you fell over? Tan answers with another revelation, something I’d never thought about before: when a young woman is in a room, moving a Picasso from one place to another, “There’s the registrar, and the conservation team, and you have more than enough [preparators] on hand. Sometimes the insurance people are there. There’s a kind of grace to it.” \u003c/p>\n\u003cp>She has plenty of stories, like the time her team spent months playing their favorite music over the MOMA’s half-million-dollar sound system after hours, or how cool it was to work with great artists she’d only read about, or how it was being obliged to work with the assistants of said artists, or about bonding with Arcega about being Filipino-American artists. Or the story about the time a certain artist — she won’t name names — demanded a very specific radio tower, and had been trying to find it for months. With only days to go before the exhibition’s opening, Tan found it in three hours. She’s just that way. “I know how to build, I know materials, I know people who can get it done… Or, you know, there’s always Google on your phone. Which I’ve done. In the dark. Under an installation, on my back.” \u003c/p>\n\u003cp>It’s hard physical work. Tan weathered a bike injury not too long ago, and had to shift into project manager mode, instead of getting her hands dirty and building crates. She’s now recovered, but realizes that it’s easy to devalue skills aimed at erasing their own existence. It can be misunderstood as grunt work. In reality, she explains, it’s highly skilled labor. “You can tell when you’re handling art with people who haven’t done it before, and it’s actually kind of scary,” she says. “You worry.” \u003c/p>\n\u003cp>Tan talks a lot about crates, since building and opening them is actually her most important and elf-like activity. Preparators build crates around every piece of art you’ve ever seen, essentially, and this can be fairly creative in its own right. It’s an engineering triumph, a logic problem, and a security question; it’s also one of the best parts of the job. \u003c/p>\n\u003cp>“Sometimes it feels like I’m finding treasure. Because I’m opening this crate, like (woodworking Formalist sculptor) Martin Puryear, when you open his crates, you’re just like ‘Oh my god, this sculpture is literally floating in the crate with ratchet straps.’ And then it’s a whole orchestra to drop it down, move these pieces around.” \u003c/p>\n\u003cp>So you don’t see them, but if you look closely, you’ll see their work, or maybe just feel it, sensing the echoes of their tiny feet receding in the distance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s like how ballerinas are supposed to be graceful — you’re not supposed to know that they’re working hard,” Tan tells me. “It’s supposed to look like it’s just miraculously there.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Rediscovering L.A. Through Old Restaurant Menus",
"title": "Rediscovering L.A. Through Old Restaurant Menus",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Los Angeles has a rich culinary history, due to the waves of immigrants who settled in Southern California and brought their food traditions with them. The restaurants they opened can tell us a lot about how people use food to shape their own identities of community, culture and class. A new book and exhibit of old LA restaurant menus reveals how the city has evolved, through food.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/219661319\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>The Library Foundation of Los Angeles is presenting the exhibit, called “\u003ca href=\"http://toliveanddinela.com/\">To Live and Dine in L.A.: Menus and the Making of the Modern City\u003c/a>,” in the Getty Gallery at the Los Angeles Central Library until Nov. 13. There’s also a new coffee table book of the same name. It’s written by \u003ca href=\"http://annenberg.usc.edu/faculty/communication-journalism/josh-kun\">Josh Kun\u003c/a>, an associate professor at the University of Southern California.\u003c/p>\n\u003cp>“So much of what we try to do in the book is use restaurants as a way to think about the kind of layered histories of Los Angeles,\" Kun says, \"what’s been built over constantly, whose stories have been erased to build new stories on top of those, how every single space that we enter bears the traces of all the spaces that came before it.\"\u003c/p>\n\u003cfigure id=\"attachment_10643254\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg\">\u003cimg class=\"size-full wp-image-10643254\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg\" alt=\"Menu cover from the Golden Pagoda restaurant.\" width=\"1920\" height=\"3015\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-400x628.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-800x1256.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-1440x2261.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-1180x1853.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-960x1508.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Menu cover from the Golden Pagoda restaurant. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10643259\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg\">\u003cimg class=\"wp-image-10643259 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg\" alt=\"RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED\" width=\"1920\" height=\"1512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-400x315.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-800x630.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-1440x1134.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-1180x929.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-960x756.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Autographs fill the Golden Pagoda menu. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Evan Kleiman, a chef and the host of KCRW’s weekly radio show \u003ca href=\"http://www.kcrw.com/news-culture/shows/good-food\">Good Food\u003c/a>, remembers one such restaurant from her childhood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was called \u003ca href=\"http://www.ebay.com/itm/Matchbook-Cover-Casa-De-Ibarra-Los-Angeles-CA-Mexican-Food/400970592084?_trksid=p2047675.c100011.m1850&_trkparms=aid%3D222007%26algo%3DSIC.MBE%26ao%3D1%26asc%3D29981%26meid%3D0c126acd1eb4490aa684a12653694f2a%26pid%3D100011%26rk%3D2%26rkt%3D10%26sd%3D121690843142\">Casa de Ibarra\u003c/a>,\" she recalls. \"And it was the place where I learned how to tuck my leftover food into a flour tortilla and roll it up. One of the waiters there taught me.\"\u003c/p>\n\u003cp>Now it’s a hipster taqueria called \u003ca href=\"http://www.diablotaco.com/\">Diablo Urban Taco Fabricator\u003c/a>.\u003c/p>\n\u003cp>“And before that, when I was a teenager, it was a place called Temple of the Rainbow, where I learned how to make carrot smoothies and bake bread that weighed 20 pounds per loaf,” Kleiman says.\u003c/p>\n\u003cp>Photos from the library’s archives of old LA restaurants line the walls of the exhibit. The photos include fancy French restaurants and taco trucks, and such establishments as Forbidden Palace Chinese Food, Daddy Grants Old Time Pit Barbecue, and Don the Beachcomber’s tiki bar.\u003c/p>\n\u003cp>The menus are a feast for the eyes. There are about 50 of them housed in glass display cases, and about 200 in the book. They have old-timey letterpress fonts, vintage illustrations, and list offerings like avocado filled with fresh seafood and Thousand Island dressing. They were pulled from the LA Public Library’s collection of 12,000 menus.\u003c/p>\n\u003cp>“Menus tell a story of a city,\" says John Szabo, the city librarian of the Los Angeles Public Library. \"And to know LA, you need to know food in LA, and you need to know about dining in LA, and that’s one of the things that our menu collection does.\"\u003c/p>\n\u003cp>At the outset, Kun reached out to chefs to collaborate on the project, including \u003ca href=\"http://kogibbq.com/\">Kogi\u003c/a> founder Roy Choi. The exhibit includes video screens playing interviews with some of those chefs, including Bricia Lopez of Guelaguetza, and Cynthia Hawkins, owner of Hawkins House of Burgers in Watts.\u003c/p>\n\u003cp>“There’s not that many places you can eat really good quality food in Watts. I’m just being honest with you,” Hawkins \u003ca href=\"https://vimeo.com/130594078\">says in the video\u003c/a>. “Maybe a good restaurant would come here, but it’s really sad to say that there’s not that many places in Watts that people can eat really good, quality food, and that’s so sad.”\u003c/p>\n\u003cp>That’s one of the themes of the project: food inequality. Los Angeles County has more people who lack access to healthy food than \u003ca href=\"http://www.publichealth.lacounty.gov/ha/reports/LAHealthBrief2011/FoodInsecurity/Food_Insecurity_2015Fs.pdf\">any other county\u003c/a> in the U.S. And as rising rent prices push immigrant families out of some neighborhoods, Kun says new restaurants mark those changes.\u003c/p>\n\u003cp>“If a restaurant can open up in a working class neighborhood with $25 appetizers and survive, what does that mean?\" Kun asks. \"It sends a message that, like, hey, it’s OK, come on in, water’s warm, and opens the floodgates in a lot of ways.”\u003c/p>\n\u003cp>Take Grand Central Market in downtown LA. It’s a food court where \u003ca href=\"http://www.laweekly.com/restaurants/at-grand-central-market-a-new-wave-of-vendors-is-changing-up-an-la-mainstay-5016013\">a lot of upscale places\u003c/a> are opening up, including a juice bar, an oyster bar and a fancy cheese shop.\u003c/p>\n\u003cp>“You know, I don’t really like to call it gentrified because I don’t think that’s what it is. It’s not coming to a neighborhood that didn’t have this kind of history,” says Micah Wexler, owner of Wexler’s Deli. “Downtown was at one time a very vibrant, celebrated place, and we’re trying to bring it back to that.”\u003c/p>\n\u003cfigure id=\"attachment_10643427\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg\">\u003cimg class=\"size-full wp-image-10643427\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg\" alt=\"Menu cover from the Brown Derby restaurant.\" width=\"1920\" height=\"2504\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-400x522.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-800x1043.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-1440x1878.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-1180x1539.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-960x1252.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Menu cover from the Brown Derby restaurant. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10643429\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg\">\u003cimg class=\"size-full wp-image-10643429\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg\" alt=\"A Brown Derby menu from September 1953.\" width=\"1920\" height=\"1230\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-800x513.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-1440x923.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-1180x756.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-960x615.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Brown Derby menu from September 1953. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the book, Kun invited chefs to “remix” old menus and give them a modern spin. Wexler chose the menu for a 1931 banquet to honor Albert Einstein at the Ambassador Hotel, featuring an item called “Chicken Saute Ambassador.” Wexler had to research how such a dish would have been prepared. Turns out, it was served in a white wine cream sauce.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the exhibit there’s also a pile of blank menus on which visitors can describe their version of Los Angeles in a meal. Kun says he knew that given the scope of this project, it would be impossible to represent every story in the history of food in LA. These crowd-sourced menus are his effort to let people of all backgrounds leave their own mark on this story. And it shows that the food of LA continues to evolve, just like the city itself.\u003c/p>\n\n",
