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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/08/20150807tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Opening Friday, Aug. 7: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">American Bach Soloists Festival\u003c/a>.\u003c/strong> Artistic and Music Director Jeffrey Thomas conducts works by Couperin, Rameau, Rebel, and others. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Friday, Aug. 7:\u003c/strong> \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cabrillo-music-festival/\" target=\"_blank\" rel=\"noopener\">Cabrillo Music Festival\u003c/a>. \u003c/strong>This year’s fest features 12 composers in residence, including the Bay Area’s own Mason Bates and Nathaniel Stookey, plus Hannah Lash, Missy Mazzoli, and the great Nico Muhly. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cabrillo-music-festival/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 7: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mary-younakof/\" target=\"_blank\" rel=\"noopener\">Mary Younakof at San Jose ICA\u003c/a>.\u003c/strong> An audience-participation art happening — and an exploration of color. Details here. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mary-younakof/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 7 – Sunday, Aug. 9: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz SummerFest.\u003c/a> \u003c/strong>San Jose Jazz’s Summer Fest brings a dazzling array of jazz, blues, R&B, and Latin music to downtown. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Aug. 13. – Saturday, Aug. 16: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pete-davidson/\" target=\"_blank\" rel=\"noopener\">Pete Davidson at the San Jose Improv.\u003c/a> \u003c/strong>\u003ci>SNL\u003c/i>‘s resident youngun hits San Jose for some standup. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pete-davidson/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Shout-Out:\u003c/strong> Of course, \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kqed-the-do-list-live/\" target=\"_blank\" rel=\"noopener\">The Do List Live\u003c/a>\u003c/strong> is the hottest ticket in town next week. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kqed-the-do-list-live/\" target=\"_blank\" rel=\"noopener\">Get your tickets here — it will sell out! \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Opening Friday, Aug. 7: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">American Bach Soloists Festival\u003c/a>.\u003c/strong> Artistic and Music Director Jeffrey Thomas conducts works by Couperin, Rameau, Rebel, and others. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Friday, Aug. 7:\u003c/strong> \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cabrillo-music-festival/\" target=\"_blank\" rel=\"noopener\">Cabrillo Music Festival\u003c/a>. \u003c/strong>This year’s fest features 12 composers in residence, including the Bay Area’s own Mason Bates and Nathaniel Stookey, plus Hannah Lash, Missy Mazzoli, and the great Nico Muhly. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cabrillo-music-festival/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 7: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mary-younakof/\" target=\"_blank\" rel=\"noopener\">Mary Younakof at San Jose ICA\u003c/a>.\u003c/strong> An audience-participation art happening — and an exploration of color. Details here. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mary-younakof/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 7 – Sunday, Aug. 9: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz SummerFest.\u003c/a> \u003c/strong>San Jose Jazz’s Summer Fest brings a dazzling array of jazz, blues, R&B, and Latin music to downtown. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Aug. 13. – Saturday, Aug. 16: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pete-davidson/\" target=\"_blank\" rel=\"noopener\">Pete Davidson at the San Jose Improv.\u003c/a> \u003c/strong>\u003ci>SNL\u003c/i>‘s resident youngun hits San Jose for some standup. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pete-davidson/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Paul Lewin Continues Storytelling Tradition Through Painting",
"headTitle": "Paul Lewin Continues Storytelling Tradition Through Painting | 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/roots-of-the-cotton-tree/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Roots of the Cotton Tree’\u003c/h2>\n\u003cdiv class=\"event-desc\">Paul Lewin’s intricate paintings.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 7-29, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Betti Ono\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/roots-of-the-cotton-tree/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In Jamaican folklore, the country’s only female national hero is the powerful Queen Nanny. Legend has it that Queen Nanny led a group called the Maroons, who escaped slavery and created their own civilization in the mountains. They descended the hills to free other slaves before burning plantations to the ground.\u003c/p>\n\u003cp>After repeated conflict with the British, Queen Nanny was moments from giving up when her ancestors came to her, delivering pumpkin seeds to plant as food, sustaining the Maroon community which continues to inhabit Jamaica to this day.\u003c/p>\n\u003cfigure id=\"attachment_10872338\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10872338\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Nanny-and-the-Pumpkin-seeds-web-400x600.jpg\" alt=\"Paul Lewin, 'Nanny and the Pumpkin Seeds.' (Photo: the artist)\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Nanny-and-the-Pumpkin-seeds-web-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Nanny-and-the-Pumpkin-seeds-web.jpg 500w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Paul Lewin, ‘Nanny and the Pumpkin Seeds.’ (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>Stories like this are the inspiration behind the artwork of Oakland-based painter, \u003ca href=\"http://www.paullewinart.com/\" target=\"_blank\" rel=\"noopener\">Paul Lewin\u003c/a>.\u003c/p>\n\u003cp>“My mom would tell me stories about back in the old country where she grew up in Jamaica, how they would gather kids around and tell them Jamaican folklore stories,” says Lewin in his home studio.\u003c/p>\n\u003cp>“I want each piece to tell a story in the same way that the stories have been passed down for generations, dating all of the way back to Africa. I want to continue that tradition of storytelling in my work.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lewin was born in Jamaica and relocated to Miami with his family when he was five. Trying to integrate into American culture while also finding himself a part of an “alternative” or punk scene led to the creation of a world in which all of his identity realities exist; a continuum of his personal experience.\u003c/p>\n\u003cp>Lewin’s series, titled “Roots of the Cotton Tree” for the lore around Jamaica’s sacred silk cotton trees, embodies the sensation of simultaneously stepping back in time and into the future. Rooted in the tales of his native Caribbean along with elements of surrealism and sci-fi (he’s a huge \u003ca href=\"http://octaviabutler.org/\" target=\"_blank\" rel=\"noopener\">Octavia Butler\u003c/a> fan) his creations are also inspired by the work of animation master \u003ca href=\"http://www.imdb.com/name/nm0594503/\" target=\"_blank\" rel=\"noopener\">Hayao Miyazaki\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10872340\" class=\"wp-caption alignright\" style=\"max-width: 478px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10872340\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/The-Crow-and-the-Carnival-Queen-Web-448x600.jpg\" alt=\"Paul Lewin, 'The Crow and the Carnival Queen.' (Photo: the artist)\" width=\"478\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The-Crow-and-the-Carnival-Queen-Web-448x600.jpg 448w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The-Crow-and-the-Carnival-Queen-Web-400x535.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The-Crow-and-the-Carnival-Queen-Web.jpg 500w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003cfigcaption class=\"wp-caption-text\">Paul Lewin, ‘The Crow and the Carnival Queen.’ (Photo: the artist) \u003ccite>(Paul Lewin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The painstakingly detailed lace, carnival-inspired jewelry and intricate symbolism in his paintings bring to life stories waiting to be told. A self-taught artist who spent three years researching the folklore of his native Jamaica before immersing himself in this latest project, Lewin says his paintings tend to take on a life of their own; he’s never quite sure what the story is until a piece is completed. The work is particularly powerful in regards to race and gender representation.\u003c/p>\n\u003cp>“Dealing with race while I was growing up and watching all of these sci-fi movies and fantasy movies it was rare to ever see a person of color. Not just in movies, but you didn’t see them in art — in historical surrealist art — that art just wasn’t shown to us,” he says. “Race plays a role in my work in that way; I’m painting the images I always wish I could have seen growing up with people of color in nontraditional settings.”\u003c/p>\n\u003cfigure id=\"attachment_10872339\" class=\"wp-caption alignright\" style=\"max-width: 317px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10872339\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Paul-Lewin-297x600.jpg\" alt=\"Paul Lewin, 'Untitled.' (Photo: the artist)\" width=\"317\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Paul-Lewin-297x600.jpg 297w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Paul-Lewin-400x809.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Paul-Lewin-584x1180.jpg 584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Paul-Lewin.jpg 800w\" sizes=\"(max-width: 317px) 100vw, 317px\">\u003cfigcaption class=\"wp-caption-text\">Paul Lewin, ‘Untitled.’ (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>Most notably, the female characters in Lewin’s work are fierce, not sexualized in the manner of traditional fantasy or sci-fi. The elders he paints embody wisdom and authority.\u003c/p>\n\u003cp>“I grew up with a lot of sci-fi and fantasy art. Growing up I loved it and thought it was the most amazing thing in the word and then I kind of veered away from it as I got older,” he says.\u003c/p>\n\u003cp>“A year or two ago I started looking back at some of it and I was like ‘Oh my God, this stuff is awful!’ Growing up, we didn’t really question it, it was just the way it was. Looking back on it, its disgusting and its terrible. I represent women based on the inspiration I felt from them growing up in my family, and the women I’ve known throughout my life.”\u003c/p>\n\u003cp>Although the idea of collaborating on an animation or other creative work appeals to him, he’s currently focusing entirely on uncovering bits of his ancestry through paint.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Right now the thing I enjoy the most is just straight painting — just me and a painting and doing art shows,” he says. “That’s where my ultimate love lies.”\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/roots-of-the-cotton-tree/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Roots of the Cotton Tree’\u003c/h2>\n\u003cdiv class=\"event-desc\">Paul Lewin’s intricate paintings.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 7-29, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Betti Ono\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/roots-of-the-cotton-tree/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In Jamaican folklore, the country’s only female national hero is the powerful Queen Nanny. Legend has it that Queen Nanny led a group called the Maroons, who escaped slavery and created their own civilization in the mountains. They descended the hills to free other slaves before burning plantations to the ground.\u003c/p>\n\u003cp>After repeated conflict with the British, Queen Nanny was moments from giving up when her ancestors came to her, delivering pumpkin seeds to plant as food, sustaining the Maroon community which continues to inhabit Jamaica to this day.\u003c/p>\n\u003cfigure id=\"attachment_10872338\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10872338\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Nanny-and-the-Pumpkin-seeds-web-400x600.jpg\" alt=\"Paul Lewin, 'Nanny and the Pumpkin Seeds.' (Photo: the artist)\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Nanny-and-the-Pumpkin-seeds-web-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Nanny-and-the-Pumpkin-seeds-web.jpg 500w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Paul Lewin, ‘Nanny and the Pumpkin Seeds.’ (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>Stories like this are the inspiration behind the artwork of Oakland-based painter, \u003ca href=\"http://www.paullewinart.com/\" target=\"_blank\" rel=\"noopener\">Paul Lewin\u003c/a>.\u003c/p>\n\u003cp>“My mom would tell me stories about back in the old country where she grew up in Jamaica, how they would gather kids around and tell them Jamaican folklore stories,” says Lewin in his home studio.\u003c/p>\n\u003cp>“I want each piece to tell a story in the same way that the stories have been passed down for generations, dating all of the way back to Africa. I want to continue that tradition of storytelling in my work.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lewin was born in Jamaica and relocated to Miami with his family when he was five. Trying to integrate into American culture while also finding himself a part of an “alternative” or punk scene led to the creation of a world in which all of his identity realities exist; a continuum of his personal experience.\u003c/p>\n\u003cp>Lewin’s series, titled “Roots of the Cotton Tree” for the lore around Jamaica’s sacred silk cotton trees, embodies the sensation of simultaneously stepping back in time and into the future. Rooted in the tales of his native Caribbean along with elements of surrealism and sci-fi (he’s a huge \u003ca href=\"http://octaviabutler.org/\" target=\"_blank\" rel=\"noopener\">Octavia Butler\u003c/a> fan) his creations are also inspired by the work of animation master \u003ca href=\"http://www.imdb.com/name/nm0594503/\" target=\"_blank\" rel=\"noopener\">Hayao Miyazaki\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10872340\" class=\"wp-caption alignright\" style=\"max-width: 478px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10872340\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/The-Crow-and-the-Carnival-Queen-Web-448x600.jpg\" alt=\"Paul Lewin, 'The Crow and the Carnival Queen.' (Photo: the artist)\" width=\"478\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The-Crow-and-the-Carnival-Queen-Web-448x600.jpg 448w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The-Crow-and-the-Carnival-Queen-Web-400x535.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/The-Crow-and-the-Carnival-Queen-Web.jpg 500w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003cfigcaption class=\"wp-caption-text\">Paul Lewin, ‘The Crow and the Carnival Queen.’ (Photo: the artist) \u003ccite>(Paul Lewin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The painstakingly detailed lace, carnival-inspired jewelry and intricate symbolism in his paintings bring to life stories waiting to be told. A self-taught artist who spent three years researching the folklore of his native Jamaica before immersing himself in this latest project, Lewin says his paintings tend to take on a life of their own; he’s never quite sure what the story is until a piece is completed. The work is particularly powerful in regards to race and gender representation.\u003c/p>\n\u003cp>“Dealing with race while I was growing up and watching all of these sci-fi movies and fantasy movies it was rare to ever see a person of color. Not just in movies, but you didn’t see them in art — in historical surrealist art — that art just wasn’t shown to us,” he says. “Race plays a role in my work in that way; I’m painting the images I always wish I could have seen growing up with people of color in nontraditional settings.”\u003c/p>\n\u003cfigure id=\"attachment_10872339\" class=\"wp-caption alignright\" style=\"max-width: 317px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10872339\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Paul-Lewin-297x600.jpg\" alt=\"Paul Lewin, 'Untitled.' (Photo: the artist)\" width=\"317\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Paul-Lewin-297x600.jpg 297w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Paul-Lewin-400x809.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Paul-Lewin-584x1180.jpg 584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Paul-Lewin.jpg 800w\" sizes=\"(max-width: 317px) 100vw, 317px\">\u003cfigcaption class=\"wp-caption-text\">Paul Lewin, ‘Untitled.’ (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>Most notably, the female characters in Lewin’s work are fierce, not sexualized in the manner of traditional fantasy or sci-fi. The elders he paints embody wisdom and authority.\u003c/p>\n\u003cp>“I grew up with a lot of sci-fi and fantasy art. Growing up I loved it and thought it was the most amazing thing in the word and then I kind of veered away from it as I got older,” he says.\u003c/p>\n\u003cp>“A year or two ago I started looking back at some of it and I was like ‘Oh my God, this stuff is awful!’ Growing up, we didn’t really question it, it was just the way it was. Looking back on it, its disgusting and its terrible. I represent women based on the inspiration I felt from them growing up in my family, and the women I’ve known throughout my life.”\u003c/p>\n\u003cp>Although the idea of collaborating on an animation or other creative work appeals to him, he’s currently focusing entirely on uncovering bits of his ancestry through paint.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Right now the thing I enjoy the most is just straight painting — just me and a painting and doing art shows,” he says. “That’s where my ultimate love lies.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Exclusive First Look at San Francisco Bodypaint Series",
"headTitle": "Exclusive First Look at San Francisco Bodypaint Series | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Note:\u003c/strong> This post contains images of painted nude bodies.\u003c/em>\u003c/p>\n\u003cp>Since relocating to New York City 18 months ago, San Jose native Trina Merry has made quite a splash with her \u003cem>Lost in Wonder\u003c/em> bodypainting series. With paint, nude figures and perfectly angled photographs, Merry camouflages her subjects against renowned New York City landmarks.\u003c/p>\n\u003cp>The project sprung from a gallerist’s advice: “If you’re going to make it in New York City, you have to shout from the rooftops that you’ve arrived. And you only get one shot at it.”\u003c/p>\n\u003cfigure id=\"attachment_10865891\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10865891 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/NYC_Body-Art_TrinaMerry-e1438615153286.jpg\" alt=\"Trina Merry, 'Brooklyn-Bridge, New York City.' (Bodypaint and photography: Trina Merry)\" width=\"427\" height=\"640\">\u003cfigcaption class=\"wp-caption-text\">Trina Merry, ‘Brooklyn-Bridge, New York City.’ (Bodypaint and photo: Trina Merry)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10865890\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10865890\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Golden-Gate-Bridge_San-Francisco_Body-Art_Trina-Merry-e1438615303111.jpg\" alt=\"Trina Merry, 'Golden Gate Bridge, San Francisco (after Raphael, 'Three Graces'), 2015. (Bodypaint and photography: Trina Merry)\" width=\"427\" height=\"640\">\u003cfigcaption class=\"wp-caption-text\">Trina Merry, ‘Golden Gate Bridge, San Francisco (after Raphael, ‘Three Graces’)’, 2015. (Bodypaint and photo: Trina Merry)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10875873\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10875873\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Palace640Web.jpg\" alt=\"Trina Merry, 'Palace of Fine Arts, San Francisco (after Manet 'Le Déjeuner sur l’herbe'), 2015. (Bodypaint and photo: Trina Merry)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Palace640Web.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Palace640Web-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Trina Merry, ‘Palace of Fine Arts, San Francisco (after Manet ‘Le Déjeuner sur l’herbe’), 2015. (Bodypaint and photo: Trina Merry)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10865889\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10865889\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Alcatraz_Wave-Organ_San-Francisco_Body-Art_Trina-Merry-e1438616102670.jpg\" alt=\"Trina Merry, 'Body Jail Wave Organ, San Francisco (after Boticelli 'Venus')', 2015. (Bodypaint and photo: Trina Merry)\" width=\"427\" height=\"640\">\u003cfigcaption class=\"wp-caption-text\">Trina Merry, ‘Body Jail Wave Organ, San Francisco (after Boticelli ‘Venus’)’, 2015. (Bodypaint and photo: Trina Merry)\u003c/figcaption>\u003c/figure>\n\u003cp>Honing her visual concepts and bodypainting techniques in San Jose from 2006 through 2013, Merry’s \u003cem>Art Alive\u003c/em> exhibitions and installations typically involved teams of bodypainters and models all working together under her direction. But after relocating to New York and trying to survive on her art, she had to find a way to make a dynamic impression without resources and helpers.\u003c/p>\n\u003cp>“I started to think about what I could do by myself as simply as possible. I realized I needed to try to not fit into anything that was going on at all. I needed to pioneer something and what would ‘shouting’ look like to me in my art — but doing it in a way that was me… not doing it in a way that would sacrifice my ethics of what I feel is important to me as an artist. What does ‘This is me making an impact’ look like? So I decided to paint one model into the iconic New York City skyline. Just me, one model, my paints and camera, and the hope we don’t get arrested today,” says Merry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The stunning result swept across local and national media, including features in \u003cem>Time Magazine\u003c/em>, \u003cem>The New York Times\u003c/em> and \u003cem>Good Morning America\u003c/em>. Not one to rest on her laurels for very long, Merry took this “I’ve arrived” momentum to launch a global series of on-site bodypainting at locations in the U.K., Ireland, China, Egypt, Turkey, Rome, Jordan, Chile, Peru and Mexico.\u003c/p>\n\u003cp>Merry recently returned home to the Bay Area to add San Francisco to her series. Aptly entitled \u003cem>San Francisco Series: Visions in the Fog\u003c/em>, the locations include the Golden Gate Bridge, Lombard St., the Palace of Fine Arts and Alcatraz.\u003c/p>\n\u003cp>In San Francisco, Merry arranged her models in homage to historic paintings by \u003ca href=\"https://upload.wikimedia.org/wikipedia/commons/thumb/0/0b/Sandro_Botticelli_-_La_nascita_di_Venere_-_Google_Art_Project_-_edited.jpg/1280px-Sandro_Botticelli_-_La_nascita_di_Venere_-_Google_Art_Project_-_edited.jpg\" target=\"_blank\" rel=\"noopener\">Botticelli\u003c/a>, \u003ca href=\"https://upload.wikimedia.org/wikipedia/commons/f/fe/Rapha%C3%ABl_-_Les_Trois_Gr%C3%A2ces_-_Google_Art_Project_2.jpg\" target=\"_blank\" rel=\"noopener\">Raphael\u003c/a>, \u003ca href=\"https://upload.wikimedia.org/wikipedia/commons/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg\" target=\"_blank\" rel=\"noopener\">Manet\u003c/a> and \u003ca href=\"https://upload.wikimedia.org/wikipedia/en/thumb/2/2e/La_danse_%28I%29_by_Matisse.jpg/300px-La_danse_%28I%29_by_Matisse.jpg\" target=\"_blank\" rel=\"noopener\">Matisse\u003c/a>, a response to her experience that the general populous of the U.S. is less appreciative of the nude form in art than residents of other countries on her tour.\u003c/p>\n\u003cp>When asked if bodypainting is about sex, Merry responds: “I don’t look at Michelangelo’s \u003cem>David\u003c/em> and wonder if that is a sexual experience just because it is a fine art nude. None of my work is poignantly erotic so I find this to be an interesting response to my work and indicative of the viewer projecting their own fantasies, fears or issues onto the fine art nude figure.”\u003c/p>\n\u003cp>Merry is far from the end of this series. “Bodypaint is an ancient art form… the use of ochre on the skin dates back 425,000 years. I’ll be traveling to paint with indigenous cultures still practicing bodypaint later this year,” says Merry.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To see more images from the \u003cem>San Francisco Series: Visions in the Fog\u003c/em>, visit \u003ca href=\"http://www.trinamerryartist.com/bodypainting-art/san-francisco-sessions-visions-from-the-fog/\" target=\"_blank\" rel=\"noopener\">trinamerryartist.com\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Note:\u003c/strong> This post contains images of painted nude bodies.\u003c/em>\u003c/p>\n\u003cp>Since relocating to New York City 18 months ago, San Jose native Trina Merry has made quite a splash with her \u003cem>Lost in Wonder\u003c/em> bodypainting series. With paint, nude figures and perfectly angled photographs, Merry camouflages her subjects against renowned New York City landmarks.\u003c/p>\n\u003cp>The project sprung from a gallerist’s advice: “If you’re going to make it in New York City, you have to shout from the rooftops that you’ve arrived. And you only get one shot at it.”\u003c/p>\n\u003cfigure id=\"attachment_10865891\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10865891 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/NYC_Body-Art_TrinaMerry-e1438615153286.jpg\" alt=\"Trina Merry, 'Brooklyn-Bridge, New York City.' (Bodypaint and photography: Trina Merry)\" width=\"427\" height=\"640\">\u003cfigcaption class=\"wp-caption-text\">Trina Merry, ‘Brooklyn-Bridge, New York City.’ (Bodypaint and photo: Trina Merry)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10865890\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10865890\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Golden-Gate-Bridge_San-Francisco_Body-Art_Trina-Merry-e1438615303111.jpg\" alt=\"Trina Merry, 'Golden Gate Bridge, San Francisco (after Raphael, 'Three Graces'), 2015. (Bodypaint and photography: Trina Merry)\" width=\"427\" height=\"640\">\u003cfigcaption class=\"wp-caption-text\">Trina Merry, ‘Golden Gate Bridge, San Francisco (after Raphael, ‘Three Graces’)’, 2015. (Bodypaint and photo: Trina Merry)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10875873\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10875873\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Palace640Web.jpg\" alt=\"Trina Merry, 'Palace of Fine Arts, San Francisco (after Manet 'Le Déjeuner sur l’herbe'), 2015. (Bodypaint and photo: Trina Merry)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Palace640Web.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Palace640Web-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Trina Merry, ‘Palace of Fine Arts, San Francisco (after Manet ‘Le Déjeuner sur l’herbe’), 2015. (Bodypaint and photo: Trina Merry)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10865889\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10865889\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Alcatraz_Wave-Organ_San-Francisco_Body-Art_Trina-Merry-e1438616102670.jpg\" alt=\"Trina Merry, 'Body Jail Wave Organ, San Francisco (after Boticelli 'Venus')', 2015. (Bodypaint and photo: Trina Merry)\" width=\"427\" height=\"640\">\u003cfigcaption class=\"wp-caption-text\">Trina Merry, ‘Body Jail Wave Organ, San Francisco (after Boticelli ‘Venus’)’, 2015. (Bodypaint and photo: Trina Merry)\u003c/figcaption>\u003c/figure>\n\u003cp>Honing her visual concepts and bodypainting techniques in San Jose from 2006 through 2013, Merry’s \u003cem>Art Alive\u003c/em> exhibitions and installations typically involved teams of bodypainters and models all working together under her direction. But after relocating to New York and trying to survive on her art, she had to find a way to make a dynamic impression without resources and helpers.