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"excerpt": "“Menus tell a story of a city. And to know LA, you need to know food in LA.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Los Angeles has a rich culinary history, due to the waves of immigrants who settled in Southern California and brought their food traditions with them. The restaurants they opened can tell us a lot about how people use food to shape their own identities of community, culture and class. A new book and exhibit of old LA restaurant menus reveals how the city has evolved, through food.\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/219661319&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/219661319'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Library Foundation of Los Angeles is presenting the exhibit, called “\u003ca href=\"http://toliveanddinela.com/\">To Live and Dine in L.A.: Menus and the Making of the Modern City\u003c/a>,” in the Getty Gallery at the Los Angeles Central Library until Nov. 13. There’s also a new coffee table book of the same name. It’s written by \u003ca href=\"http://annenberg.usc.edu/faculty/communication-journalism/josh-kun\">Josh Kun\u003c/a>, an associate professor at the University of Southern California.\u003c/p>\n\u003cp>“So much of what we try to do in the book is use restaurants as a way to think about the kind of layered histories of Los Angeles,\" Kun says, \"what’s been built over constantly, whose stories have been erased to build new stories on top of those, how every single space that we enter bears the traces of all the spaces that came before it.\"\u003c/p>\n\u003cfigure id=\"attachment_10643254\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg\">\u003cimg class=\"size-full wp-image-10643254\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg\" alt=\"Menu cover from the Golden Pagoda restaurant.\" width=\"1920\" height=\"3015\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-400x628.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-800x1256.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-1440x2261.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-1180x1853.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-960x1508.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Menu cover from the Golden Pagoda restaurant. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10643259\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg\">\u003cimg class=\"wp-image-10643259 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg\" alt=\"RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED\" width=\"1920\" height=\"1512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-400x315.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-800x630.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-1440x1134.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-1180x929.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-960x756.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Autographs fill the Golden Pagoda menu. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Evan Kleiman, a chef and the host of KCRW’s weekly radio show \u003ca href=\"http://www.kcrw.com/news-culture/shows/good-food\">Good Food\u003c/a>, remembers one such restaurant from her childhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was called \u003ca href=\"http://www.ebay.com/itm/Matchbook-Cover-Casa-De-Ibarra-Los-Angeles-CA-Mexican-Food/400970592084?_trksid=p2047675.c100011.m1850&_trkparms=aid%3D222007%26algo%3DSIC.MBE%26ao%3D1%26asc%3D29981%26meid%3D0c126acd1eb4490aa684a12653694f2a%26pid%3D100011%26rk%3D2%26rkt%3D10%26sd%3D121690843142\">Casa de Ibarra\u003c/a>,\" she recalls. \"And it was the place where I learned how to tuck my leftover food into a flour tortilla and roll it up. One of the waiters there taught me.\"\u003c/p>\n\u003cp>Now it’s a hipster taqueria called \u003ca href=\"http://www.diablotaco.com/\">Diablo Urban Taco Fabricator\u003c/a>.\u003c/p>\n\u003cp>“And before that, when I was a teenager, it was a place called Temple of the Rainbow, where I learned how to make carrot smoothies and bake bread that weighed 20 pounds per loaf,” Kleiman says.\u003c/p>\n\u003cp>Photos from the library’s archives of old LA restaurants line the walls of the exhibit. The photos include fancy French restaurants and taco trucks, and such establishments as Forbidden Palace Chinese Food, Daddy Grants Old Time Pit Barbecue, and Don the Beachcomber’s tiki bar.\u003c/p>\n\u003cp>The menus are a feast for the eyes. There are about 50 of them housed in glass display cases, and about 200 in the book. They have old-timey letterpress fonts, vintage illustrations, and list offerings like avocado filled with fresh seafood and Thousand Island dressing. They were pulled from the LA Public Library’s collection of 12,000 menus.\u003c/p>\n\u003cp>“Menus tell a story of a city,\" says John Szabo, the city librarian of the Los Angeles Public Library. \"And to know LA, you need to know food in LA, and you need to know about dining in LA, and that’s one of the things that our menu collection does.\"\u003c/p>\n\u003cp>At the outset, Kun reached out to chefs to collaborate on the project, including \u003ca href=\"http://kogibbq.com/\">Kogi\u003c/a> founder Roy Choi. The exhibit includes video screens playing interviews with some of those chefs, including Bricia Lopez of Guelaguetza, and Cynthia Hawkins, owner of Hawkins House of Burgers in Watts.\u003c/p>\n\u003cp>“There’s not that many places you can eat really good quality food in Watts. I’m just being honest with you,” Hawkins \u003ca href=\"https://vimeo.com/130594078\">says in the video\u003c/a>. “Maybe a good restaurant would come here, but it’s really sad to say that there’s not that many places in Watts that people can eat really good, quality food, and that’s so sad.”\u003c/p>\n\u003cp>That’s one of the themes of the project: food inequality. Los Angeles County has more people who lack access to healthy food than \u003ca href=\"http://www.publichealth.lacounty.gov/ha/reports/LAHealthBrief2011/FoodInsecurity/Food_Insecurity_2015Fs.pdf\">any other county\u003c/a> in the U.S. And as rising rent prices push immigrant families out of some neighborhoods, Kun says new restaurants mark those changes.\u003c/p>\n\u003cp>“If a restaurant can open up in a working class neighborhood with $25 appetizers and survive, what does that mean?\" Kun asks. \"It sends a message that, like, hey, it’s OK, come on in, water’s warm, and opens the floodgates in a lot of ways.”\u003c/p>\n\u003cp>Take Grand Central Market in downtown LA. It’s a food court where \u003ca href=\"http://www.laweekly.com/restaurants/at-grand-central-market-a-new-wave-of-vendors-is-changing-up-an-la-mainstay-5016013\">a lot of upscale places\u003c/a> are opening up, including a juice bar, an oyster bar and a fancy cheese shop.\u003c/p>\n\u003cp>“You know, I don’t really like to call it gentrified because I don’t think that’s what it is. It’s not coming to a neighborhood that didn’t have this kind of history,” says Micah Wexler, owner of Wexler’s Deli. “Downtown was at one time a very vibrant, celebrated place, and we’re trying to bring it back to that.”\u003c/p>\n\u003cfigure id=\"attachment_10643427\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg\">\u003cimg class=\"size-full wp-image-10643427\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg\" alt=\"Menu cover from the Brown Derby restaurant.\" width=\"1920\" height=\"2504\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-400x522.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-800x1043.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-1440x1878.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-1180x1539.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-960x1252.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Menu cover from the Brown Derby restaurant. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10643429\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg\">\u003cimg class=\"size-full wp-image-10643429\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg\" alt=\"A Brown Derby menu from September 1953.\" width=\"1920\" height=\"1230\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-800x513.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-1440x923.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-1180x756.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-960x615.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Brown Derby menu from September 1953. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the book, Kun invited chefs to “remix” old menus and give them a modern spin. Wexler chose the menu for a 1931 banquet to honor Albert Einstein at the Ambassador Hotel, featuring an item called “Chicken Saute Ambassador.” Wexler had to research how such a dish would have been prepared. Turns out, it was served in a white wine cream sauce.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the exhibit there’s also a pile of blank menus on which visitors can describe their version of Los Angeles in a meal. Kun says he knew that given the scope of this project, it would be impossible to represent every story in the history of food in LA. These crowd-sourced menus are his effort to let people of all backgrounds leave their own mark on this story. And it shows that the food of LA continues to evolve, just like the city itself.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Imagine a little boy at play in the fields near his home in rural Jamaica. He’s alone, watching the clouds and the trees and the wildlife around him. Silently, he catalogs the scenes in his imagination. \u003c/p>\n\u003cp>One day his uncle, an artist who lives on a farm nearby, observes him drawing on a piece of paper. The man tells him he has the talent to be an artist and hands him a sketchbook. At age four, the boy — his name is Lenworth McIntosh — begins to draw and those visions from the fields pour out onto the pages. Month by month, year by year, the sketchbooks begin to pile up. \u003c/p>\n\u003cp>Fast forward 23 years to San Francisco, 2014. Lenworth has just arrived from Dallas, where he has been living for the last three years. He’s been to high school and art school and taken a new name: Joonbug. He’s determined to make it as a commercial artist in the Bay Area. He has brought with him a brand label called \u003ca href=\"http://www.bugs87.com/\" target=\"_blank\" rel=\"noopener\">Bugs 87\u003c/a>, a comic book project called \u003cem>Bean Boy\u003c/em>, and apparel enterprise called Fresh Kaufee Clothing Co. He’s also got his sketchbooks, which he presents to prospective clients as he patrols the streets and storefronts in search of business as an illustrator and brand consultant.\u003c/p>\n\u003cp>No one knows the ingredients for artistic success in a creative marketplace as competitive and economically unforgiving as the Bay Area. But observing Joonbug, sketchbooks in hand, you genuinely believe he has a shot. There is a stalwart confidence about him. For all the miles and cultures he’s traversed, he still seems rooted in the fields of his boyhood. It’s hard to say what his Bay Area future holds, but it’s easy to see it will be another compelling chapter in a most unlikely journey.\u003c/p>\n\u003cp>\u003cem>— Benjamin Michel\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine a little boy at play in the fields near his home in rural Jamaica. He’s alone, watching the clouds and the trees and the wildlife around him. Silently, he catalogs the scenes in his imagination. \u003c/p>\n\u003cp>One day his uncle, an artist who lives on a farm nearby, observes him drawing on a piece of paper. The man tells him he has the talent to be an artist and hands him a sketchbook. At age four, the boy — his name is Lenworth McIntosh — begins to draw and those visions from the fields pour out onto the pages. Month by month, year by year, the sketchbooks begin to pile up. \u003c/p>\n\u003cp>Fast forward 23 years to San Francisco, 2014. Lenworth has just arrived from Dallas, where he has been living for the last three years. He’s been to high school and art school and taken a new name: Joonbug. He’s determined to make it as a commercial artist in the Bay Area. He has brought with him a brand label called \u003ca href=\"http://www.bugs87.com/\" target=\"_blank\" rel=\"noopener\">Bugs 87\u003c/a>, a comic book project called \u003cem>Bean Boy\u003c/em>, and apparel enterprise called Fresh Kaufee Clothing Co. He’s also got his sketchbooks, which he presents to prospective clients as he patrols the streets and storefronts in search of business as an illustrator and brand consultant.\u003c/p>\n\u003cp>No one knows the ingredients for artistic success in a creative marketplace as competitive and economically unforgiving as the Bay Area. But observing Joonbug, sketchbooks in hand, you genuinely believe he has a shot. There is a stalwart confidence about him. For all the miles and cultures he’s traversed, he still seems rooted in the fields of his boyhood. It’s hard to say what his Bay Area future holds, but it’s easy to see it will be another compelling chapter in a most unlikely journey.\u003c/p>\n\u003cp>\u003cem>— Benjamin Michel\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Napkins today are mundane and practical, made from paper or cheap factory cloth and folded, if at all, hastily into a rectangle. In the past, napkins weren’t just for wiping hands or protecting clothing — they were works of art.\u003c/p>\n\u003cp>Charlotte Birnbaum, who along with folding artist Joan Sallas co-created a history of napkin art in the book \u003ca href=\"http://www.sternberg-press.com/index.php?pageId=1362&\">The Beauty of the Fold\u003c/a>, says the change from “folded cloth to folded art” occurred in 16th century Florence, Italy. It had become fashionable for the wealthy to wear voluminous clothing and ballooned sleeves.\u003c/p>\n\u003cfigure id=\"attachment_10892835\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Napkin-art-2.jpg\" alt=\"Intricately folded designs could depict anything from mythical beasts to castles or trees.\" width=\"400\" height=\"601\" class=\"size-full wp-image-10892835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Napkin-art-2.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Napkin-art-2-399x600.jpg 399w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Intricately folded designs could depict anything from mythical beasts to castles or trees. \u003ccite>(Courtesy of Joan Sallas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That bigger and more extravagant thinking soon spread to table linens, too. Napkins became bigger and bigger and, instead of putting a big pile of cloth like a bed sheet on the plate in front of guests, Birnbaum says, “they started to fold it.”\u003c/p>\n\u003cp>Starched linens were pleated into large table centerpieces known as “triumphs.” They depicted real or mythical animals, natural elements such as trees and architectural shapes that resembled castles or fountains. In addition to being a display of wealth, there was meaning hidden inside the folds.