\u003c/p>\n\u003cp>“I started to think about what I could do by myself as simply as possible. I realized I needed to try to not fit into anything that was going on at all. I needed to pioneer something and what would ‘shouting’ look like to me in my art — but doing it in a way that was me… not doing it in a way that would sacrifice my ethics of what I feel is important to me as an artist. What does ‘This is me making an impact’ look like? So I decided to paint one model into the iconic New York City skyline. Just me, one model, my paints and camera, and the hope we don’t get arrested today,” says Merry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The stunning result swept across local and national media, including features in \u003cem>Time Magazine\u003c/em>, \u003cem>The New York Times\u003c/em> and \u003cem>Good Morning America\u003c/em>. Not one to rest on her laurels for very long, Merry took this “I’ve arrived” momentum to launch a global series of on-site bodypainting at locations in the U.K., Ireland, China, Egypt, Turkey, Rome, Jordan, Chile, Peru and Mexico.\u003c/p>\n\u003cp>Merry recently returned home to the Bay Area to add San Francisco to her series. Aptly entitled \u003cem>San Francisco Series: Visions in the Fog\u003c/em>, the locations include the Golden Gate Bridge, Lombard St., the Palace of Fine Arts and Alcatraz.\u003c/p>\n\u003cp>In San Francisco, Merry arranged her models in homage to historic paintings by \u003ca href=\"https://upload.wikimedia.org/wikipedia/commons/thumb/0/0b/Sandro_Botticelli_-_La_nascita_di_Venere_-_Google_Art_Project_-_edited.jpg/1280px-Sandro_Botticelli_-_La_nascita_di_Venere_-_Google_Art_Project_-_edited.jpg\" target=\"_blank\" rel=\"noopener\">Botticelli\u003c/a>, \u003ca href=\"https://upload.wikimedia.org/wikipedia/commons/f/fe/Rapha%C3%ABl_-_Les_Trois_Gr%C3%A2ces_-_Google_Art_Project_2.jpg\" target=\"_blank\" rel=\"noopener\">Raphael\u003c/a>, \u003ca href=\"https://upload.wikimedia.org/wikipedia/commons/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg\" target=\"_blank\" rel=\"noopener\">Manet\u003c/a> and \u003ca href=\"https://upload.wikimedia.org/wikipedia/en/thumb/2/2e/La_danse_%28I%29_by_Matisse.jpg/300px-La_danse_%28I%29_by_Matisse.jpg\" target=\"_blank\" rel=\"noopener\">Matisse\u003c/a>, a response to her experience that the general populous of the U.S. is less appreciative of the nude form in art than residents of other countries on her tour.\u003c/p>\n\u003cp>When asked if bodypainting is about sex, Merry responds: “I don’t look at Michelangelo’s \u003cem>David\u003c/em> and wonder if that is a sexual experience just because it is a fine art nude. None of my work is poignantly erotic so I find this to be an interesting response to my work and indicative of the viewer projecting their own fantasies, fears or issues onto the fine art nude figure.”\u003c/p>\n\u003cp>Merry is far from the end of this series. “Bodypaint is an ancient art form… the use of ochre on the skin dates back 425,000 years. I’ll be traveling to paint with indigenous cultures still practicing bodypaint later this year,” says Merry.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To see more images from the \u003cem>San Francisco Series: Visions in the Fog\u003c/em>, visit \u003ca href=\"http://www.trinamerryartist.com/bodypainting-art/san-francisco-sessions-visions-from-the-fog/\" target=\"_blank\" rel=\"noopener\">trinamerryartist.com\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "franklin-a-peanuts-character-created-in-the-civil-rights-era-turns-47",
"title": "Franklin, a 'Peanuts' Character Created in the Civil Rights Era, Turns 47",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/217272138″ 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 Friday, we said Happy Anniversary to \u003ci>Peanuts\u003c/i> character Franklin, who first met his curly-haired friend named Charlie Brown, or “Chuck” to some, on a beach some 47 years ago.\u003c/p>\n\u003cp>Franklin was the first African American character to be created by Charles M. Schulz for his long-running cartoon strip. The young man’s first appearance in the comic was on July 31, 1968 – during the middle of the Civil Rights era and right after the assassination of Martin Luther King Jr.\u003c/p>\n\u003cp>\u003cem>The following is an edited interview with Cesar Gallegos, archivist for the Charles M. Schulz Museum located in Santa Rosa.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Let’s start with how Franklin came about – it’s 1968 – in the middle of the Civil Rights era, what happens next?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A school teacher from Sherman Oaks, California named Harriet Glickman she writes a letter to Charles Schulz asking him to integrate the script. Initially she writes to Schulz telling him that it’s very important and a mainstream comic like Peanuts would be a great platform to introduce somebody like Franklin, an African American character.\u003c/p>\n\u003cfigure id=\"attachment_10870924\" class=\"wp-caption alignright\" style=\"max-width: 462px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_001.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10870924\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_001-462x600.jpg\" alt=\"Here is Glickman's first letter to Schulz where she asks him to introduce African American children into Peanuts. \" width=\"462\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001-462x600.jpg 462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001-400x520.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001-908x1180.jpg 908w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001-1180x1533.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001-960x1247.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001.jpg 1703w\" sizes=\"auto, (max-width: 462px) 100vw, 462px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Here is Glickman’s first letter to Schulz where she asks him to introduce African American children into Peanuts. \u003ccite>(Courtesy of the Charles M. Schulz Museum and Research Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shulz was initially very hesitant because he didn’t want to be patronizing and he wasn’t sure if he could write to such a character.\u003c/p>\n\u003cfigure id=\"attachment_10870921\" class=\"wp-caption alignright\" style=\"max-width: 544px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_002.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10870921\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_002-544x600.jpg\" alt=\"Schulz writes Glickman a letter showing concern for introducing an African American character.\" width=\"544\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002-544x600.jpg 544w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002-400x442.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002-1069x1180.jpg 1069w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002-1180x1303.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002-960x1060.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002.jpg 1338w\" sizes=\"auto, (max-width: 544px) 100vw, 544px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Schulz writes Glickman a letter showing concern for introducing an African American character. \u003ccite>(Courtesy of the Charles M. Schulz Museum and Research Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you share any of the correspondence between Harriet Glickman and Charles Schulz?\u003c/strong>\u003c/p>\n\u003cp>“It occurs to me today that the introduction of negro children into the group of Schulz characters could happen with the minimum of impact. The gentleness of the kids, even Lucy, is the perfect setting.\u003c/p>\n\u003cp>\u003cstrong>The creation of Franklin happened really fast. What was the public reaction when his character came out?\u003c/strong>\u003c/p>\n\u003cp>Overall the public reaction was so positive. The syndicates sent Schulz a large assortment of letters that we actually have in our collection and all very positive. There was a few mentions from newspapers that wrote to Schulz and said we won’t publish your strip if you continue to have Franklin in the Peanuts comic but Schulz held his ground.\u003c/p>\n\u003cp>\u003cstrong>What does the last letter look like from Schulz back to Glickman? \u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_008a.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10870923\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-533x600.jpg\" alt=\"Schulz writes Glickman to tell her he has taken her advice.\" width=\"533\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-533x600.jpg 533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-400x451.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-1047x1180.jpg 1047w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-1180x1329.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-960x1082.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a.jpg 1248w\" sizes=\"auto, (max-width: 533px) 100vw, 533px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schulz writes Glickman to tell her he has taken her advice.\u003c/p>\n\n",
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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/217272138″&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/217272138″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>On Friday, we said Happy Anniversary to \u003ci>Peanuts\u003c/i> character Franklin, who first met his curly-haired friend named Charlie Brown, or “Chuck” to some, on a beach some 47 years ago.\u003c/p>\n\u003cp>Franklin was the first African American character to be created by Charles M. Schulz for his long-running cartoon strip. The young man’s first appearance in the comic was on July 31, 1968 – during the middle of the Civil Rights era and right after the assassination of Martin Luther King Jr.\u003c/p>\n\u003cp>\u003cem>The following is an edited interview with Cesar Gallegos, archivist for the Charles M. Schulz Museum located in Santa Rosa.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Let’s start with how Franklin came about – it’s 1968 – in the middle of the Civil Rights era, what happens next?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A school teacher from Sherman Oaks, California named Harriet Glickman she writes a letter to Charles Schulz asking him to integrate the script. Initially she writes to Schulz telling him that it’s very important and a mainstream comic like Peanuts would be a great platform to introduce somebody like Franklin, an African American character.\u003c/p>\n\u003cfigure id=\"attachment_10870924\" class=\"wp-caption alignright\" style=\"max-width: 462px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_001.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10870924\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_001-462x600.jpg\" alt=\"Here is Glickman's first letter to Schulz where she asks him to introduce African American children into Peanuts. \" width=\"462\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001-462x600.jpg 462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001-400x520.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001-908x1180.jpg 908w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001-1180x1533.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001-960x1247.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001.jpg 1703w\" sizes=\"auto, (max-width: 462px) 100vw, 462px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Here is Glickman’s first letter to Schulz where she asks him to introduce African American children into Peanuts. \u003ccite>(Courtesy of the Charles M. Schulz Museum and Research Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shulz was initially very hesitant because he didn’t want to be patronizing and he wasn’t sure if he could write to such a character.\u003c/p>\n\u003cfigure id=\"attachment_10870921\" class=\"wp-caption alignright\" style=\"max-width: 544px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_002.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10870921\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_002-544x600.jpg\" alt=\"Schulz writes Glickman a letter showing concern for introducing an African American character.\" width=\"544\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002-544x600.jpg 544w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002-400x442.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002-1069x1180.jpg 1069w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002-1180x1303.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002-960x1060.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002.jpg 1338w\" sizes=\"auto, (max-width: 544px) 100vw, 544px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Schulz writes Glickman a letter showing concern for introducing an African American character. \u003ccite>(Courtesy of the Charles M. Schulz Museum and Research Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you share any of the correspondence between Harriet Glickman and Charles Schulz?\u003c/strong>\u003c/p>\n\u003cp>“It occurs to me today that the introduction of negro children into the group of Schulz characters could happen with the minimum of impact. The gentleness of the kids, even Lucy, is the perfect setting.\u003c/p>\n\u003cp>\u003cstrong>The creation of Franklin happened really fast. What was the public reaction when his character came out?\u003c/strong>\u003c/p>\n\u003cp>Overall the public reaction was so positive. The syndicates sent Schulz a large assortment of letters that we actually have in our collection and all very positive. There was a few mentions from newspapers that wrote to Schulz and said we won’t publish your strip if you continue to have Franklin in the Peanuts comic but Schulz held his ground.\u003c/p>\n\u003cp>\u003cstrong>What does the last letter look like from Schulz back to Glickman? \u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_008a.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10870923\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-533x600.jpg\" alt=\"Schulz writes Glickman to tell her he has taken her advice.\" width=\"533\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-533x600.jpg 533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-400x451.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-1047x1180.jpg 1047w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-1180x1329.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-960x1082.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a.jpg 1248w\" sizes=\"auto, (max-width: 533px) 100vw, 533px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schulz writes Glickman to tell her he has taken her advice.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Black Love Festival Engages More Young People in Black Lives Matter",
"title": "Black Love Festival Engages More Young People in Black Lives Matter",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> group of organizers is engaging more young people in the Black Lives Matter movement through art, music and love. It's been two years since Alicia Garza and Patrisse Cullors introduced the hashtag #BlackLivesMatter -- on the night George Zimmerman was acquitted for Trayvon Martin’s murder -- and eventually gave birth to a movement with co-founder Opal Tometi.\u003c/p>\n\u003cp>Since then, it has grown through social media, connecting a new generation of organizers. Three of them put on the first annual \u003ca href=\"http://blacklovefestival.tumblr.com/\">Black Love Festival\u003c/a> in San Francisco’s Bayview-Hunters Point on July 18.\u003c/p>\n\u003cp>The idea of Black Love is more complex and less hippie-dippie than you might think. It’s a celebration of love as a form of liberation, resistance and unity -- three themes that run deep in African-American culture. Amir \"Keez\" Shabazz is among the 400 or so black folks -- mostly students, young professionals, and creative types -- who came to enjoy an afternoon of arts and culture at Heron's Head Park.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/217041811&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Shabazz explains what black love means to him. \"'I’m here, I got your back and I love what you’re doing' is black love,\" he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he organizers chose Bayview-Hunters Point for the festival because they wanted young people to help reclaim San Francisco's historically African-American neighborhood and come together in a positive environment focused on self-care, self-healing and respect. Organizer China Pharr says everyone has a part to play in this movement.\u003c/p>\n\u003cp>\"You don’t have to be a leader or some politician,\" she says. \"You don’t have to be any of that. If you can draw, if you can write, if you can act, if you can sing, if you can clean houses, it doesn’t matter.\"\u003c/p>\n\u003cfigure id=\"attachment_10621214\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501.jpg\">\u003cimg class=\"wp-image-10621214 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg\" alt=\"Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30 and China Pharr, 24 (Adizah Eghan/KQED). \" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30, and China Pharr, 24 (Adizah Eghan/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>Pharr and her fellow organizers, Etecia Brown and Leigh Davenport, met through the network of Black Lives Matter organizers, on Facebook. The idea for the Black Love Festival came from two problems they frequently encountered.\u003c/p>\n\u003cp>First, there are few black people left in San Francisco, where Leigh Davenport lives. She says, \"It’s palpable, it’s really palpable, the dwindling population,\" which is down to about 5 percent, half of what it was 20 years ago.\u003c/p>\n\u003cp>Second, not everyone feels comfortable demonstrating in the streets. \"We’ve had about five different events, and we’ve found that there wasn’t enough young people attending,\" Brown says. \"We were looking for people between the ages of 13 and 30.\"\u003c/p>\n\u003cp>So they tried a new strategy: They would get young black people to network and come to San Francisco for an arts and culture festival that was part creativity and part activism.\u003c/p>\n\u003cp>\"A big thing that’s happened in the black community in America is we have become ashamed of ourselves,\" Pharr says. \"I think when you see all this criminalization in the media, and you see all these representations of us, that we’re kind of afraid to be ourselves and celebrate ourselves.\"\u003c/p>\n\u003cp>All three of the women sit barefoot at a table in Brown's mother's apartment, not too far from where the festival took place. They've spent months trying to figure out the best way make this festival happen. The message of Black Love isn’t to shame people for not being at protests. Instead, it's to help a new generation heal.\u003c/p>\n\u003cp>The media are loaded with videos and stories of young people of color who are killed by the police. Pharr points to the \u003ca href=\"http://www.nytimes.com/interactive/2015/07/23/us/23blandlisty.html?_r=0\" target=\"_blank\">July 13 death of Sandra Bland\u003c/a>, who was pulled over for not putting on her turn signal while driving in Texas.\u003c/p>\n\u003cp> \"She was found hanging in a jail cell, and she was a college graduate just like me,\" she says. \"Moved to find a new job, just like me.\"\u003c/p>\n\u003cp>It becomes overwhelming, she adds: \"You kind of feel like there’s no end in sight sometimes. You kind of feel like, is it ever going to end? Are we ever going to stop being murdered? ... Some days I’m so happy that I was born with this beautiful melanin, and then some days I feel like it’s a blessing and a curse.\"\u003c/p>\n\u003cp>https://youtu.be/o1pmfsRCCSo\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hese feelings certainly aren't new, says \u003ca href=\"http://www.obatshaka.com/home\">Oba T'Shaka\u003c/a>, who has participated in various forms of resistance, starting with the civil rights movement in San Francisco in the '60s.\u003c/p>\n\u003cp>\"A lot of our youth are experiencing what we experienced, which is anger and disturbance at seeing our people oppressed,\" he says. In the '60s it was social and economic oppression. Today it's police oppression, he says.\u003c/p>\n\u003cp> \"The '60s produced a restructuring of the black mind, not for all blacks,\" T'Shaka says. \"In fact, our movements failed to systematize that.\"\u003c/p>\n\u003cp>The restructuring of the black mind is hard to put into words, but it’s happening with Black Lives Matter, he says. It's an awakening process similar to when a caterpillar becomes a butterfly. Once people become critically aware of the oppression around them, they start an awakening process and seek to heal from race-based trauma.\u003c/p>\n\u003cp>\"People realize that they have been hoodwinked. Some who had been involved in gangster behavior, gang-banging, realize that they’ve been gang-banging against the people who they’re supposed to be engaged in the struggle to liberate,\" T'Shaka says. \"And others who may have been involved in middle-class behavior and escapism, they begin to think about the collective and about the whole.\"\u003c/p>\n\u003cp>It's the moment Spike Lee alludes to in his films, like in the infamous \"Wake Up\" scene at the end of \"School Daze,\" when Laurence Fishburne's character, Dap, screams, \"WAAAAAAAAKE UP!\" as dreamy music builds and his fellow classmates gather in front of him. He's calling on his fellow classmates to wake up and undergo the awakening process.\u003c/p>\n\u003cp>The point, says T'Shaka, is that for self-love to happen, black Americans have always needed to embrace their African and African-American roots, sparking a deep transformation that builds collective \"leaderful\" movements like Black Lives Matter and Black Love.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"800\" height=\"450\" src=\"https://www.youtube.com/embed/Lg8Oq_Sd3Bw\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "Organizers chose Bayview-Hunters Point to help reclaim S.F.'s historically African-American neighborhood",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> group of organizers is engaging more young people in the Black Lives Matter movement through art, music and love. It's been two years since Alicia Garza and Patrisse Cullors introduced the hashtag #BlackLivesMatter -- on the night George Zimmerman was acquitted for Trayvon Martin’s murder -- and eventually gave birth to a movement with co-founder Opal Tometi.\u003c/p>\n\u003cp>Since then, it has grown through social media, connecting a new generation of organizers. Three of them put on the first annual \u003ca href=\"http://blacklovefestival.tumblr.com/\">Black Love Festival\u003c/a> in San Francisco’s Bayview-Hunters Point on July 18.\u003c/p>\n\u003cp>The idea of Black Love is more complex and less hippie-dippie than you might think. It’s a celebration of love as a form of liberation, resistance and unity -- three themes that run deep in African-American culture. Amir \"Keez\" Shabazz is among the 400 or so black folks -- mostly students, young professionals, and creative types -- who came to enjoy an afternoon of arts and culture at Heron's Head Park.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/217041811&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Shabazz explains what black love means to him. \"'I’m here, I got your back and I love what you’re doing' is black love,\" he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he organizers chose Bayview-Hunters Point for the festival because they wanted young people to help reclaim San Francisco's historically African-American neighborhood and come together in a positive environment focused on self-care, self-healing and respect. Organizer China Pharr says everyone has a part to play in this movement.\u003c/p>\n\u003cp>\"You don’t have to be a leader or some politician,\" she says. \"You don’t have to be any of that. If you can draw, if you can write, if you can act, if you can sing, if you can clean houses, it doesn’t matter.\"\u003c/p>\n\u003cfigure id=\"attachment_10621214\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501.jpg\">\u003cimg class=\"wp-image-10621214 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg\" alt=\"Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30 and China Pharr, 24 (Adizah Eghan/KQED). \" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30, and China Pharr, 24 (Adizah Eghan/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>Pharr and her fellow organizers, Etecia Brown and Leigh Davenport, met through the network of Black Lives Matter organizers, on Facebook. The idea for the Black Love Festival came from two problems they frequently encountered.\u003c/p>\n\u003cp>First, there are few black people left in San Francisco, where Leigh Davenport lives. She says, \"It’s palpable, it’s really palpable, the dwindling population,\" which is down to about 5 percent, half of what it was 20 years ago.\u003c/p>\n\u003cp>Second, not everyone feels comfortable demonstrating in the streets. \"We’ve had about five different events, and we’ve found that there wasn’t enough young people attending,\" Brown says. \"We were looking for people between the ages of 13 and 30.\"\u003c/p>\n\u003cp>So they tried a new strategy: They would get young black people to network and come to San Francisco for an arts and culture festival that was part creativity and part activism.\u003c/p>\n\u003cp>\"A big thing that’s happened in the black community in America is we have become ashamed of ourselves,\" Pharr says. \"I think when you see all this criminalization in the media, and you see all these representations of us, that we’re kind of afraid to be ourselves and celebrate ourselves.\"\u003c/p>\n\u003cp>All three of the women sit barefoot at a table in Brown's mother's apartment, not too far from where the festival took place. They've spent months trying to figure out the best way make this festival happen. The message of Black Love isn’t to shame people for not being at protests. Instead, it's to help a new generation heal.\u003c/p>\n\u003cp>The media are loaded with videos and stories of young people of color who are killed by the police. Pharr points to the \u003ca href=\"http://www.nytimes.com/interactive/2015/07/23/us/23blandlisty.html?_r=0\" target=\"_blank\">July 13 death of Sandra Bland\u003c/a>, who was pulled over for not putting on her turn signal while driving in Texas.\u003c/p>\n\u003cp> \"She was found hanging in a jail cell, and she was a college graduate just like me,\" she says. \"Moved to find a new job, just like me.\"\u003c/p>\n\u003cp>It becomes overwhelming, she adds: \"You kind of feel like there’s no end in sight sometimes. You kind of feel like, is it ever going to end? Are we ever going to stop being murdered? ... Some days I’m so happy that I was born with this beautiful melanin, and then some days I feel like it’s a blessing and a curse.\"\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/o1pmfsRCCSo'\n title='//www.youtube.com/embed/o1pmfsRCCSo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hese feelings certainly aren't new, says \u003ca href=\"http://www.obatshaka.com/home\">Oba T'Shaka\u003c/a>, who has participated in various forms of resistance, starting with the civil rights movement in San Francisco in the '60s.\u003c/p>\n\u003cp>\"A lot of our youth are experiencing what we experienced, which is anger and disturbance at seeing our people oppressed,\" he says. In the '60s it was social and economic oppression. Today it's police oppression, he says.\u003c/p>\n\u003cp> \"The '60s produced a restructuring of the black mind, not for all blacks,\" T'Shaka says. \"In fact, our movements failed to systematize that.\"\u003c/p>\n\u003cp>The restructuring of the black mind is hard to put into words, but it’s happening with Black Lives Matter, he says. It's an awakening process similar to when a caterpillar becomes a butterfly. Once people become critically aware of the oppression around them, they start an awakening process and seek to heal from race-based trauma.\u003c/p>\n\u003cp>\"People realize that they have been hoodwinked. Some who had been involved in gangster behavior, gang-banging, realize that they’ve been gang-banging against the people who they’re supposed to be engaged in the struggle to liberate,\" T'Shaka says. \"And others who may have been involved in middle-class behavior and escapism, they begin to think about the collective and about the whole.\"\u003c/p>\n\u003cp>It's the moment Spike Lee alludes to in his films, like in the infamous \"Wake Up\" scene at the end of \"School Daze,\" when Laurence Fishburne's character, Dap, screams, \"WAAAAAAAAKE UP!\" as dreamy music builds and his fellow classmates gather in front of him. He's calling on his fellow classmates to wake up and undergo the awakening process.\u003c/p>\n\u003cp>The point, says T'Shaka, is that for self-love to happen, black Americans have always needed to embrace their African and African-American roots, sparking a deep transformation that builds collective \"leaderful\" movements like Black Lives Matter and Black Love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "bay-area-painting-right-now-lana-williams-breaks-the-rules",