\u003c/p>\n\u003cp>“At wedding banquets, each guest received a personal napkin,” says Sallas. “The model reflected whether you were the bride, the groom, a man or woman and so on.” Folded napkins today simply make the table setting look nicer, Sallas laments.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Soon these detailed napkin sculptures spread throughout European courts, explains Birnbaum. They became status symbols, and the depth of their artistry became an ongoing competition among hosts. Butlers were sent to Rome and Florence to learn the latest techniques.\u003c/p>\n\u003cp>The first important how-to book was \u003cem>Li Tre Trattati\u003c/em>, written by German-born Matthia Geiger in 1639. Birnbaum credits his “German thoroughness and methodical mind” for creating one of the few texts that has allowed scholars to trace the development of napkin-folding throughout the Renaissance and has allowed artists like Sallas to re-create such works.\u003c/p>\n\u003cfigure id=\"attachment_10892836\" class=\"wp-caption alignright\" style=\"max-width: 555px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Napkin-art.jpg\" alt=\"Though today we see these folded sculptures as simple decoration, 16th century guests would have been well aware of the symbolism behind each choice. These examples of napkin art were on display at Hampton Court Palace outside London in 2014\" width=\"555\" height=\"370\" class=\"size-full wp-image-10892836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Napkin-art.jpg 555w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Napkin-art-400x267.jpg 400w\" sizes=\"(max-width: 555px) 100vw, 555px\">\u003cfigcaption class=\"wp-caption-text\">Though today we see these folded sculptures as simple decoration, 16th century guests would have been well aware of the symbolism behind each choice. These examples of napkin art were on display at Hampton Court Palace outside London in 2014 \u003ccite>(Courtesy of Joan Sallas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The era of the grand folded napkin came to an end during the 18th century. “The folded napkins started as an aristocratic phenomenon and finished with the guillotining of aristocrats during the French Revolution,” Sallas explains. However, a more modest variation survives in the form of individual napkins.\u003c/p>\n\u003cp>Of course, the first thing guests do when sitting at a table is unfold their napkins. “The life of a folded napkin is extremely short,” says Sallas. This is why none of these intricate creations has survived in museums; the only way for people to see them again is if they are re-created.\u003c/p>\n\u003cp>This is exactly what Sallas has spent the past 15 years of his life researching and practicing. However, there is one element he has been unable to replicate: the fine quality linen. Some of these old linens (unfolded) have been conserved in museums, allowing him to see and feel their high quality.\u003c/p>\n\u003cp>“I have found no fabrics as fine as those produced by any factory today,” Sallas says. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://vimeo.com/68075616\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=Unfolding+The+History+Of+Napkin+Art&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Napkins today are mundane and practical, made from paper or cheap factory cloth and folded, if at all, hastily into a rectangle. In the past, napkins weren’t just for wiping hands or protecting clothing — they were works of art.\u003c/p>\n\u003cp>Charlotte Birnbaum, who along with folding artist Joan Sallas co-created a history of napkin art in the book \u003ca href=\"http://www.sternberg-press.com/index.php?pageId=1362&\">The Beauty of the Fold\u003c/a>, says the change from “folded cloth to folded art” occurred in 16th century Florence, Italy. It had become fashionable for the wealthy to wear voluminous clothing and ballooned sleeves.\u003c/p>\n\u003cfigure id=\"attachment_10892835\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Napkin-art-2.jpg\" alt=\"Intricately folded designs could depict anything from mythical beasts to castles or trees.\" width=\"400\" height=\"601\" class=\"size-full wp-image-10892835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Napkin-art-2.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Napkin-art-2-399x600.jpg 399w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Intricately folded designs could depict anything from mythical beasts to castles or trees. \u003ccite>(Courtesy of Joan Sallas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That bigger and more extravagant thinking soon spread to table linens, too. Napkins became bigger and bigger and, instead of putting a big pile of cloth like a bed sheet on the plate in front of guests, Birnbaum says, “they started to fold it.”\u003c/p>\n\u003cp>Starched linens were pleated into large table centerpieces known as “triumphs.” They depicted real or mythical animals, natural elements such as trees and architectural shapes that resembled castles or fountains. In addition to being a display of wealth, there was meaning hidden inside the folds.\u003c/p>\n\u003cp>“At wedding banquets, each guest received a personal napkin,” says Sallas. “The model reflected whether you were the bride, the groom, a man or woman and so on.” Folded napkins today simply make the table setting look nicer, Sallas laments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Soon these detailed napkin sculptures spread throughout European courts, explains Birnbaum. They became status symbols, and the depth of their artistry became an ongoing competition among hosts. Butlers were sent to Rome and Florence to learn the latest techniques.\u003c/p>\n\u003cp>The first important how-to book was \u003cem>Li Tre Trattati\u003c/em>, written by German-born Matthia Geiger in 1639. Birnbaum credits his “German thoroughness and methodical mind” for creating one of the few texts that has allowed scholars to trace the development of napkin-folding throughout the Renaissance and has allowed artists like Sallas to re-create such works.\u003c/p>\n\u003cfigure id=\"attachment_10892836\" class=\"wp-caption alignright\" style=\"max-width: 555px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Napkin-art.jpg\" alt=\"Though today we see these folded sculptures as simple decoration, 16th century guests would have been well aware of the symbolism behind each choice. These examples of napkin art were on display at Hampton Court Palace outside London in 2014\" width=\"555\" height=\"370\" class=\"size-full wp-image-10892836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Napkin-art.jpg 555w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Napkin-art-400x267.jpg 400w\" sizes=\"(max-width: 555px) 100vw, 555px\">\u003cfigcaption class=\"wp-caption-text\">Though today we see these folded sculptures as simple decoration, 16th century guests would have been well aware of the symbolism behind each choice. These examples of napkin art were on display at Hampton Court Palace outside London in 2014 \u003ccite>(Courtesy of Joan Sallas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The era of the grand folded napkin came to an end during the 18th century. “The folded napkins started as an aristocratic phenomenon and finished with the guillotining of aristocrats during the French Revolution,” Sallas explains. However, a more modest variation survives in the form of individual napkins.\u003c/p>\n\u003cp>Of course, the first thing guests do when sitting at a table is unfold their napkins. “The life of a folded napkin is extremely short,” says Sallas. This is why none of these intricate creations has survived in museums; the only way for people to see them again is if they are re-created.\u003c/p>\n\u003cp>This is exactly what Sallas has spent the past 15 years of his life researching and practicing. However, there is one element he has been unable to replicate: the fine quality linen. Some of these old linens (unfolded) have been conserved in museums, allowing him to see and feel their high quality.\u003c/p>\n\u003cp>“I have found no fabrics as fine as those produced by any factory today,” Sallas says. \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
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"title": "Artist Sues Oakland Auto Dealer Over Mural's Removal",
"headTitle": "Artist Sues Oakland Auto Dealer Over Mural’s Removal | KQED",
"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/219125229″ 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>Who controls the fate of a mural decades after its painted? What happens if the building’s renter completely covers it with white paint, but only after the art has been badly tagged by graffiti?\u003c/p>\n\u003cp>The answers to those questions may be provided by a federal court if muralist \u003ca href=\"https://www.facebook.com/dan.fontes.5\" target=\"_blank\" rel=\"noopener\">Dan Fontes \u003c/a>has his way. Fontes is seeking $400,000 in damages from the current and former operators of \u003ca href=\"http://www.autocomnissanofoakland.com/?gclid=CL7OyuempMcCFViRfgodIgIG5w\" target=\"_blank\" rel=\"noopener\">Autocom Nissan \u003c/a>at Broadway and 27th Streets in Oakland.\u003c/p>\n\u003cp>Fontes finished painting the mural in 1987, after receiving a $35,000 commission. It was eye-catching. Almost 90 feet long and more than 20 feet tall, the piece showed an idyllic Oakland landscape—puffy clouds in a blue sky, reflected in a blue Lake Merritt, ruffled by the wind.\u003c/p>\n\u003cp>“This is Dan Fontes’ baby,” said intellectual property attorney \u003ca href=\"http://www.50balmy.com/about/brooke-oliver/\" target=\"_blank\" rel=\"noopener\">Brooke Oliver\u003c/a>, who represents Fontes in the lawsuit. “It’s his best work. And it’s hard to imagine how anyone can look at a piece of art like that and just want to paint it out.”\u003c/p>\n\u003cfigure id=\"attachment_10892445\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_461007193.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10892445 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_461007193-1180x885.jpg\" alt=\"The white wall where the mural used to be at Autocom Nissan in Oakland.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The white wall where the mural used to be at Autocom Nissan in Oakland. \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oliver argues that when the dealership painted over the mural in 2013, they violated the \u003ca href=\"https://www.law.cornell.edu/uscode/text/17/106A\" target=\"_blank\" rel=\"noopener\">U.S. Visual Artist Rights Act (VARA)\u003c/a>, a law dating back to 1990. Among other things, the law requires a building owner to give an artist a 90-day notice before the mural is removed or painted over, so the artist can take back or at least document the work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Managers at the dealership had no comment Tuesday. But Jose Perez, an officer of the dealership, wrote a letter to Oliver more than a year ago explaining why he decided to whitewash the wall.\u003c/p>\n\u003cp>Perez wrote that he told the landlord, the former dealership owner, and the city of Oakland of his intention to paint over the mural, and that the three failed to tell him of any legal obligation to inform Fontes of his plans. Perez also wrote that he decided to paint over the mural because it was “in bad shape… desecrated by graffiti,” with “only a fragment of the mural” still visible.\u003c/p>\n\u003cp>Perez also wrote that he is “saddened by the loss of the ‘Lake Merritt Mural,’ and my condolences go out to Mr. Fontes.”\u003c/p>\n\u003cp>But Oliver said Fontes had anticipated that the mural might get tagged, and had used special hundred year paints that would stand up to cleanings and repair.\u003c/p>\n\u003cp>Under VARA, Oliver says Fontes has “a strong claim for negligent conservation of the mural. When a work of fine art is tagged or damaged, the appropriate and legal duty of the building owner is to conserve it properly using a conservator. It doesn’t include just painting it over.”\u003c/p>\n\u003cp>VARA clearly protects artwork done after 1990, when the law was passed. Oliver recently won a \u003ca href=\"http://www.santacruzsentinel.com/arts-and-entertainment/20150807/santa-cruz-owes-30k-apology-in-beach-flats-mural-whitewashing-suit\" target=\"_blank\" rel=\"noopener\">$30,000 settlement and an apology from the city of Santa Cruz for artist Victor Cervantes\u003c/a>, after the city painted over a mural he did in 1993 at a Beach Flats public park.\u003c/p>\n\u003cp>Fontes’ Lake Merritt mural was finished in 1987, before VARA was passed. But Oliver argues VARA protects older murals where title has never been transferred by the artist to anyone else.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And this mural,” she said, “has never been sold.”\u003c/p>\n\n",