"title": "Bay Area Painting Right Now: Lana Williams Breaks the Rules",
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"content": "\u003cp>When I arrived at Lana Williams’ studio after a short walk, she offered me fancy sparkling water from France. We were in \u003ca href=\"http://www.realtimeandspace.org\" target=\"_blank\" rel=\"noopener\">Real Time and Space\u003c/a>, a collectively-run studio and artist residency program near Oakland’s Chinatown. We beheld the water and drank — it was delicious, but what \u003cem>was it\u003c/em>?\u003c/p>\n\u003cp>Looking back, those fancy water bottles from France keyed several of the themes we’d discuss that evening. How is the value of water determined? What kind of water, and from where, ends up in fancy bottles? How does it end up there, and who does it end up nourishing?\u003c/p>\n\u003cp>The question of value is critical for Williams’ practice, in a number of evolving ways over the years. In her recent work, this question concerns her materials, especially her use of dye.\u003c/p>\n\u003cfigure id=\"attachment_10857776\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10857776\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Lana1.jpg\" alt=\"Left: The artist in her studio; Right: 'Wind Up,' 2015. (Photos: Jeremy Raff/KQED)\" width=\"1180\" height=\"882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana1.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana1-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana1-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana1-960x718.jpg 960w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Left: The artist in her studio; Right: ‘Wind Up,’ 2015. (Photos: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Dye is one of the earliest forms through which sheer color obtains meaning. Take Tyrian purple for instance, the platinum of ancient dyes. To make Tyrian purple, predatory rock snails native to the Mediterranean were harvested by the thousands. While the snails’ bodies are not purple, boiling them transforms their chemical secretions into a stinky but beautiful substance the Greeks called \u003cem>porphyry\u003c/em> and the Romans \u003cem>purpura\u003c/em>. From these lowly sea carnivores, then, came one of the most expensive commodities of the ancient world.\u003c/p>\n\u003cp>Certain “objective” qualities made Tyrian purple valuable: this dye doesn’t fade in the sun, but actually becomes brighter over time. This resistance to fading, suggestive of immutability and even immortality, made it an obvious choice for ancient royalty and their heirs. But, in the end, the value of dye is arbitrarily determined. Ancient markets facilitated the transfer, and oversaw the value, of these precious materials — precious materials which were, essentially, boiled snail turds.\u003c/p>\n\u003cfigure id=\"attachment_10857778\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10857778\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Lana3.jpg\" alt=\"The artist's brushes. (Photo: Jeremy Raff/KQED)\" width=\"1170\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana3.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana3-960x640.jpg 960w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">The artist’s brushes. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>With the invention of synthetics in modernity, dye signifies wildly in today’s economic terms: from the cheap vinegar solutions countless kids wash over hard boiled eggs every spring to silk Prada scarves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Williams’ recent work with dye questions the ways in which we make predictions and decisions about the value of materials as they become the substance of painting. Williams paints with synthetic dyes on two kinds of surfaces: silks and canvasses. In her show \u003cem>no uniform\u003c/em>, currently on view at \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">Interface Gallery\u003c/a>, she “elevates” plain silk, saturated with dyes, to the status of the art commodity by intricately displaying them on the gallery wall, evoking the fashion system and its concomitant market. The canvasses signify as the familiar objects of fine art. But Williams’ paratactic arrangement of cloth and canvas put their status into marvelous doubt. This doubt is the effect of her practice of inquiry and refusal.\u003c/p>\n\u003cp>These works also pose a challenge to painting’s pride of place in the art market. The dye in Williams’ silks leans more towards a deliberate familiarity; that is, all alone they are almost indistinguishable from a haute couture scarf you might find in an uptown or downtown boutique. What makes them everlastingly distinct is how they’re seen — on the wall of a gallery next to a painting.\u003c/p>\n\u003cfigure id=\"attachment_10857777\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10857777\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Lana2.jpg\" alt=\"(Photo: Jeremy Raff/KQED)\" width=\"1170\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana2.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana2-960x640.jpg 960w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Artist’s sketchbook. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings, by contrast, are full of movement and texture. Composed of dye, acrylic and oils, the paint on Williams’ canvasses is extremely thin, and the paintings themselves are very flat. And yet they embed the energetic kinesis which marks her process.\u003c/p>\n\u003cp>For Williams, one of dye’s appealing features is its unpredictability. Between its powder form and when it is mixed with a liquid base, dye shifts in color. When applied to canvas, the painter can’t control with precision how it will translate and transform. Dye spreads, fades, brightens and interacts with sunlight and other natural elements, probiotically. The palette of Williams’ paintings tend to be somewhat earthy and natural, but the marks she makes reflect, intensely, the movement of her hand and tools.\u003c/p>\n\u003cfigure id=\"attachment_10857779\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10857779 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Lana4.jpg\" alt=\"'Soft Side,' 2015. (Photo: Jeremy Raff/KQED)\" width=\"1170\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana4.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana4-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana4-960x640.jpg 960w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">‘Soft Side,’ 2015. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Williams is concerned with the viewer, vision and value. Her paintings are often framed and hung in ways that partially occlude them from direct perception. To see these paintings, we have to bend, slant, contort and strain. Denying the viewer direct access, she reveals and threatens our sense of propriety over her paintings. Such techniques make the paintings technically difficult, but the difficulty is part of the pleasure of seeing her work.\u003c/p>\n\u003cp>For \u003cem>no uniform\u003c/em>, Williams fittingly eschewed the traditional prose artist statement for a poem, that classically difficult and opaque form of communication. The poem concludes:\u003c/p>\n\u003cp>\u003cem>…signal, sign, gesture\u003cbr>\nthe change spreads, you find it on the floor, soft or cold, it only hopes to open windows\u003cbr>\nflow, fold rigid, hold on to letting go\u003cbr>\nthere is always more to the thing — infinite loops\u003c/em>\u003c/p>\n\u003cp>I keep wanting to connect the “difficulty” of Williams’ work with all the other ways in which we make our lives more difficult by electing to participate in different economies.\u003c/p>\n\u003cfigure id=\"attachment_10857784\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10857784\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Lana5.jpg\" alt=\"'Blue Blush,' 2015. (Photo: Jeremy Raff/KQED)\" width=\"1170\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana5.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana5-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana5-960x640.jpg 960w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">‘Blue Blush,’ 2015. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“Economy” literally means “the laws of the house.” In Williams’ paintings, there are no laws of the house. If the rule of painting says that an abstract image on canvas is superior to a tie-dyed scarf, Williams says no. If the rule of painting says that paintings ought to be displayed in the way most amenable to direct perception by their viewers (and potential owners), Williams says no. Even on a formal level, her extensive reliance on chance by using dye is a way of saying no to whatever “rules” of painting suggests calculated intention is best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I keep saying these paintings are difficult. I also want to say that they are extremely approachable. In some perverse way, through her sustained attempts to obstruct our view, the pleasure of these paintings is actually amplified. If her work “only hopes to open windows,” even by semi-closing them, this hope is realized. Now the window is open. Look out.\u003c/p>\n\n",
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"excerpt": "A series of studio visits with Bay Area painters starts in Oakland's Chinatown with scarves, snails and dye.",
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"title": "Bay Area Painting Right Now: Lana Williams Breaks the Rules | KQED",
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"headline": "Bay Area Painting Right Now: Lana Williams Breaks the Rules",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I arrived at Lana Williams’ studio after a short walk, she offered me fancy sparkling water from France. We were in \u003ca href=\"http://www.realtimeandspace.org\" target=\"_blank\" rel=\"noopener\">Real Time and Space\u003c/a>, a collectively-run studio and artist residency program near Oakland’s Chinatown. We beheld the water and drank — it was delicious, but what \u003cem>was it\u003c/em>?\u003c/p>\n\u003cp>Looking back, those fancy water bottles from France keyed several of the themes we’d discuss that evening. How is the value of water determined? What kind of water, and from where, ends up in fancy bottles? How does it end up there, and who does it end up nourishing?\u003c/p>\n\u003cp>The question of value is critical for Williams’ practice, in a number of evolving ways over the years. In her recent work, this question concerns her materials, especially her use of dye.\u003c/p>\n\u003cfigure id=\"attachment_10857776\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10857776\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Lana1.jpg\" alt=\"Left: The artist in her studio; Right: 'Wind Up,' 2015. (Photos: Jeremy Raff/KQED)\" width=\"1180\" height=\"882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana1.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana1-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana1-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana1-960x718.jpg 960w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Left: The artist in her studio; Right: ‘Wind Up,’ 2015. (Photos: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Dye is one of the earliest forms through which sheer color obtains meaning. Take Tyrian purple for instance, the platinum of ancient dyes. To make Tyrian purple, predatory rock snails native to the Mediterranean were harvested by the thousands. While the snails’ bodies are not purple, boiling them transforms their chemical secretions into a stinky but beautiful substance the Greeks called \u003cem>porphyry\u003c/em> and the Romans \u003cem>purpura\u003c/em>. From these lowly sea carnivores, then, came one of the most expensive commodities of the ancient world.\u003c/p>\n\u003cp>Certain “objective” qualities made Tyrian purple valuable: this dye doesn’t fade in the sun, but actually becomes brighter over time. This resistance to fading, suggestive of immutability and even immortality, made it an obvious choice for ancient royalty and their heirs. But, in the end, the value of dye is arbitrarily determined. Ancient markets facilitated the transfer, and oversaw the value, of these precious materials — precious materials which were, essentially, boiled snail turds.\u003c/p>\n\u003cfigure id=\"attachment_10857778\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10857778\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Lana3.jpg\" alt=\"The artist's brushes. (Photo: Jeremy Raff/KQED)\" width=\"1170\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana3.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana3-960x640.jpg 960w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">The artist’s brushes. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>With the invention of synthetics in modernity, dye signifies wildly in today’s economic terms: from the cheap vinegar solutions countless kids wash over hard boiled eggs every spring to silk Prada scarves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Williams’ recent work with dye questions the ways in which we make predictions and decisions about the value of materials as they become the substance of painting. Williams paints with synthetic dyes on two kinds of surfaces: silks and canvasses. In her show \u003cem>no uniform\u003c/em>, currently on view at \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">Interface Gallery\u003c/a>, she “elevates” plain silk, saturated with dyes, to the status of the art commodity by intricately displaying them on the gallery wall, evoking the fashion system and its concomitant market. The canvasses signify as the familiar objects of fine art. But Williams’ paratactic arrangement of cloth and canvas put their status into marvelous doubt. This doubt is the effect of her practice of inquiry and refusal.\u003c/p>\n\u003cp>These works also pose a challenge to painting’s pride of place in the art market. The dye in Williams’ silks leans more towards a deliberate familiarity; that is, all alone they are almost indistinguishable from a haute couture scarf you might find in an uptown or downtown boutique. What makes them everlastingly distinct is how they’re seen — on the wall of a gallery next to a painting.\u003c/p>\n\u003cfigure id=\"attachment_10857777\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10857777\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Lana2.jpg\" alt=\"(Photo: Jeremy Raff/KQED)\" width=\"1170\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana2.