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"excerpt": "Local artist Dan Fontes is suing an Oakland car dealership for painting over his Lake Merritt mural without any warning.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/219125229″&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/219125229″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Who controls the fate of a mural decades after its painted? What happens if the building’s renter completely covers it with white paint, but only after the art has been badly tagged by graffiti?\u003c/p>\n\u003cp>The answers to those questions may be provided by a federal court if muralist \u003ca href=\"https://www.facebook.com/dan.fontes.5\" target=\"_blank\" rel=\"noopener\">Dan Fontes \u003c/a>has his way. Fontes is seeking $400,000 in damages from the current and former operators of \u003ca href=\"http://www.autocomnissanofoakland.com/?gclid=CL7OyuempMcCFViRfgodIgIG5w\" target=\"_blank\" rel=\"noopener\">Autocom Nissan \u003c/a>at Broadway and 27th Streets in Oakland.\u003c/p>\n\u003cp>Fontes finished painting the mural in 1987, after receiving a $35,000 commission. It was eye-catching. Almost 90 feet long and more than 20 feet tall, the piece showed an idyllic Oakland landscape—puffy clouds in a blue sky, reflected in a blue Lake Merritt, ruffled by the wind.\u003c/p>\n\u003cp>“This is Dan Fontes’ baby,” said intellectual property attorney \u003ca href=\"http://www.50balmy.com/about/brooke-oliver/\" target=\"_blank\" rel=\"noopener\">Brooke Oliver\u003c/a>, who represents Fontes in the lawsuit. “It’s his best work. And it’s hard to imagine how anyone can look at a piece of art like that and just want to paint it out.”\u003c/p>\n\u003cfigure id=\"attachment_10892445\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_461007193.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10892445 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_461007193-1180x885.jpg\" alt=\"The white wall where the mural used to be at Autocom Nissan in Oakland.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_461007193-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The white wall where the mural used to be at Autocom Nissan in Oakland. \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oliver argues that when the dealership painted over the mural in 2013, they violated the \u003ca href=\"https://www.law.cornell.edu/uscode/text/17/106A\" target=\"_blank\" rel=\"noopener\">U.S. Visual Artist Rights Act (VARA)\u003c/a>, a law dating back to 1990. Among other things, the law requires a building owner to give an artist a 90-day notice before the mural is removed or painted over, so the artist can take back or at least document the work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Managers at the dealership had no comment Tuesday. But Jose Perez, an officer of the dealership, wrote a letter to Oliver more than a year ago explaining why he decided to whitewash the wall.\u003c/p>\n\u003cp>Perez wrote that he told the landlord, the former dealership owner, and the city of Oakland of his intention to paint over the mural, and that the three failed to tell him of any legal obligation to inform Fontes of his plans. Perez also wrote that he decided to paint over the mural because it was “in bad shape… desecrated by graffiti,” with “only a fragment of the mural” still visible.\u003c/p>\n\u003cp>Perez also wrote that he is “saddened by the loss of the ‘Lake Merritt Mural,’ and my condolences go out to Mr. Fontes.”\u003c/p>\n\u003cp>But Oliver said Fontes had anticipated that the mural might get tagged, and had used special hundred year paints that would stand up to cleanings and repair.\u003c/p>\n\u003cp>Under VARA, Oliver says Fontes has “a strong claim for negligent conservation of the mural. When a work of fine art is tagged or damaged, the appropriate and legal duty of the building owner is to conserve it properly using a conservator. It doesn’t include just painting it over.”\u003c/p>\n\u003cp>VARA clearly protects artwork done after 1990, when the law was passed. Oliver recently won a \u003ca href=\"http://www.santacruzsentinel.com/arts-and-entertainment/20150807/santa-cruz-owes-30k-apology-in-beach-flats-mural-whitewashing-suit\" target=\"_blank\" rel=\"noopener\">$30,000 settlement and an apology from the city of Santa Cruz for artist Victor Cervantes\u003c/a>, after the city painted over a mural he did in 1993 at a Beach Flats public park.\u003c/p>\n\u003cp>Fontes’ Lake Merritt mural was finished in 1987, before VARA was passed. But Oliver argues VARA protects older murals where title has never been transferred by the artist to anyone else.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And this mural,” she said, “has never been sold.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Artists Become ‘Collectors’ in Two Shows at Haines Gallery",
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"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/the-collectors-nile-sunset-annex-the-many-hats/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘The Collectors’ & ‘Nile Sunset Annex: The Many Hats’\u003c/h2>\n\u003cdiv class=\"event-desc\">Two exhibitions showcase artists’ collections.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 29\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Haines Gallery\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-collectors-nile-sunset-annex-the-many-hats/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The act of collecting is sometimes driven by an impulse to acquire, a reluctance to forfeit, or a desire to preserve. Whatever the impetus, every collection is more than the sum of its parts, divulging information about a person, a place, or time past. The exhibitions \u003ci>The Collectors\u003c/i> and \u003ci>Nile Sunset Annex: The Many Hats\u003c/i>, at Haines Gallery in San Francisco, explore a variety of collections, the intentions behind them and the stories they tell.\u003c/p>\n\u003cp>\u003ci>The Collectors\u003c/i> showcases three artists whose practices rely on archiving and accumulating. Nigel Poor’s series of photographs, \u003ci>Found\u003c/i> (1998), toes the line between eerie and mundane with snapshots of the streets of San Francisco in the late-1990s. A wall of framed black-and-white images document objects found while walking the city’s streets, each one labeled with the date and location of its discovery. A headless plastic doll found at Precita and Shotwell lays face down in a gutter, discarded by a child and waiting for someone new to confer significance upon it.\u003c/p>\n\u003cfigure id=\"attachment_10887627\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10887627\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Rob-Craigie-Rozel-Point.jpg\" alt=\"Rob Craigie, 'This Is It,' 2004. (Photo: Haines Gallery)\" width=\"480\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rob-Craigie-Rozel-Point.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rob-Craigie-Rozel-Point-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rob-Craigie-Rozel-Point-450x600.jpg 450w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Rob Craigie, ‘This Is It,’ 2004. (Photo: Haines Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>Rob Craigie’s installation displays some of the artist’s personal collections of found materials, from marbles to Tuvaluan stamps. A collection of Robert Smithson–related objects includes a poster of one of the late artist’s works, a 1970 VHS tape about the Smithson’s \u003ci>Spiral Jetty\u003c/i>, and a map of Rozel Point, \u003ci>Spiral Jetty\u003c/i>’s location on the Great Salt Lake. A large jar of salt crystals, presumably gathered near the famous earthwork, sits atop the map. One who has never visited \u003ci>Spiral Jetty\u003c/i> can imagine the contours of the lake’s coastline and the salt crystals that compose the work. This collections offers the viewer far more than a single photograph might.\u003c/p>\n\u003cp>\u003ci>Stockpile\u003c/i> (2011) is Allison Smith’s enormous, precariously stacked pyramid of unfinished wood furniture and objects. Unlike Poor and Craigie, Smith’s assemblage is not comprised of objects found randomly or collected organically. The furniture, barrels and spinning wheels were created with intention by the artist and are meant to evoke craftwork of colonial America. This imposing piece shows collections need not accumulate over time, but can be manufactured and guided from the outset.\u003c/p>\n\u003cfigure id=\"attachment_10887626\" class=\"wp-caption alignright\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10887626\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Nigel-Poor-Precita-Shotwell-400x493.jpg\" alt=\"Nigel Poor, 'Precita & Shotwell, SF, CA, 9/11/98,' 1998. (Photo: Haines Gallery)\" width=\"520\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Nigel-Poor-Precita-Shotwell-400x493.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Nigel-Poor-Precita-Shotwell-487x600.jpg 487w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Nigel-Poor-Precita-Shotwell.jpg 640w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">Nigel Poor, ‘Precita & Shotwell, SF, CA, 9/11/98,’ 1998. (Photo: Haines Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>Artists Taha Belal and Jenifer Evans run Nile Sunset Annex, a contemporary art space inside an apartment in a leafy Cairo neighborhood. Since 2013, Nile Sunset Annex has invited a dozen artists, from Egypt and abroad, to exhibit in this spare-room gallery. Belal and Evans acquire one piece of work from each exhibition, constituting what they call Cairo’s only public contemporary art collection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With \u003ci>Nile Sunset Annex: The Many Hats\u003c/i>, Belal and Evans bring the Annex to the back room of Haines Gallery, representing their exhibitions with 1:5-scale versions of the pieces in their collection. Each work is displayed on a shelf alongside exhibition documentation, ranging from postcards to vinyl records, printed publications to websites.\u003c/p>\n\u003cp>A frowning Raggedy Ann–like doll slumps on one of these shelves next to a postcard depicting the original 15-foot fabric and leather sculpture by Paul Simon Richards, crammed into the Nile Sunset Annex. Walid Elsawi’s two-foot-long lightbox painted with the words “I don’t care about the concept” is rendered so small the text is indelicately scrawled in with a marker.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Individual artworks are not the subject of this exhibition, but the space and community they depict are. In this way, \u003ci>The Many Hats\u003c/i> is like \u003ci>The Collectors\u003c/i>; the specific objects that make up each collection are of some interest, but they are overshadowed by the people, places and stories they represent.\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/the-collectors-nile-sunset-annex-the-many-hats/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘The Collectors’ & ‘Nile Sunset Annex: The Many Hats’\u003c/h2>\n\u003cdiv class=\"event-desc\">Two exhibitions showcase artists’ collections.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 29\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Haines Gallery\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-collectors-nile-sunset-annex-the-many-hats/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The act of collecting is sometimes driven by an impulse to acquire, a reluctance to forfeit, or a desire to preserve. Whatever the impetus, every collection is more than the sum of its parts, divulging information about a person, a place, or time past. The exhibitions \u003ci>The Collectors\u003c/i> and \u003ci>Nile Sunset Annex: The Many Hats\u003c/i>, at Haines Gallery in San Francisco, explore a variety of collections, the intentions behind them and the stories they tell.\u003c/p>\n\u003cp>\u003ci>The Collectors\u003c/i> showcases three artists whose practices rely on archiving and accumulating. Nigel Poor’s series of photographs, \u003ci>Found\u003c/i> (1998), toes the line between eerie and mundane with snapshots of the streets of San Francisco in the late-1990s. A wall of framed black-and-white images document objects found while walking the city’s streets, each one labeled with the date and location of its discovery. A headless plastic doll found at Precita and Shotwell lays face down in a gutter, discarded by a child and waiting for someone new to confer significance upon it.\u003c/p>\n\u003cfigure id=\"attachment_10887627\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10887627\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Rob-Craigie-Rozel-Point.jpg\" alt=\"Rob Craigie, 'This Is It,' 2004. (Photo: Haines Gallery)\" width=\"480\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rob-Craigie-Rozel-Point.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rob-Craigie-Rozel-Point-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Rob-Craigie-Rozel-Point-450x600.jpg 450w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Rob Craigie, ‘This Is It,’ 2004. (Photo: Haines Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>Rob Craigie’s installation displays some of the artist’s personal collections of found materials, from marbles to Tuvaluan stamps. A collection of Robert Smithson–related objects includes a poster of one of the late artist’s works, a 1970 VHS tape about the Smithson’s \u003ci>Spiral Jetty\u003c/i>, and a map of Rozel Point, \u003ci>Spiral Jetty\u003c/i>’s location on the Great Salt Lake. A large jar of salt crystals, presumably gathered near the famous earthwork, sits atop the map. One who has never visited \u003ci>Spiral Jetty\u003c/i> can imagine the contours of the lake’s coastline and the salt crystals that compose the work. This collections offers the viewer far more than a single photograph might.\u003c/p>\n\u003cp>\u003ci>Stockpile\u003c/i> (2011) is Allison Smith’s enormous, precariously stacked pyramid of unfinished wood furniture and objects. Unlike Poor and Craigie, Smith’s assemblage is not comprised of objects found randomly or collected organically. The furniture, barrels and spinning wheels were created with intention by the artist and are meant to evoke craftwork of colonial America. This imposing piece shows collections need not accumulate over time, but can be manufactured and guided from the outset.