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana2-960x640.jpg 960w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Artist’s sketchbook. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings, by contrast, are full of movement and texture. Composed of dye, acrylic and oils, the paint on Williams’ canvasses is extremely thin, and the paintings themselves are very flat. And yet they embed the energetic kinesis which marks her process.\u003c/p>\n\u003cp>For Williams, one of dye’s appealing features is its unpredictability. Between its powder form and when it is mixed with a liquid base, dye shifts in color. When applied to canvas, the painter can’t control with precision how it will translate and transform. Dye spreads, fades, brightens and interacts with sunlight and other natural elements, probiotically. The palette of Williams’ paintings tend to be somewhat earthy and natural, but the marks she makes reflect, intensely, the movement of her hand and tools.\u003c/p>\n\u003cfigure id=\"attachment_10857779\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10857779 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Lana4.jpg\" alt=\"'Soft Side,' 2015. (Photo: Jeremy Raff/KQED)\" width=\"1170\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana4.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana4-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana4-960x640.jpg 960w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">‘Soft Side,’ 2015. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Williams is concerned with the viewer, vision and value. Her paintings are often framed and hung in ways that partially occlude them from direct perception. To see these paintings, we have to bend, slant, contort and strain. Denying the viewer direct access, she reveals and threatens our sense of propriety over her paintings. Such techniques make the paintings technically difficult, but the difficulty is part of the pleasure of seeing her work.\u003c/p>\n\u003cp>For \u003cem>no uniform\u003c/em>, Williams fittingly eschewed the traditional prose artist statement for a poem, that classically difficult and opaque form of communication. The poem concludes:\u003c/p>\n\u003cp>\u003cem>…signal, sign, gesture\u003cbr>\nthe change spreads, you find it on the floor, soft or cold, it only hopes to open windows\u003cbr>\nflow, fold rigid, hold on to letting go\u003cbr>\nthere is always more to the thing — infinite loops\u003c/em>\u003c/p>\n\u003cp>I keep wanting to connect the “difficulty” of Williams’ work with all the other ways in which we make our lives more difficult by electing to participate in different economies.\u003c/p>\n\u003cfigure id=\"attachment_10857784\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10857784\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Lana5.jpg\" alt=\"'Blue Blush,' 2015. (Photo: Jeremy Raff/KQED)\" width=\"1170\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana5.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana5-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Lana5-960x640.jpg 960w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">‘Blue Blush,’ 2015. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“Economy” literally means “the laws of the house.” In Williams’ paintings, there are no laws of the house. If the rule of painting says that an abstract image on canvas is superior to a tie-dyed scarf, Williams says no. If the rule of painting says that paintings ought to be displayed in the way most amenable to direct perception by their viewers (and potential owners), Williams says no. Even on a formal level, her extensive reliance on chance by using dye is a way of saying no to whatever “rules” of painting suggests calculated intention is best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I keep saying these paintings are difficult. I also want to say that they are extremely approachable. In some perverse way, through her sustained attempts to obstruct our view, the pleasure of these paintings is actually amplified. If her work “only hopes to open windows,” even by semi-closing them, this hope is realized. Now the window is open. Look out.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Artists Aghast at Anti-Public Art Lawsuit Against Oakland",
"headTitle": "Artists Aghast at Anti-Public Art Lawsuit Against Oakland | KQED",
"content": "\u003cp>Artists across the Bay Area are expressing shock and dismay after the Building Industry Association of the Bay Area (BIA) filed a lawsuit against the city of Oakland last week over the issue of public art in privately-funded developments.\u003c/p>\n\u003cp>The\u003ca href=\"http://www.biabayarea.org\" target=\"_blank\" rel=\"noopener\"> BIA Bay Area\u003c/a>, a nonprofit association of contractors, developers and building industry business owners, is fighting the city’s percent for art ordinance, which they claim violates their first and fifth amendment rights.\u003c/p>\n\u003cp>“I consider this the ‘slip and fall’ of development lawsuits,” says Oakland artist Randy Colosky.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/216799697″ 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 ordinance, which already applied to Oakland municipal projects, expanded in early February to require that commercial projects costing more than $200,000 devote one percent of their budgets to public art. Residential projects must devote one-half percent of their budgets to public art. Alternatively, any building project can pay a corresponding amount into a pooled fund for public art programs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Developers owe it to the city and residents to enrich the landscape and culture of the urban space,” Emma Spertus, artist and founder of the Oakland studio building and residency program \u003ca href=\"http://www.realtimeandspace.org/\" target=\"_blank\" rel=\"noopener\">Real Time and Space\u003c/a>, says.\u003c/p>\n\u003cp>“Public art is about the architecture of a space, the architecture of a community, the architecture of a building,” says Colosky, who recently completed \u003ca href=\"http://www.sfartscommission.org/pubartcollection/pubart-press-releases/2014/02/06/coming-soon-new-mural-by-randy-colosky-mural-at-future-central-subway-moscone-station/\" target=\"_blank\" rel=\"noopener\">a public art commission\u003c/a> in San Francisco at the site of the future Central Subway.\u003c/p>\n\u003cfigure id=\"attachment_10865580\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10865580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/14532906360_c31cab9b3c_z.jpg\" alt=\"Randy Colosky, 'Ellipses in the Key of Blue,' installation at the Moscone Central Subway construction site. (Photo: Ethan Kaplan/San Francisco Arts Commission) \" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14532906360_c31cab9b3c_z.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14532906360_c31cab9b3c_z-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Randy Colosky, ‘Ellipses in the Key of Blue,’ installation at the Moscone Central Subway construction site. (Photo: Ethan Kaplan/San Francisco Arts Commission)\u003c/figcaption>\u003c/figure>\n\u003cp>Introduced by then-councilmember Libby Schaaf, the amendment was approved in Nov. 2014 and went into effect in Feb. 2015. The \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/policy/oak052794.pdf\" target=\"_blank\" rel=\"noopener\">ordinance\u003c/a> stresses public art is “important for the vitality of the artist community as well as the quality of life for all Oakland residents.”\u003c/p>\n\u003cp>This sentiment flies in direct contrast to the suit filed last week.\u003c/p>\n\u003cp>BIA Bay Area is represented by Pacific Legal Foundation (PLF), a conservative public interest law firm. The firm \u003ca href=\"http://www.pacificlegal.org/releases/release-7-23-15-biaba-v-oakland-4-1538\" target=\"_blank\" rel=\"noopener\">says\u003c/a> the city is “forcing builders of homes and commercial projects to fund art works that have no reasonable connection to any public needs created by their building projects.”\u003c/p>\n\u003cp>Percent-for-art ordinances already exist in most Bay Area cities, including San Francisco, Berkeley, Walnut Creek, Emeryville, El Cerrito and Santa Rosa. Oakland, with its large and ever-growing artist community, follows a well-established trend of integrating public art into private developments.\u003c/p>\n\u003cp>Kristen Zaremba, senior public art project manager for the city says, “Support for the arts and the arts community is fierce and committed, from the mayor on down.”\u003c/p>\n\u003cp>So why sue Oakland, and why now?\u003c/p>\n\u003cp>Claiming the percent for art ordinance levies needless fees on developers, BIA positions itself as pro-housing in the midst of the Bay Area’s housing crisis. Since the ordinance is new and hasn’t yet accumulated any funds, perhaps the BIA seeks to cut off such expenditures before they become commonplace.\u003c/p>\n\u003cfigure id=\"attachment_10865584\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10865584\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/294244155_big.jpg\" alt=\"Emma Spertus, 'Space blinds,' installation at Interface Gallery. (Photo: Emma Spertus, Interface Gallery)\" width=\"600\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/294244155_big.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/294244155_big-400x251.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Emma Spertus, ‘Space blinds,’ installation at Interface Gallery. (Photo: Emma Spertus, Interface Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>Colosky believes the economic argument is groundless. “As someone who has vetted projects for the city of Oakland, I know how little of the budget includes public art,” Colosky says. “It’s miniscule. If a developer can’t make money and include that, he’s not a good developer.”\u003c/p>\n\u003cp>As local artists and members of the community voice their anger towards BIA on social media and rally email-writing campaigns, the conversation also turns towards the possibilities of even more support for the arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Spertus has hopes for the city’s future arts spending, barring any setbacks from the lawsuit. “I hope the percent for art can translate into more artists grants. I think to be the caliber of city it should be, Oakland should be funneling even more funds to local artists, not just those who are doing public art,” she says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artists across the Bay Area are expressing shock and dismay after the Building Industry Association of the Bay Area (BIA) filed a lawsuit against the city of Oakland last week over the issue of public art in privately-funded developments.\u003c/p>\n\u003cp>The\u003ca href=\"http://www.biabayarea.org\" target=\"_blank\" rel=\"noopener\"> BIA Bay Area\u003c/a>, a nonprofit association of contractors, developers and building industry business owners, is fighting the city’s percent for art ordinance, which they claim violates their first and fifth amendment rights.\u003c/p>\n\u003cp>“I consider this the ‘slip and fall’ of development lawsuits,” says Oakland artist Randy Colosky.\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/216799697″&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/216799697″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The ordinance, which already applied to Oakland municipal projects, expanded in early February to require that commercial projects costing more than $200,000 devote one percent of their budgets to public art. Residential projects must devote one-half percent of their budgets to public art. Alternatively, any building project can pay a corresponding amount into a pooled fund for public art programs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Developers owe it to the city and residents to enrich the landscape and culture of the urban space,” Emma Spertus, artist and founder of the Oakland studio building and residency program \u003ca href=\"http://www.realtimeandspace.org/\" target=\"_blank\" rel=\"noopener\">Real Time and Space\u003c/a>, says.\u003c/p>\n\u003cp>“Public art is about the architecture of a space, the architecture of a community, the architecture of a building,” says Colosky, who recently completed \u003ca href=\"http://www.sfartscommission.org/pubartcollection/pubart-press-releases/2014/02/06/coming-soon-new-mural-by-randy-colosky-mural-at-future-central-subway-moscone-station/\" target=\"_blank\" rel=\"noopener\">a public art commission\u003c/a> in San Francisco at the site of the future Central Subway.\u003c/p>\n\u003cfigure id=\"attachment_10865580\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10865580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/14532906360_c31cab9b3c_z.jpg\" alt=\"Randy Colosky, 'Ellipses in the Key of Blue,' installation at the Moscone Central Subway construction site. (Photo: Ethan Kaplan/San Francisco Arts Commission) \" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14532906360_c31cab9b3c_z.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14532906360_c31cab9b3c_z-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Randy Colosky, ‘Ellipses in the Key of Blue,’ installation at the Moscone Central Subway construction site. (Photo: Ethan Kaplan/San Francisco Arts Commission)\u003c/figcaption>\u003c/figure>\n\u003cp>Introduced by then-councilmember Libby Schaaf, the amendment was approved in Nov. 2014 and went into effect in Feb. 2015. The \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/policy/oak052794.pdf\" target=\"_blank\" rel=\"noopener\">ordinance\u003c/a> stresses public art is “important for the vitality of the artist community as well as the quality of life for all Oakland residents.”\u003c/p>\n\u003cp>This sentiment flies in direct contrast to the suit filed last week.\u003c/p>\n\u003cp>BIA Bay Area is represented by Pacific Legal Foundation (PLF), a conservative public interest law firm. The firm \u003ca href=\"http://www.pacificlegal.org/releases/release-7-23-15-biaba-v-oakland-4-1538\" target=\"_blank\" rel=\"noopener\">says\u003c/a> the city is “forcing builders of homes and commercial projects to fund art works that have no reasonable connection to any public needs created by their building projects.”\u003c/p>\n\u003cp>Percent-for-art ordinances already exist in most Bay Area cities, including San Francisco, Berkeley, Walnut Creek, Emeryville, El Cerrito and Santa Rosa. Oakland, with its large and ever-growing artist community, follows a well-established trend of integrating public art into private developments.\u003c/p>\n\u003cp>Kristen Zaremba, senior public art project manager for the city says, “Support for the arts and the arts community is fierce and committed, from the mayor on down.”\u003c/p>\n\u003cp>So why sue Oakland, and why now?\u003c/p>\n\u003cp>Claiming the percent for art ordinance levies needless fees on developers, BIA positions itself as pro-housing in the midst of the Bay Area’s housing crisis. Since the ordinance is new and hasn’t yet accumulated any funds, perhaps the BIA seeks to cut off such expenditures before they become commonplace.\u003c/p>\n\u003cfigure id=\"attachment_10865584\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10865584\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/294244155_big.jpg\" alt=\"Emma Spertus, 'Space blinds,' installation at Interface Gallery. (Photo: Emma Spertus, Interface Gallery)\" width=\"600\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/294244155_big.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/294244155_big-400x251.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Emma Spertus, ‘Space blinds,’ installation at Interface Gallery. (Photo: Emma Spertus, Interface Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>Colosky believes the economic argument is groundless. “As someone who has vetted projects for the city of Oakland, I know how little of the budget includes public art,” Colosky says. “It’s miniscule. If a developer can’t make money and include that, he’s not a good developer.”\u003c/p>\n\u003cp>As local artists and members of the community voice their anger towards BIA on social media and rally email-writing campaigns, the conversation also turns towards the possibilities of even more support for the arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Spertus has hopes for the city’s future arts spending, barring any setbacks from the lawsuit. “I hope the percent for art can translate into more artists grants. I think to be the caliber of city it should be, Oakland should be funneling even more funds to local artists, not just those who are doing public art,” she says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Instagram isn't just for selfies or \u003ca href=\"http://ww2.kqed.org/pop/2013/07/17/please-like-me-how-instagram-and-facebook-feed-our-insecurity/\" target=\"_blank\">validating your self-worth\u003c/a> anymore. It can also serve as a platform for an artistic project. A few months ago, I wrote about \u003ca href=\"http://ww2.kqed.org/pop/2015/04/24/sad-animal-facts-your-new-favorite-slightly-depressing-instagram/\" target=\"_blank\">Sad Animal Facts\u003c/a>, an account that juxtaposes cute animals with, you guessed it, sad facts. And now, an artist named Tisha Cherry is making art out of food, more specifically recreating masterpieces by the likes of Magritte, Frida Kahlo, van Gogh and Picasso out of Oreos. Check out some of my favorites below and \u003ca href=\"https://instagram.com/tishacherry/\" target=\"_blank\">head over to her Instagram\u003c/a> for other edible works like a Drake portrait made out of melted ice cream.\u003c/p>\n\u003cp>https://instagram.com/p/3W3VAXg2kI/?taken-by=tishacherry\u003c/p>\n\u003cp>https://instagram.com/p/1qUry4A2ll/?taken-by=tishacherry\u003c/p>\n\u003cp>https://instagram.com/p/0aJnJUA2lF/?taken-by=tishacherry\u003c/p>\n\u003cp>https://instagram.com/p/2CP9Ycg2li/?taken-by=tishacherry\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://instagram.com/p/0eTke3A2kO/?taken-by=tishacherry\u003c/p>\n\u003cp>https://instagram.com/p/2ENCIsA2lK/?taken-by=tishacherry\u003c/p>\n\u003cp>https://instagram.com/p/1gxao-g2ps/?taken-by=tishacherry\u003cbr>\n \u003c/p>\n\u003cp>Technically, this last one is not based on anything you'd find in an art museum, but Steph Curry's likeness \u003cem>should\u003c/em> be on the walls of the SFMoMA or something. \u003ca href=\"http://ww2.kqed.org/pop/2015/06/17/why-riley-curry-is-the-true-mvp-of-the-nba-finals/\" target=\"_blank\">Riley's too\u003c/a>, obviously.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://instagram.com/p/2eu4rcg2gZ/?taken-by=tishacherry\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Instagram isn't just for selfies or \u003ca href=\"http://ww2.kqed.org/pop/2013/07/17/please-like-me-how-instagram-and-facebook-feed-our-insecurity/\" target=\"_blank\">validating your self-worth\u003c/a> anymore. It can also serve as a platform for an artistic project. A few months ago, I wrote about \u003ca href=\"http://ww2.kqed.org/pop/2015/04/24/sad-animal-facts-your-new-favorite-slightly-depressing-instagram/\" target=\"_blank\">Sad Animal Facts\u003c/a>, an account that juxtaposes cute animals with, you guessed it, sad facts. And now, an artist named Tisha Cherry is making art out of food, more specifically recreating masterpieces by the likes of Magritte, Frida Kahlo, van Gogh and Picasso out of Oreos. Check out some of my favorites below and \u003ca href=\"https://instagram.com/tishacherry/\" target=\"_blank\">head over to her Instagram\u003c/a> for other edible works like a Drake portrait made out of melted ice cream.\u003c/p>\n\u003cp>https://instagram.com/p/3W3VAXg2kI/?taken-by=tishacherry\u003c/p>\n\u003cp>https://instagram.com/p/1qUry4A2ll/?taken-by=tishacherry\u003c/p>\n\u003cp>https://instagram.com/p/0aJnJUA2lF/?taken-by=tishacherry\u003c/p>\n\u003cp>https://instagram.com/p/2CP9Ycg2li/?taken-by=tishacherry\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>https://instagram.com/p/0eTke3A2kO/?taken-by=tishacherry\u003c/p>\n\u003cp>https://instagram.com/p/2ENCIsA2lK/?taken-by=tishacherry\u003c/p>\n\u003cp>https://instagram.com/p/1gxao-g2ps/?taken-by=tishacherry\u003cbr>\n \u003c/p>\n\u003cp>Technically, this last one is not based on anything you'd find in an art museum, but Steph Curry's likeness \u003cem>should\u003c/em> be on the walls of the SFMoMA or something. \u003ca href=\"http://ww2.kqed.org/pop/2015/06/17/why-riley-curry-is-the-true-mvp-of-the-nba-finals/\" target=\"_blank\">Riley's too\u003c/a>, obviously.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://instagram.com/p/2eu4rcg2gZ/?taken-by=tishacherry\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sexy Sculpture Fills CULT’s Summer Group Show [NSFW]",
"headTitle": "Sexy Sculpture Fills CULT’s Summer Group Show [NSFW] | KQED",
"content": "\u003cp>\u003cem>\u003cb>WARNING:\u003c/b> This article contains a sexually-explicit image.\u003c/em>\u003c/p>\n\u003cp>Once you figure out how to pronounce it, \u003ci>SEXXXITECTURE\u003c/i> begins to sound like a lifestyle blog pairing sensuous spiral staircases with trails of lingerie. While this image isn’t entirely inaccurate (and a possible avenue for future internet domination), the title refers to a cheeky group exhibition of works by Alejandro Almanza Pereda, Daniel Gerwin, Rebekah Goldstein, Roman Liška, Max Maslansky, May Wilson and Jake Ziemann at the Mission Street gallery CULT | Aimee Friberg Exhibitions.\u003c/p>\n\u003cp>In keeping with the traditions of interior design, the gallery’s two rooms are color-coordinated. Facing the street, it’s all cool blues and whites. In the back gallery, fleshy pinks rule. Some of the work is quite large — and there’s a lot of it — so the imposing qualities often associated with modern architecture are here transferred to paintings, dominating the arrangement of wall works and sculpture.\u003c/p>\n\u003cfigure id=\"attachment_10862090\" class=\"wp-caption alignright\" style=\"max-width: 486px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10862090\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Maslansky640.jpg\" alt=\"Max Maslansky, 'Interior Storybook (Queen bed),' 2014. (Photo: CULT)\" width=\"486\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Maslansky640.jpg 486w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Maslansky640-400x527.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Maslansky640-456x600.jpg 456w\" sizes=\"(max-width: 486px) 100vw, 486px\">\u003cfigcaption class=\"wp-caption-text\">Max Maslansky, ‘Interior Storybook (Queen bed),’ 2014. (Photo: CULT)\u003c/figcaption>\u003c/figure>\n\u003cp>The first work the visitor encounters, by Max Maslansky, sets the exhibition’s sultry tone fairly explicitly. The artist paints colorful scenes culled from 1970s and ‘80s porn stills on bedsheets and pillowcases, linking his materials to a postcoital tangle of limbs and sheets, the expected result of the scenes he depicts. \u003ci>Interior Storybook (Queen bed)\u003c/i> shows a woman in blue high heels and a garter belt pulling her clothes over her head for the benefit of the man seated splayed-legged before her. The setting is close and domestic, signaling that \u003ci>SEXXXITECTURE\u003c/i> is more about interior than exterior spaces.\u003c/p>\n\u003cp>The exhibition’s sculptural work better captures the immediacy and physicality of sex.\u003cb> \u003c/b>May Wilson’s tubular and droopy sculptures blend formalism and anthropomorphism. The suggestively-titled \u003cem>Hung1 (white)\u003c/em> hangs from the gallery ceiling off an ordinary hardware store ratchet, a contrast to its austere pearlescent vinyl casing, stuffed tight with sand.\u003c/p>\n\u003cfigure id=\"attachment_10862091\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10862091\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Ziemann640.jpg\" alt=\"Jake Ziemann, 'wont you come down and put it down on me,' 2014. (Photo: CULT)\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Ziemann640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Ziemann640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Jake Ziemann, ‘wont you come down and put it down on me,’ 2014. (Photo: CULT)\u003c/figcaption>\u003c/figure>\n\u003cp>Just below Wilson’s gently swaying sculpture, Jake Ziemann’s \u003cem>wont you come down and put it down on me\u003c/em> is a delicate wooden frame supporting a flopped ceramic oval on its top edge. All precarious balance and taut placement, Ziemann’s piece captures the tension and exhaustion of physical attraction.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Also in the front room, Alejandro Almaza Pereda’s \u003cem>If you say something see something\u003c/em> features a manila rope frozen in the outlines of the shapes it once encircled. The piece conjures images of rope play and bondage, albeit with geometric shapes rather than human bodies.\u003c/p>\n\u003cp>Pereda’s accompanying wall installation, exhaustively titled \u003cem>the only known complete protection from this event would be to prevent its occurrence, part III, \u003c/em>is a precarious balancing act of bending chipboard shelves, water and found objects. The artist custom built the arrangement for the exhibition and it’s more than a little anxiety-inducing, here conjuring images of both shoddy construction and relationships holding on by a thread.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In this exhibition, the sculptural works, with their roundness, heft and built-in humor, carry the show’s theme to the place of actual emotion. In the blending of architecture and sensuality, the two-dimensional pieces take on the appearance of wall-dressings, despite their aesthetic appeal. A titillating gallery experience complete with nervous chuckles and innuendo-filled titles, \u003cem>SEXXXITECTURE\u003c/em> is a summer fling worth pursuing.\u003c/p>\n\n",
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"excerpt": "A cheeky exhibition in the Mission riffs on the anxiety of sexual attraction and minimalist architecture.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cb>WARNING:\u003c/b> This article contains a sexually-explicit image.\u003c/em>\u003c/p>\n\u003cp>Once you figure out how to pronounce it, \u003ci>SEXXXITECTURE\u003c/i> begins to sound like a lifestyle blog pairing sensuous spiral staircases with trails of lingerie. While this image isn’t entirely inaccurate (and a possible avenue for future internet domination), the title refers to a cheeky group exhibition of works by Alejandro Almanza Pereda, Daniel Gerwin, Rebekah Goldstein, Roman Liška, Max Maslansky, May Wilson and Jake Ziemann at the Mission Street gallery CULT | Aimee Friberg Exhibitions.\u003c/p>\n\u003cp>In keeping with the traditions of interior design, the gallery’s two rooms are color-coordinated. Facing the street, it’s all cool blues and whites. In the back gallery, fleshy pinks rule. Some of the work is quite large — and there’s a lot of it — so the imposing qualities often associated with modern architecture are here transferred to paintings, dominating the arrangement of wall works and sculpture.\u003c/p>\n\u003cfigure id=\"attachment_10862090\" class=\"wp-caption alignright\" style=\"max-width: 486px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10862090\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Maslansky640.jpg\" alt=\"Max Maslansky, 'Interior Storybook (Queen bed),' 2014. (Photo: CULT)\" width=\"486\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Maslansky640.jpg 486w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Maslansky640-400x527.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Maslansky640-456x600.jpg 456w\" sizes=\"(max-width: 486px) 100vw, 486px\">\u003cfigcaption class=\"wp-caption-text\">Max Maslansky, ‘Interior Storybook (Queen bed),’ 2014. (Photo: CULT)\u003c/figcaption>\u003c/figure>\n\u003cp>The first work the visitor encounters, by Max Maslansky, sets the exhibition’s sultry tone fairly explicitly. The artist paints colorful scenes culled from 1970s and ‘80s porn stills on bedsheets and pillowcases, linking his materials to a postcoital tangle of limbs and sheets, the expected result of the scenes he depicts. \u003ci>Interior Storybook (Queen bed)\u003c/i> shows a woman in blue high heels and a garter belt pulling her clothes over her head for the benefit of the man seated splayed-legged before her. The setting is close and domestic, signaling that \u003ci>SEXXXITECTURE\u003c/i> is more about interior than exterior spaces.\u003c/p>\n\u003cp>The exhibition’s sculptural work better captures the immediacy and physicality of sex.\u003cb> \u003c/b>May Wilson’s tubular and droopy sculptures blend formalism and anthropomorphism. The suggestively-titled \u003cem>Hung1 (white)\u003c/em> hangs from the gallery ceiling off an ordinary hardware store ratchet, a contrast to its austere pearlescent vinyl casing, stuffed tight with sand.