\u003c/p>\n\u003cfigure id=\"attachment_10887626\" class=\"wp-caption alignright\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10887626\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Nigel-Poor-Precita-Shotwell-400x493.jpg\" alt=\"Nigel Poor, 'Precita & Shotwell, SF, CA, 9/11/98,' 1998. (Photo: Haines Gallery)\" width=\"520\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Nigel-Poor-Precita-Shotwell-400x493.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Nigel-Poor-Precita-Shotwell-487x600.jpg 487w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Nigel-Poor-Precita-Shotwell.jpg 640w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">Nigel Poor, ‘Precita & Shotwell, SF, CA, 9/11/98,’ 1998. (Photo: Haines Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>Artists Taha Belal and Jenifer Evans run Nile Sunset Annex, a contemporary art space inside an apartment in a leafy Cairo neighborhood. Since 2013, Nile Sunset Annex has invited a dozen artists, from Egypt and abroad, to exhibit in this spare-room gallery. Belal and Evans acquire one piece of work from each exhibition, constituting what they call Cairo’s only public contemporary art collection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With \u003ci>Nile Sunset Annex: The Many Hats\u003c/i>, Belal and Evans bring the Annex to the back room of Haines Gallery, representing their exhibitions with 1:5-scale versions of the pieces in their collection. Each work is displayed on a shelf alongside exhibition documentation, ranging from postcards to vinyl records, printed publications to websites.\u003c/p>\n\u003cp>A frowning Raggedy Ann–like doll slumps on one of these shelves next to a postcard depicting the original 15-foot fabric and leather sculpture by Paul Simon Richards, crammed into the Nile Sunset Annex. Walid Elsawi’s two-foot-long lightbox painted with the words “I don’t care about the concept” is rendered so small the text is indelicately scrawled in with a marker.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Individual artworks are not the subject of this exhibition, but the space and community they depict are. In this way, \u003ci>The Many Hats\u003c/i> is like \u003ci>The Collectors\u003c/i>; the specific objects that make up each collection are of some interest, but they are overshadowed by the people, places and stories they represent.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dazzling ‘Sky Bridge’ Transforms Chinatown Pedestrian Bridge",
"headTitle": "Dazzling ‘Sky Bridge’ Transforms Chinatown Pedestrian Bridge | 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/sky-bridge/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Sky Bridge’\u003c/h2>\n\u003cdiv class=\"event-desc\">Installation on Chinatown pedestrian bridge.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 1-31, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Chinese Culture Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sky-bridge/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The pedestrian bridge spanning Kearny Street between Chinatown’s Hilton and Portsmouth Square Plaza is not ordinarily an active space. The bridge usually boasts a few people sunning themselves, a clandestine skateboarder or two. But just one day after the Chinese Culture Center (CCC) unveiled \u003ci>Sky Bridge\u003c/i> by artist \u003ca href=\"http://www.beililiu.com/\" target=\"_blank\" rel=\"noopener\">Beili Liu\u003c/a>, the bridge swarmed with tourists, locals and a troupe of lion dancers, all there to bask in the dazzling effect of Liu’s month-long public installation.\u003c/p>\n\u003cp>\u003ci>Sky Bridge\u003c/i>, the Austin-based artist’s \u003ca href=\"http://www.c-c-c.org/opening-beili-lu-exhibition/\" target=\"_blank\" rel=\"noopener\">second project\u003c/a> for the CCC, is made of 50,000 brick-sized pieces of mirrored Mylar, each carefully glued to the bridge’s existing brick walkway and banked walls. Simple but transformative, Liu’s installation makes the mundane magical. On sunny days, the CCC recommends sunglasses. On overcast days, the Mylar shines silver, gray and blue, resembling a watery surface over Chinatown’s busy thoroughfare.\u003c/p>\n\u003cfigure id=\"attachment_10881978\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10881978\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/SkyBridge2.jpg\" alt=\"<i>Sky Bridge</i> under different light, 2015. (Photo: Lydia Han/CCC)\" width=\"480\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SkyBridge2.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SkyBridge2-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SkyBridge2-450x600.jpg 450w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Sky Bridge\u003c/i> under different light, 2015. (Photo: Lydia Han/CCC)\u003c/figcaption>\u003c/figure>\n\u003cp>The installation is the final element of the CCC’s multi-year \u003ci>Central Subway, Journey to Chinatown\u003c/i> project, a series of temporary public art installations and performances celebrating the history of Chinese immigration and the arrival of San Francisco’s Central Subway.\u003c/p>\n\u003cp>CCC artistic director and curator Abby Chen says she wanted the series — which included music and dance festivals, along with commissioned murals in Wentworth Alley and Walter U Lum Place — to “bring awareness to the dire need for open space” in Chinatown.\u003c/p>\n\u003cp>“This is the second–highest-density neighborhood in the country,” Chen says. “The seniors and the children are really kind of trapped in their SROs, and Portsmouth Square is the only open space that we have. Hopefully people can really start to use the bridge, which was underutilized before.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Sky Bridge\u003c/i> came together over four days with the help of a legion of volunteers — a true showing of community support for a project that expands beyond a “traditional” notion of art as object. The largest group of helpers came from Chinatown’s “Dancing Aunties,” women who dance to ’50s and ’60s Chinese pop music every morning and evening in Portsmouth Square.\u003c/p>\n\u003cp>“We asked them if they were interested in doing this project and they gladly accepted,” Chen says. “But at the time, no one knew what an undertaking it was, and the level of intensity of the labor. Plus, no one could predict the weather. That happened to be the hottest week.”\u003c/p>\n\u003cfigure id=\"attachment_10881977\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10881977\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/SkyBridge1.jpg\" alt=\"The artist and volunteers laying out <i>Sky Bridge</i>, 2015. (Photo: Lydia Han/CCC)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SkyBridge1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SkyBridge1-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The artist and volunteers laying out \u003ci>Sky Bridge\u003c/i>, 2015. (Photo: Lydia Han/CCC) \u003ccite>(Photo: Lydia Han/CCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through the combined efforts of CCC staff, a younger generation of Chinese Americans and the indefatigable Dancing Aunties, \u003ci>Sky Bridge\u003c/i> opened to the public on Aug. 1. “This is the largest undertaking for the organization, ever,” says Chen. “But also the largest temporary public art in Chinatown.”\u003c/p>\n\u003cp>Over the next month, the Mylar “bricks” will fold and loosen, to be picked up by CCC staff as the \u003ci>Sky Bridge\u003c/i> dissolves, bit by bit, and the underlying bridge is revealed. This is all part of the artist’s plan — a graceful decay from glittering stream to ordinary path that will forever change the bridge’s relationship to the neighborhood and its occupants.\u003c/p>\n\u003cp>Focusing on community engagement and public feedback, the installation is a trial run for the CCC’s upcoming \u003ca href=\"http://ww2.kqed.org/arts/2015/06/10/bridge-project-to-put-chinatown-on-the-public-art-map/\" target=\"_blank\" rel=\"noopener\">“Art on the Bridge”\u003c/a> project, a larger commission of longer-term public art combined with landscaping that seeks to revitalize the Portsmouth Square pedestrian bridge in early 2016.\u003c/p>\n\u003cp>“I think that this project can help us learn so much about doing temporary art, temporary public art in Chinatown, or in the city,” says Chen. With \u003ci>Sky Bridge\u003c/i> and future projects, Chen and the CCC hope to break the stereotype of Chinatown as a “conservative, traditional, insular” place.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Judging by the crowds after the bridge’s reopening in early August, their efforts have worked. As locals and visitors alike stepped from Portsmouth Square onto Liu’s installation, curious and smiling, the feeling was anything but stodgy.\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/sky-bridge/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Sky Bridge’\u003c/h2>\n\u003cdiv class=\"event-desc\">Installation on Chinatown pedestrian bridge.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 1-31, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Chinese Culture Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sky-bridge/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The pedestrian bridge spanning Kearny Street between Chinatown’s Hilton and Portsmouth Square Plaza is not ordinarily an active space. The bridge usually boasts a few people sunning themselves, a clandestine skateboarder or two. But just one day after the Chinese Culture Center (CCC) unveiled \u003ci>Sky Bridge\u003c/i> by artist \u003ca href=\"http://www.beililiu.com/\" target=\"_blank\" rel=\"noopener\">Beili Liu\u003c/a>, the bridge swarmed with tourists, locals and a troupe of lion dancers, all there to bask in the dazzling effect of Liu’s month-long public installation.\u003c/p>\n\u003cp>\u003ci>Sky Bridge\u003c/i>, the Austin-based artist’s \u003ca href=\"http://www.c-c-c.org/opening-beili-lu-exhibition/\" target=\"_blank\" rel=\"noopener\">second project\u003c/a> for the CCC, is made of 50,000 brick-sized pieces of mirrored Mylar, each carefully glued to the bridge’s existing brick walkway and banked walls. Simple but transformative, Liu’s installation makes the mundane magical. On sunny days, the CCC recommends sunglasses. On overcast days, the Mylar shines silver, gray and blue, resembling a watery surface over Chinatown’s busy thoroughfare.\u003c/p>\n\u003cfigure id=\"attachment_10881978\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10881978\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/SkyBridge2.jpg\" alt=\"<i>Sky Bridge</i> under different light, 2015. (Photo: Lydia Han/CCC)\" width=\"480\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SkyBridge2.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SkyBridge2-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SkyBridge2-450x600.jpg 450w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Sky Bridge\u003c/i> under different light, 2015. (Photo: Lydia Han/CCC)\u003c/figcaption>\u003c/figure>\n\u003cp>The installation is the final element of the CCC’s multi-year \u003ci>Central Subway, Journey to Chinatown\u003c/i> project, a series of temporary public art installations and performances celebrating the history of Chinese immigration and the arrival of San Francisco’s Central Subway.\u003c/p>\n\u003cp>CCC artistic director and curator Abby Chen says she wanted the series — which included music and dance festivals, along with commissioned murals in Wentworth Alley and Walter U Lum Place — to “bring awareness to the dire need for open space” in Chinatown.\u003c/p>\n\u003cp>“This is the second–highest-density neighborhood in the country,” Chen says. “The seniors and the children are really kind of trapped in their SROs, and Portsmouth Square is the only open space that we have. Hopefully people can really start to use the bridge, which was underutilized before.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Sky Bridge\u003c/i> came together over four days with the help of a legion of volunteers — a true showing of community support for a project that expands beyond a “traditional” notion of art as object. The largest group of helpers came from Chinatown’s “Dancing Aunties,” women who dance to ’50s and ’60s Chinese pop music every morning and evening in Portsmouth Square.\u003c/p>\n\u003cp>“We asked them if they were interested in doing this project and they gladly accepted,” Chen says. “But at the time, no one knew what an undertaking it was, and the level of intensity of the labor. Plus, no one could predict the weather. That happened to be the hottest week.”\u003c/p>\n\u003cfigure id=\"attachment_10881977\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10881977\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/SkyBridge1.jpg\" alt=\"The artist and volunteers laying out <i>Sky Bridge</i>, 2015. (Photo: Lydia Han/CCC)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SkyBridge1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SkyBridge1-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The artist and volunteers laying out \u003ci>Sky Bridge\u003c/i>, 2015. (Photo: Lydia Han/CCC) \u003ccite>(Photo: Lydia Han/CCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through the combined efforts of CCC staff, a younger generation of Chinese Americans and the indefatigable Dancing Aunties, \u003ci>Sky Bridge\u003c/i> opened to the public on Aug. 1. “This is the largest undertaking for the organization, ever,” says Chen. “But also the largest temporary public art in Chinatown.”\u003c/p>\n\u003cp>Over the next month, the Mylar “bricks” will fold and loosen, to be picked up by CCC staff as the \u003ci>Sky Bridge\u003c/i> dissolves, bit by bit, and the underlying bridge is revealed. This is all part of the artist’s plan — a graceful decay from glittering stream to ordinary path that will forever change the bridge’s relationship to the neighborhood and its occupants.\u003c/p>\n\u003cp>Focusing on community engagement and public feedback, the installation is a trial run for the CCC’s upcoming \u003ca href=\"http://ww2.kqed.org/arts/2015/06/10/bridge-project-to-put-chinatown-on-the-public-art-map/\" target=\"_blank\" rel=\"noopener\">“Art on the Bridge”\u003c/a> project, a larger commission of longer-term public art combined with landscaping that seeks to revitalize the Portsmouth Square pedestrian bridge in early 2016.\u003c/p>\n\u003cp>“I think that this project can help us learn so much about doing temporary art, temporary public art in Chinatown, or in the city,” says Chen. With \u003ci>Sky Bridge\u003c/i> and future projects, Chen and the CCC hope to break the stereotype of Chinatown as a “conservative, traditional, insular” place.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Judging by the crowds after the bridge’s reopening in early August, their efforts have worked. As locals and visitors alike stepped from Portsmouth Square onto Liu’s installation, curious and smiling, the feeling was anything but stodgy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "J.M.W. Turner at the de Young: Painting Set Not Included",
"headTitle": "J.M.W. Turner at the de Young: Painting Set Not Included | 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/j-m-w-turner-painting-set-free/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘J.M.W. Turner: Painting Set Free’\u003c/h2>\n\u003cdiv class=\"event-desc\">Works from the artist’s final years.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 20-Sep. 20, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">de Young\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/j-m-w-turner-painting-set-free/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Visitors to the de Young Museum’s ongoing exhibition of J.M.W. Turner’s late works gush, for the most part, about the famous British artist’s use of color, light and “dazzling” depictions of stormy ocean weather. But what about those who are feeling a bit let down?\u003c/p>\n\u003cp>Although the museum advertises the exhibition across the city on banners, buses and posters in shop windows with the headline “J.M.W. Turner: Painting Set Free,” visitors do not actually get — as these words might be interpreted — free painting sets after shelling out $20 ($25 on weekends) for a ticket to see the show.\u003c/p>\n\u003cp>Ah, syntactic ambiguity! What a timeless and often hilarious linguistic hazard. Ken Garcia, the de Young’s director of government and community affairs, says a few visitors inquired after free painting sets when a sign bearing the show’s title appeared in the museum store in advance of the exhibition. But those queries quickly petered out. Garcia can’t say for sure if they were serious or in jest.\u003c/p>\n\u003cp>\u003ci>Painting Set Free\u003c/i> is actually a travelling exhibition, making its third stop at the de Young after stints at the Tate Museum in London and the Getty Museum in Los Angeles. Neither the Tate nor the Getty handed out free painting sets during their shows.\u003c/p>\n\u003cfigure id=\"attachment_10878407\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10878407\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Turner2640.jpg\" alt=\"You can to paint like Turner, but you need to procure your own supplies. Joseph Mallord William Turner, 'Norham Castle, Sunrise, ca.1845. (Photo: Tate, London)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Turner2640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Turner2640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Mallord William Turner, ‘Norham Castle, Sunrise, ca.1845. (Photo: Tate, London)\u003c/figcaption>\u003c/figure>\n\u003cp>Shortly after the exhibition opened in Sept. 2014 at the Tate, a cheeky University of Birmingham professor took the pun to Twitter. “How lovely of \u003ca href=\"https://twitter.com/Tate\" target=\"_blank\" rel=\"noopener\">@Tate\u003c/a> to give away free sets of paints when you go to see their Turner exhibition! \u003ca href=\"https://twitter.com/hashtag/paintingsetfree?src=hash\" target=\"_blank\" rel=\"noopener\">#paintingsetfree\u003c/a>,” joked \u003ca href=\"https://twitter.com/DrAliceRoberts/status/513279185247543299\" target=\"_blank\" rel=\"noopener\">@draliceroberts\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Amy Hood, senior communications specialist for the J. Paul Getty Trust, says it’s all in good fun. “Once or twice, when the show first opened, visitors inquired,” Hood says. “But I hear that they themselves were joking; just having fun with the pun.”\u003c/p>\n\u003cp>Hood says the show \u003ci>was\u003c/i> extraordinarily popular. But concrete data on whether or not patrons thronged to the museum to collect on a misconstrued offer of free stuff is impossible to gather.\u003c/p>\n\u003cp>Did the exhibition arrive in San Francisco with a warning from its previous hosts? No, Garcia says. It didn’t warrant such a disclaimer.\u003c/p>\n\u003cp>If we could travel back in time and have some input with the exhibition naming committee, we might propose some alternate subtitles to alleviate any confusion, real or otherwise:\u003c/p>\n\u003cp style=\"padding-left: 30px\">\u003ci>J.M.W. Turner: Paintings of Storms, Ships and Smoke\u003cbr>\n\u003c/i>\u003ci>J.M.W. Turner: The Original Painter of Light\u003cbr>\n\u003c/i>\u003ci>J.M.W. Turner: Your Grandmother Will Love this Show\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just under two months remain to see \u003ci>Painting Set Free\u003c/i> at the de Young. But keep this in mind: If Turner’s moody oils and expressive watercolors inspire you to pick up a brush, you’ll need to procure your own supplies.\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/j-m-w-turner-painting-set-free/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘J.M.W. Turner: Painting Set Free’\u003c/h2>\n\u003cdiv class=\"event-desc\">Works from the artist’s final years.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 20-Sep. 20, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">de Young\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/j-m-w-turner-painting-set-free/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Visitors to the de Young Museum’s ongoing exhibition of J.M.W. Turner’s late works gush, for the most part, about the famous British artist’s use of color, light and “dazzling” depictions of stormy ocean weather. But what about those who are feeling a bit let down?\u003c/p>\n\u003cp>Although the museum advertises the exhibition across the city on banners, buses and posters in shop windows with the headline “J.M.W. Turner: Painting Set Free,” visitors do not actually get — as these words might be interpreted — free painting sets after shelling out $20 ($25 on weekends) for a ticket to see the show.\u003c/p>\n\u003cp>Ah, syntactic ambiguity! What a timeless and often hilarious linguistic hazard. Ken Garcia, the de Young’s director of government and community affairs, says a few visitors inquired after free painting sets when a sign bearing the show’s title appeared in the museum store in advance of the exhibition. But those queries quickly petered out. Garcia can’t say for sure if they were serious or in jest.\u003c/p>\n\u003cp>\u003ci>Painting Set Free\u003c/i> is actually a travelling exhibition, making its third stop at the de Young after stints at the Tate Museum in London and the Getty Museum in Los Angeles. Neither the Tate nor the Getty handed out free painting sets during their shows.\u003c/p>\n\u003cfigure id=\"attachment_10878407\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10878407\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Turner2640.jpg\" alt=\"You can to paint like Turner, but you need to procure your own supplies. Joseph Mallord William Turner, 'Norham Castle, Sunrise, ca.1845. (Photo: Tate, London)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Turner2640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Turner2640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Mallord William Turner, ‘Norham Castle, Sunrise, ca.1845. (Photo: Tate, London)\u003c/figcaption>\u003c/figure>\n\u003cp>Shortly after the exhibition opened in Sept. 2014 at the Tate, a cheeky University of Birmingham professor took the pun to Twitter. “How lovely of \u003ca href=\"https://twitter.com/Tate\" target=\"_blank\" rel=\"noopener\">@Tate\u003c/a> to give away free sets of paints when you go to see their Turner exhibition! \u003ca href=\"https://twitter.com/hashtag/paintingsetfree?src=hash\" target=\"_blank\" rel=\"noopener\">#paintingsetfree\u003c/a>,” joked \u003ca href=\"https://twitter.com/DrAliceRoberts/status/513279185247543299\" target=\"_blank\" rel=\"noopener\">@draliceroberts\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Amy Hood, senior communications specialist for the J. Paul Getty Trust, says it’s all in good fun. “Once or twice, when the show first opened, visitors inquired,” Hood says. “But I hear that they themselves were joking; just having fun with the pun.”\u003c/p>\n\u003cp>Hood says the show \u003ci>was\u003c/i> extraordinarily popular. But concrete data on whether or not patrons thronged to the museum to collect on a misconstrued offer of free stuff is impossible to gather.\u003c/p>\n\u003cp>Did the exhibition arrive in San Francisco with a warning from its previous hosts? No, Garcia says. It didn’t warrant such a disclaimer.\u003c/p>\n\u003cp>If we could travel back in time and have some input with the exhibition naming committee, we might propose some alternate subtitles to alleviate any confusion, real or otherwise:\u003c/p>\n\u003cp style=\"padding-left: 30px\">\u003ci>J.M.W. Turner: Paintings of Storms, Ships and Smoke\u003cbr>\n\u003c/i>\u003ci>J.M.W. Turner: The Original Painter of Light\u003cbr>\n\u003c/i>\u003ci>J.M.W. Turner: Your Grandmother Will Love this Show\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just under two months remain to see \u003ci>Painting Set Free\u003c/i> at the de Young. But keep this in mind: If Turner’s moody oils and expressive watercolors inspire you to pick up a brush, you’ll need to procure your own supplies.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Berkeley’s ‘MATRIX 259’ Dives Mischievously into the Archives",
"headTitle": "Berkeley’s ‘MATRIX 259’ Dives Mischievously into the Archives | 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/will-brown-matrix-259/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Will Brown / MATRIX 259’\u003c/h2>\n\u003cdiv class=\"event-desc\">An exhibition in three parts.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Sept. 15\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">UC Berkeley Art Museum and Pacific Film Archive, UC Berkeley Morrison Library\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/will-brown-matrix-259/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>At the UC Berkeley Art Museum and Pacific Film Archive, \u003cem>\u003ca href=\"http://bampfa.berkeley.edu/exhibition/259\" target=\"_blank\" rel=\"noopener\">Will Brown / MATRIX 259\u003c/a>\u003c/em> reactivates and expands on the history of a light installation by renowned minimalist artist Dan Flavin. The 1977–78 piece, \u003cem>untitled (for Gretchen, a colorful and fond match)\u003c/em> sets in motion a host of new narratives linked to the transitioning museum and the Bay Area art scene’s ever changing character.\u003c/p>\n\u003cp>The show consists of several parts: a car full of ephemera which appears to have been abandoned in front of the now-closed Bancroft Way museum entrance; a light installation on the museum’s roof; an artist book on view at \u003ca href=\"http://www.lib.berkeley.edu/libraries/morrison-library\" target=\"_blank\" rel=\"noopener\">UC Berkeley’s Morrison Library\u003c/a>; and \u003cem>New Light on Riboflavin\u003c/em>, a play written by the poet Kevin Killian and performed on June 12, the night of the opening. I asked David Kasprzak, Jordan Stein and Lindsey White, the collaborators who make up \u003ca href=\"http://wearewillbrown.com/\" target=\"_blank\" rel=\"noopener\">Will Brown\u003c/a>, to discuss this exhibition and their practice.\u003c/p>\n\u003cp>\u003cstrong>Your projects extend authorship to numerous individuals, many of whom aren’t involved in the initial conception or planning, but end up playing key roles in shaping content.\u003c/strong>\u003c/p>\n\u003cp>The question of authorship is something that was part of the Will Brown conversation from day one, or really even before day one. By calling our project Will Brown — creating a sort of fictional entity that could be anyone — the three of us were free to operate under a certain amount of anonymity and, more importantly, as a unified practice.\u003c/p>\n\u003cp>Our core interest lies in historical narratives, which always involve major and minor characters. In the case of this particular Dan Flavin history, the story of the BAM/PFA light installation wouldn’t exist without Gretchen Glicksman, the museum’s registrar, Barney Bailey, the museum’s chief preparator, and many others. In this way, Will Brown is as interested in people themselves as in the work they do.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Our projects wouldn’t happen without a lot of players, and we get to learn so much from them in the process of realizing an installation or program. It’s possible to look at Will Brown as a mini-institution in that it takes a lot of individuals playing different roles to execute something. The key difference is that we aim to collaborate with people in a more open, equal and malleable way.\u003c/p>\n\u003cp>\u003cstrong>What do you attribute this tendency in your practice to?\u003c/strong>\u003c/p>\n\u003cp>The three of us all came up in proactive, DIY, semi-marginal communities, which had a major impact on how we think about art and society. Nothing got done unless we did it ourselves, and “ourselves” was always people working together. The Bay Area is filled with so many smart, funny, interesting, unique individuals that it only makes sense for us to work with as many of them as possible. Given the current cultural and financial climate here, we imagine this type of collaboration is only going to become more crucial.\u003c/p>\n\u003cfigure id=\"attachment_10868489\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10868489\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Will-Brown_2-800x533.jpg\" alt=\"'Will Brown / MATRIX 259,' 2015. (Photo: Will Brown)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Will-Brown_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Will-Brown_2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Will-Brown_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Will-Brown_2.jpg 1100w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Will Brown / MATRIX 259,’ 2015. (Photo: Will Brown)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you reflect on the process of choosing and arranging the ephemera in the car and in the artist book?\u003c/strong>\u003c/p>\n\u003cp>The book is an archive related to Dan Flavin and his exhibition at BAM/PFA (then the University Museum) in 1978 and our own research, correspondence and other material concerning our MATRIX show. It’s a mirror, or a boomerang, between the past and the present.\u003c/p>\n\u003cp>The car is a less formal sculptural archive of the MATRIX program and of BAM/PFA itself. The materials inside are a mixture of actual ephemera from the MATRIX archive, objects, books and posters from the museum store, items given to us by other Bay Area artists who worked with BAM/PFA at some point and material we fabricated ourselves. The fun is trying to figure out what’s “real” and what’s “fake.”\u003c/p>\n\u003cp>We spent a good week moving things around the car and constructing the tableaux. We wanted it to feel like someone had been living in there. After that week of working in there non-stop, we didn’t really have to pretend anymore.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>New Light on Riboflavin\u003c/em> was performed on the opening night at the original museum’s entrance. What are your thoughts on the experience of being in the audience of this theatrical production on June 12 versus viewing the exhibition on any other day?\u003c/strong>\u003c/p>\n\u003cp>We commissioned Kevin Killian to write a play about anything he wanted, but requested that it include Dan Flavin, a green glow and a comment about the current state of the Bay Area art scene. \u003cem>New Light on Riboflavin\u003c/em> is an important component of the exhibition, but it’s one of five parts. This exhibition activates history through several different experiences.\u003c/p>\n\u003cp>The opening was an excellent event with people flooding the exterior of the now-closed museum to catch a glimpse of the play. Kevin is a genius of tying together history, pop culture and the artist’s struggle in crude and hilarious ways. Those in the audience who stuck around past 9pm saw the green glow emanating from underneath the car and from the roof of the museum, along with a little fog set on a timer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Each element of the exhibition is a little slippery and very theatrical, similar to how people recount historical events. You may pass the museum during the day and not even see the green glow. You may walk up to the car, look through the windows and think it’s just a bunch of junk. At night, the museum entrance looks completely different, as if an alien life force has taken over. You may stumble upon the artist book in the Morrison Library and wonder why some lunatic is obsessed with Dan Flavin. There are many versions of the story. Each person will have a different experience of seeing it, and that excites us.\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/will-brown-matrix-259/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Will Brown / MATRIX 259’\u003c/h2>\n\u003cdiv class=\"event-desc\">An exhibition in three parts.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Sept. 15\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">UC Berkeley Art Museum and Pacific Film Archive, UC Berkeley Morrison Library\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/will-brown-matrix-259/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>At the UC Berkeley Art Museum and Pacific Film Archive, \u003cem>\u003ca href=\"http://bampfa.berkeley.edu/exhibition/259\" target=\"_blank\" rel=\"noopener\">Will Brown / MATRIX 259\u003c/a>\u003c/em> reactivates and expands on the history of a light installation by renowned minimalist artist Dan Flavin. The 1977–78 piece, \u003cem>untitled (for Gretchen, a colorful and fond match)\u003c/em> sets in motion a host of new narratives linked to the transitioning museum and the Bay Area art scene’s ever changing character.\u003c/p>\n\u003cp>The show consists of several parts: a car full of ephemera which appears to have been abandoned in front of the now-closed Bancroft Way museum entrance; a light installation on the museum’s roof; an artist book on view at \u003ca href=\"http://www.lib.berkeley.edu/libraries/morrison-library\" target=\"_blank\" rel=\"noopener\">UC Berkeley’s Morrison Library\u003c/a>; and \u003cem>New Light on Riboflavin\u003c/em>, a play written by the poet Kevin Killian and performed on June 12, the night of the opening. I asked David Kasprzak, Jordan Stein and Lindsey White, the collaborators who make up \u003ca href=\"http://wearewillbrown.com/\" target=\"_blank\" rel=\"noopener\">Will Brown\u003c/a>, to discuss this exhibition and their practice.\u003c/p>\n\u003cp>\u003cstrong>Your projects extend authorship to numerous individuals, many of whom aren’t involved in the initial conception or planning, but end up playing key roles in shaping content.\u003c/strong>\u003c/p>\n\u003cp>The question of authorship is something that was part of the Will Brown conversation from day one, or really even before day one. By calling our project Will Brown — creating a sort of fictional entity that could be anyone — the three of us were free to operate under a certain amount of anonymity and, more importantly, as a unified practice.\u003c/p>\n\u003cp>Our core interest lies in historical narratives, which always involve major and minor characters. In the case of this particular Dan Flavin history, the story of the BAM/PFA light installation wouldn’t exist without Gretchen Glicksman, the museum’s registrar, Barney Bailey, the museum’s chief preparator, and many others. In this way, Will Brown is as interested in people themselves as in the work they do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Our projects wouldn’t happen without a lot of players, and we get to learn so much from them in the process of realizing an installation or program. It’s possible to look at Will Brown as a mini-institution in that it takes a lot of individuals playing different roles to execute something. The key difference is that we aim to collaborate with people in a more open, equal and malleable way.\u003c/p>\n\u003cp>\u003cstrong>What do you attribute this tendency in your practice to?\u003c/strong>\u003c/p>\n\u003cp>The three of us all came up in proactive, DIY, semi-marginal communities, which had a major impact on how we think about art and society. Nothing got done unless we did it ourselves, and “ourselves” was always people working together. The Bay Area is filled with so many smart, funny, interesting, unique individuals that it only makes sense for us to work with as many of them as possible. Given the current cultural and financial climate here, we imagine this type of collaboration is only going to become more crucial.\u003c/p>\n\u003cfigure id=\"attachment_10868489\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10868489\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Will-Brown_2-800x533.jpg\" alt=\"'Will Brown / MATRIX 259,' 2015. (Photo: Will Brown)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Will-Brown_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Will-Brown_2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Will-Brown_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Will-Brown_2.jpg 1100w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Will Brown / MATRIX 259,’ 2015. (Photo: Will Brown)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you reflect on the process of choosing and arranging the ephemera in the car and in the artist book?\u003c/strong>\u003c/p>\n\u003cp>The book is an archive related to Dan Flavin and his exhibition at BAM/PFA (then the University Museum) in 1978 and our own research, correspondence and other material concerning our MATRIX show. It’s a mirror, or a boomerang, between the past and the present.\u003c/p>\n\u003cp>The car is a less formal sculptural archive of the MATRIX program and of BAM/PFA itself. The materials inside are a mixture of actual ephemera from the MATRIX archive, objects, books and posters from the museum store, items given to us by other Bay Area artists who worked with BAM/PFA at some point and material we fabricated ourselves. The fun is trying to figure out what’s “real” and what’s “fake.”\u003c/p>\n\u003cp>We spent a good week moving things around the car and constructing the tableaux. We wanted it to feel like someone had been living in there. After that week of working in there non-stop, we didn’t really have to pretend anymore.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>New Light on Riboflavin\u003c/em> was performed on the opening night at the original museum’s entrance. What are your thoughts on the experience of being in the audience of this theatrical production on June 12 versus viewing the exhibition on any other day?\u003c/strong>\u003c/p>\n\u003cp>We commissioned Kevin Killian to write a play about anything he wanted, but requested that it include Dan Flavin, a green glow and a comment about the current state of the Bay Area art scene. \u003cem>New Light on Riboflavin\u003c/em> is an important component of the exhibition, but it’s one of five parts. This exhibition activates history through several different experiences.\u003c/p>\n\u003cp>The opening was an excellent event with people flooding the exterior of the now-closed museum to catch a glimpse of the play. Kevin is a genius of tying together history, pop culture and the artist’s struggle in crude and hilarious ways. Those in the audience who stuck around past 9pm saw the green glow emanating from underneath the car and from the roof of the museum, along with a little fog set on a timer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Each element of the exhibition is a little slippery and very theatrical, similar to how people recount historical events. You may pass the museum during the day and not even see the green glow. You may walk up to the car, look through the windows and think it’s just a bunch of junk. At night, the museum entrance looks completely different, as if an alien life force has taken over. You may stumble upon the artist book in the Morrison Library and wonder why some lunatic is obsessed with Dan Flavin. There are many versions of the story. Each person will have a different experience of seeing it, and that excites us.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rock Paper Scissors Is Priced Out: End of an Era for Oakland Art Scene",
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"content": "\u003cp>This ragtag Oakland storefront at 23rd Street and Telegraph Avenue was at the geographic center of the original \u003ca href=\"http://oaklandartmurmur.org/\" target=\"_blank\" rel=\"noopener\">Art Murmur\u003c/a> in 2006. It’s an all-in-one art gallery, classroom, clothing shop and activist meeting space. The volunteer-run collective operating \u003ca href=\"http://rpscollective.org/\" target=\"_blank\" rel=\"noopener\">Rock Paper Scissors\u003c/a> exemplifies the city’s social justice-seeking, DIY art and activism scene.\u003c/p>\n\u003cp>But with Oakland rents soaring, they’ve been priced out of their space. August’s will be the last \u003ca href=\"http://www.oaklandfirstfridays.org/\" target=\"_blank\" rel=\"noopener\">First Friday\u003c/a> street fair and Art Murmur gallery stroll for the collective — the last remaining organization of those that helped start the monthly festival almost a decade ago.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/218061535″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>On a recent East Bay summer evening, volunteers gathered inside the storefront to learn how to become pen pals with LGBTQ prisoners.\u003c/p>\n\u003cp>“It can get really complicated, because if someone’s legal name is John but they go by Jennifer, for instance, you have to put J or John on the outside of the envelope,” said Beja Alisheva, co-facilitator of \u003ca href=\"https://flyingoverwalls.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Flying Over Walls\u003c/a>, a queer/trans prisoner solidarity organization.\u003c/p>\n\u003cfigure id=\"attachment_10632273\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632273 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-800x513.jpg\" alt=\"Flying Over Walls volunteers gather at Rock Paper Scissors to write letters to LGBTQ prisoners.\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-400x257.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-1440x924.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-1180x757.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-960x616.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128.jpg 1646w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Flying Over Walls volunteers gather at Rock Paper Scissors to write letters to LGBTQ prisoners. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are lots of rules about how the envelopes sent into prisons can be decorated, so they won’t be confiscated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“No glitter?” Louis Smith asked incredulously.\u003c/p>\n\u003cp>The letter-writing get-together was just one of dozens of gatherings held at Rock Paper Scissors every month, ranging from writing workshops to a sewing lab and jewelry-making for teens.\u003c/p>\n\u003cp>“When we first came to Rock Paper Scissors looking for a space, they said of course,” Alisheva said. “Obviously, we don’t have a lot of money. It’s not something that brings in a lot of revenue, but that didn’t matter to them.”\u003c/p>\n\u003cp>She added: “It was such a relief when we finally landed here, so now we’re not sure where we’re going to end up.”\u003c/p>\n\u003cp>That’s a sentiment shared with the quirky, creative space’s regulars.\u003c/p>\n\u003cp>“Gentrification is real,” said Alexandra Rigaud, an assistant with the collective’s youth program. “We are getting pushed out, and we did start First Friday … Now we are paying for it.”\u003c/p>\n\u003cp>It’s becoming a common story all over the Bay Area. The artists who, in recent times, made a neighborhood “hip” are being driven out, in part due to their own success.\u003c/p>\n\u003cp>“The neighborhood has changed a lot,” said Kristi Holohan, the collective’s youth, community and interim gallery director. “We are basically like sandwiched in between two bars, there are some really high-end galleries.”\u003c/p>\n\u003cfigure id=\"attachment_10632275\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632275 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-800x450.jpg\" alt=\"The Rock Paper Scissors storefront on 23rd Street and Telegraph Avenue.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Rock Paper Scissors storefront on 23rd Street and Telegraph Avenue. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland Mayor Libby Schaaf said the plight of Rock Paper Scissors raises a much bigger question as the city continues to boom.\u003c/p>\n\u003cp>“It’s not just the housing affordability that is a potential crisis for us,” she said. “The threat of displacement of our small businesses, of our cultural institutions, of our nonprofits — those are also community stabilization issues that absolutely need to be solved.”\u003c/p>\n\u003cp>Schaaf said the city’s “solutions are more limited” because \u003ca href=\"http://www.leginfo.ca.gov/cgi-bin/displaycode?section=civ&group=01001-02000&file=1954.25-1954.31\" target=\"_blank\" rel=\"noopener\">state law prevents\u003c/a> rent stabilization for commercial space. The mayor said she’s creating a new Artist Affordable Housing and Workspace Task Force, but that’s yet to be staffed.\u003c/p>\n\u003cp>Anyka Barber, who founded \u003ca href=\"http://www.bettiono.com/\" target=\"_blank\" rel=\"noopener\">Betti Ono\u003c/a> gallery in downtown Oakland, said the city needs to do more.\u003c/p>\n\u003cp>“In order for it to continue to be a world-class city and build on the strengths that it has, especially around culture and arts, we really have to have the investment match the brand recognition,” she said.\u003c/p>\n\u003cp>Barber is a lead organizer of the \u003ca href=\"https://www.facebook.com/KeepOAKCreative\" target=\"_blank\" rel=\"noopener\">Oakland Creative Neighborhoods Coalition\u003c/a> — a newly formed group that’s calling for the re-establishment of Oakland’s Arts Commission, which had its funding and staff eliminated more than five years ago.\u003c/p>\n\u003cp>“There’s a lot of talk about the economic development side of arts experiences or cultural experiences, based on people visiting, what kinds of funds or revenues that brings back to the city,” Barber said. “Currently, it looks like maybe 1.3 percent of the total city budget is funding or investing in community development or cultural programs. That does not reflect equity.”\u003c/p>\n\u003cfigure id=\"attachment_10632276\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632276 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-800x450.jpg\" alt=\"The Rock Paper Scissors Collective's mission statement.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Rock Paper Scissors Collective’s mission statement. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The coalition’s demands were left out of the recently adopted 2016-17 city budget.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rock Paper Scissors, meanwhile, has until the end of the month to find a new space or close up shop and try to raise more money. The collective is seeking volunteers to \u003ca href=\"http://rpscollective.org/help-rock-paper-scissors-pack-and-move/\" target=\"_blank\" rel=\"noopener\">help pack up and move\u003c/a> to a yet-to-be-determined location.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This ragtag Oakland storefront at 23rd Street and Telegraph Avenue was at the geographic center of the original \u003ca href=\"http://oaklandartmurmur.org/\" target=\"_blank\" rel=\"noopener\">Art Murmur\u003c/a> in 2006. It’s an all-in-one art gallery, classroom, clothing shop and activist meeting space. The volunteer-run collective operating \u003ca href=\"http://rpscollective.org/\" target=\"_blank\" rel=\"noopener\">Rock Paper Scissors\u003c/a> exemplifies the city’s social justice-seeking, DIY art and activism scene.\u003c/p>\n\u003cp>But with Oakland rents soaring, they’ve been priced out of their space. August’s will be the last \u003ca href=\"http://www.oaklandfirstfridays.org/\" target=\"_blank\" rel=\"noopener\">First Friday\u003c/a> street fair and Art Murmur gallery stroll for the collective — the last remaining organization of those that helped start the monthly festival almost a decade ago.\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/218061535″&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/218061535″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>On a recent East Bay summer evening, volunteers gathered inside the storefront to learn how to become pen pals with LGBTQ prisoners.\u003c/p>\n\u003cp>“It can get really complicated, because if someone’s legal name is John but they go by Jennifer, for instance, you have to put J or John on the outside of the envelope,” said Beja Alisheva, co-facilitator of \u003ca href=\"https://flyingoverwalls.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Flying Over Walls\u003c/a>, a queer/trans prisoner solidarity organization.\u003c/p>\n\u003cfigure id=\"attachment_10632273\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632273 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-800x513.jpg\" alt=\"Flying Over Walls volunteers gather at Rock Paper Scissors to write letters to LGBTQ prisoners.\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-400x257.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-1440x924.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-1180x757.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-960x616.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128.jpg 1646w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Flying Over Walls volunteers gather at Rock Paper Scissors to write letters to LGBTQ prisoners. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are lots of rules about how the envelopes sent into prisons can be decorated, so they won’t be confiscated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“No glitter?” Louis Smith asked incredulously.\u003c/p>\n\u003cp>The letter-writing get-together was just one of dozens of gatherings held at Rock Paper Scissors every month, ranging from writing workshops to a sewing lab and jewelry-making for teens.\u003c/p>\n\u003cp>“When we first came to Rock Paper Scissors looking for a space, they said of course,” Alisheva said. “Obviously, we don’t have a lot of money. It’s not something that brings in a lot of revenue, but that didn’t matter to them.”\u003c/p>\n\u003cp>She added: “It was such a relief when we finally landed here, so now we’re not sure where we’re going to end up.”\u003c/p>\n\u003cp>That’s a sentiment shared with the quirky, creative space’s regulars.\u003c/p>\n\u003cp>“Gentrification is real,” said Alexandra Rigaud, an assistant with the collective’s youth program. “We are getting pushed out, and we did start First Friday … Now we are paying for it.”\u003c/p>\n\u003cp>It’s becoming a common story all over the Bay Area. The artists who, in recent times, made a neighborhood “hip” are being driven out, in part due to their own success.\u003c/p>\n\u003cp>“The neighborhood has changed a lot,” said Kristi Holohan, the collective’s youth, community and interim gallery director. “We are basically like sandwiched in between two bars, there are some really high-end galleries.”\u003c/p>\n\u003cfigure id=\"attachment_10632275\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632275 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-800x450.jpg\" alt=\"The Rock Paper Scissors storefront on 23rd Street and Telegraph Avenue.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Rock Paper Scissors storefront on 23rd Street and Telegraph Avenue. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland Mayor Libby Schaaf said the plight of Rock Paper Scissors raises a much bigger question as the city continues to boom.\u003c/p>\n\u003cp>“It’s not just the housing affordability that is a potential crisis for us,” she said. “The threat of displacement of our small businesses, of our cultural institutions, of our nonprofits — those are also community stabilization issues that absolutely need to be solved.”\u003c/p>\n\u003cp>Schaaf said the city’s “solutions are more limited” because \u003ca href=\"http://www.leginfo.ca.gov/cgi-bin/displaycode?section=civ&group=01001-02000&file=1954.25-1954.31\" target=\"_blank\" rel=\"noopener\">state law prevents\u003c/a> rent stabilization for commercial space. The mayor said she’s creating a new Artist Affordable Housing and Workspace Task Force, but that’s yet to be staffed.\u003c/p>\n\u003cp>Anyka Barber, who founded \u003ca href=\"http://www.bettiono.com/\" target=\"_blank\" rel=\"noopener\">Betti Ono\u003c/a> gallery in downtown Oakland, said the city needs to do more.\u003c/p>\n\u003cp>“In order for it to continue to be a world-class city and build on the strengths that it has, especially around culture and arts, we really have to have the investment match the brand recognition,” she said.\u003c/p>\n\u003cp>Barber is a lead organizer of the \u003ca href=\"https://www.facebook.com/KeepOAKCreative\" target=\"_blank\" rel=\"noopener\">Oakland Creative Neighborhoods Coalition\u003c/a> — a newly formed group that’s calling for the re-establishment of Oakland’s Arts Commission, which had its funding and staff eliminated more than five years ago.\u003c/p>\n\u003cp>“There’s a lot of talk about the economic development side of arts experiences or cultural experiences, based on people visiting, what kinds of funds or revenues that brings back to the city,” Barber said. “Currently, it looks like maybe 1.3 percent of the total city budget is funding or investing in community development or cultural programs. That does not reflect equity.”\u003c/p>\n\u003cfigure id=\"attachment_10632276\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632276 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-800x450.jpg\" alt=\"The Rock Paper Scissors Collective's mission statement.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Rock Paper Scissors Collective’s mission statement. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The coalition’s demands were left out of the recently adopted 2016-17 city budget.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rock Paper Scissors, meanwhile, has until the end of the month to find a new space or close up shop and try to raise more money. The collective is seeking volunteers to \u003ca href=\"http://rpscollective.org/help-rock-paper-scissors-pack-and-move/\" target=\"_blank\" rel=\"noopener\">help pack up and move\u003c/a> to a yet-to-be-determined location.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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.",
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"possible": {
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"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.",
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},
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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