\u003c/p>\n\u003cfigure id=\"attachment_10862091\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10862091\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Ziemann640.jpg\" alt=\"Jake Ziemann, 'wont you come down and put it down on me,' 2014. (Photo: CULT)\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Ziemann640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Ziemann640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Jake Ziemann, ‘wont you come down and put it down on me,’ 2014. (Photo: CULT)\u003c/figcaption>\u003c/figure>\n\u003cp>Just below Wilson’s gently swaying sculpture, Jake Ziemann’s \u003cem>wont you come down and put it down on me\u003c/em> is a delicate wooden frame supporting a flopped ceramic oval on its top edge. All precarious balance and taut placement, Ziemann’s piece captures the tension and exhaustion of physical attraction.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also in the front room, Alejandro Almaza Pereda’s \u003cem>If you say something see something\u003c/em> features a manila rope frozen in the outlines of the shapes it once encircled. The piece conjures images of rope play and bondage, albeit with geometric shapes rather than human bodies.\u003c/p>\n\u003cp>Pereda’s accompanying wall installation, exhaustively titled \u003cem>the only known complete protection from this event would be to prevent its occurrence, part III, \u003c/em>is a precarious balancing act of bending chipboard shelves, water and found objects. The artist custom built the arrangement for the exhibition and it’s more than a little anxiety-inducing, here conjuring images of both shoddy construction and relationships holding on by a thread.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In this exhibition, the sculptural works, with their roundness, heft and built-in humor, carry the show’s theme to the place of actual emotion. In the blending of architecture and sensuality, the two-dimensional pieces take on the appearance of wall-dressings, despite their aesthetic appeal. A titillating gallery experience complete with nervous chuckles and innuendo-filled titles, \u003cem>SEXXXITECTURE\u003c/em> is a summer fling worth pursuing.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last week, the de Young museum \u003ca href=\"http://deyoung.famsf.org/atlantic-and-pacific-mural-willam-de-leftwich-dodge\" target=\"_blank\" rel=\"noopener\">installed a mural in its lobby\u003c/a>, unseen by the public for nearly 100 years. The massive beaux-arts painting is the work of William de Leftwich Dodge, one of the most famous muralists of the early 20th century.\u003c/p>\n\u003cp>The piece, titled \u003cem>Atlantic and Pacific\u003c/em>, was a commission for the 1915 Panama-Pacific International Exposition (PPIE). It stood as the centerpiece of a triptych in the Tower of Jewels, a building covered in 102,000 sparkling crystal gems.\u003c/p>\n\u003cfigure id=\"attachment_10863084\" class=\"wp-caption alignright\" style=\"max-width: 405px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10863084\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Tower640.jpg\" alt=\"Tower of Jewels postcard. (Photo: LCDM Universal History Archive/Getty Images)\" width=\"405\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Tower640.jpg 405w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Tower640-400x632.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Tower640-380x600.jpg 380w\" sizes=\"(max-width: 405px) 100vw, 405px\">\u003cfigcaption class=\"wp-caption-text\">Tower of Jewels postcard. (Photo: LCDM Universal History Archive/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>About 19 million people saw the mural during its tenure at the PPIE, but after the fair ended, it rolled into storage in the San Francisco War Memorial building. Few people have laid eyes on it since.\u003c/p>\n\u003cp>Logistics kept the piece in storage — even with a suitable wall available, its size makes it difficult to display. The mural is over 12 feet tall and 46 feet wide. It weighs about 130 pounds and took art handlers months of planning to install. The museum used rare earth magnets, metallic strips and Velcro tabs to hang the mural.\u003c/p>\n\u003cp>“In 1915 they got up on scaffolding and nailed it to the building. We can’t do that. What we do is reversible,” says Jim Ganz, lead curator of \u003ci>Jewel City\u003c/i>, an upcoming exhibition of PPIE artworks at the de Young.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Atlantic and Pacific\u003c/b>\u003c/p>\n\u003cp>The painting is dedicated to the completion of the Panama Canal, which opened in 1914. The faster trade route to the East Coast and Atlantic Ocean was a huge boon to the West Coast economy and brought the region’s goods into more global markets.\u003c/p>\n\u003cp>“It was an important moment in America’s history, where it was defining itself as a world power,” says Anthea Hartig, director of the California Historical Society.\u003c/p>\n\u003cp>At the center of the oil on canvas mural, a Herculean man rises out of the water. Ganz believes he is meant to represent the Panama Canal or the labor that produced it. He supports an ethereal couple, emblematic of the Atlantic and Pacific Oceans. “It’s the marriage of the seas,” says Ganz.\u003c/p>\n\u003cp>The figures populating the right and left sides of the painting represent the East and West. Dodge’s depictions of both are typical of his time. The eastern figures wear colorful costumes, carry bright flags and lead an elephant. The west is made up of workers, farmers, miners and oxen.\u003c/p>\n\u003cp>The one discordant note in the whole painting is a figure with his back turned to the viewer and his arms held up in the air. The western oxen seems about to push him into the canal.\u003c/p>\n\u003cp>“He represents Native American culture, which was essentially being wiped out with westward expansion. That is also one of the themes of the PPIE and one of the darker themes of Manifest Destiny,” says Ganz.\u003c/p>\n\u003cp>\u003cb>The International Exposition\u003c/b>\u003c/p>\n\u003cp>Before the internet — people had fairs. Fairs brought the wonders of the world to the people. And at the turn of the 20th century, it was a monumental undertaking to bring international innovations, arts and culture together.\u003c/p>\n\u003cp>In 1904, when Congress announced a competition to host the Panama Pacific International Exposition, San Francisco officials jumped on the opportunity. But just two years later, the 1906 earthquake and fire razed the city.\u003c/p>\n\u003cp>“The city was still smoldering when [San Francisco officials] held a dinner and recommitted themselves to winning the fair. And they did. They poured all this civic, entrepreneurial and collective energy into both raising money and designing the fair,” says Hartig.\u003c/p>\n\u003cp>Hartig credits the fair with helping San Francisco recover after the devastation of 1906.\u003c/p>\n\u003cp>The fairgrounds extended from Crissy Field to Fort Mason, covering around 635 acres. Preparing for the exposition created an abundance of work in a variety of fields, from construction to the arts, advertising to publishing, carnival rides and brothels.\u003c/p>\n\u003cp>“This fair’s monumentality was marked in my mind as a historian because it was so thoroughly modern,” says Hartig.\u003c/p>\n\u003cp>New technologies were on display. The fair featured planes, cross-country telephone lines and a fully functional Ford Model T assembly line.\u003c/p>\n\u003cp>Today at the de Young, the mural provides a glimpse into the mindset of PPIE fairgoers 100 years ago; as they viewed Dodge’s painting, they stood among the newly-constructed buildings of their recently-devastated city, celebrated a momentous feat of engineering and marveled at the possibilities this union of Atlantic and Pacific might bring to San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more about San Francisco’s year-long celebration of the Panama-Pacific International Exposition, visit\u003cem> \u003c/em>\u003ca href=\"http://www.ppie100.org/\" target=\"_blank\" rel=\"noopener\">ppie100.org\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Rolled in storage since the 1915 world's fair, a mural gets a new audience in the museum's lobby.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, the de Young museum \u003ca href=\"http://deyoung.famsf.org/atlantic-and-pacific-mural-willam-de-leftwich-dodge\" target=\"_blank\" rel=\"noopener\">installed a mural in its lobby\u003c/a>, unseen by the public for nearly 100 years. The massive beaux-arts painting is the work of William de Leftwich Dodge, one of the most famous muralists of the early 20th century.\u003c/p>\n\u003cp>The piece, titled \u003cem>Atlantic and Pacific\u003c/em>, was a commission for the 1915 Panama-Pacific International Exposition (PPIE). It stood as the centerpiece of a triptych in the Tower of Jewels, a building covered in 102,000 sparkling crystal gems.\u003c/p>\n\u003cfigure id=\"attachment_10863084\" class=\"wp-caption alignright\" style=\"max-width: 405px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10863084\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Tower640.jpg\" alt=\"Tower of Jewels postcard. (Photo: LCDM Universal History Archive/Getty Images)\" width=\"405\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Tower640.jpg 405w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Tower640-400x632.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Tower640-380x600.jpg 380w\" sizes=\"(max-width: 405px) 100vw, 405px\">\u003cfigcaption class=\"wp-caption-text\">Tower of Jewels postcard. (Photo: LCDM Universal History Archive/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>About 19 million people saw the mural during its tenure at the PPIE, but after the fair ended, it rolled into storage in the San Francisco War Memorial building. Few people have laid eyes on it since.\u003c/p>\n\u003cp>Logistics kept the piece in storage — even with a suitable wall available, its size makes it difficult to display. The mural is over 12 feet tall and 46 feet wide. It weighs about 130 pounds and took art handlers months of planning to install. The museum used rare earth magnets, metallic strips and Velcro tabs to hang the mural.\u003c/p>\n\u003cp>“In 1915 they got up on scaffolding and nailed it to the building. We can’t do that. What we do is reversible,” says Jim Ganz, lead curator of \u003ci>Jewel City\u003c/i>, an upcoming exhibition of PPIE artworks at the de Young.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Atlantic and Pacific\u003c/b>\u003c/p>\n\u003cp>The painting is dedicated to the completion of the Panama Canal, which opened in 1914. The faster trade route to the East Coast and Atlantic Ocean was a huge boon to the West Coast economy and brought the region’s goods into more global markets.\u003c/p>\n\u003cp>“It was an important moment in America’s history, where it was defining itself as a world power,” says Anthea Hartig, director of the California Historical Society.\u003c/p>\n\u003cp>At the center of the oil on canvas mural, a Herculean man rises out of the water. Ganz believes he is meant to represent the Panama Canal or the labor that produced it. He supports an ethereal couple, emblematic of the Atlantic and Pacific Oceans. “It’s the marriage of the seas,” says Ganz.\u003c/p>\n\u003cp>The figures populating the right and left sides of the painting represent the East and West. Dodge’s depictions of both are typical of his time. The eastern figures wear colorful costumes, carry bright flags and lead an elephant. The west is made up of workers, farmers, miners and oxen.\u003c/p>\n\u003cp>The one discordant note in the whole painting is a figure with his back turned to the viewer and his arms held up in the air. The western oxen seems about to push him into the canal.\u003c/p>\n\u003cp>“He represents Native American culture, which was essentially being wiped out with westward expansion. That is also one of the themes of the PPIE and one of the darker themes of Manifest Destiny,” says Ganz.\u003c/p>\n\u003cp>\u003cb>The International Exposition\u003c/b>\u003c/p>\n\u003cp>Before the internet — people had fairs. Fairs brought the wonders of the world to the people. And at the turn of the 20th century, it was a monumental undertaking to bring international innovations, arts and culture together.\u003c/p>\n\u003cp>In 1904, when Congress announced a competition to host the Panama Pacific International Exposition, San Francisco officials jumped on the opportunity. But just two years later, the 1906 earthquake and fire razed the city.\u003c/p>\n\u003cp>“The city was still smoldering when [San Francisco officials] held a dinner and recommitted themselves to winning the fair. And they did. They poured all this civic, entrepreneurial and collective energy into both raising money and designing the fair,” says Hartig.\u003c/p>\n\u003cp>Hartig credits the fair with helping San Francisco recover after the devastation of 1906.\u003c/p>\n\u003cp>The fairgrounds extended from Crissy Field to Fort Mason, covering around 635 acres. Preparing for the exposition created an abundance of work in a variety of fields, from construction to the arts, advertising to publishing, carnival rides and brothels.\u003c/p>\n\u003cp>“This fair’s monumentality was marked in my mind as a historian because it was so thoroughly modern,” says Hartig.\u003c/p>\n\u003cp>New technologies were on display. The fair featured planes, cross-country telephone lines and a fully functional Ford Model T assembly line.\u003c/p>\n\u003cp>Today at the de Young, the mural provides a glimpse into the mindset of PPIE fairgoers 100 years ago; as they viewed Dodge’s painting, they stood among the newly-constructed buildings of their recently-devastated city, celebrated a momentous feat of engineering and marveled at the possibilities this union of Atlantic and Pacific might bring to San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more about San Francisco’s year-long celebration of the Panama-Pacific International Exposition, visit\u003cem> \u003c/em>\u003ca href=\"http://www.ppie100.org/\" target=\"_blank\" rel=\"noopener\">ppie100.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After being jailed by the Chinese government in 2011, and his work censored in the country, the dissident artist Ai Weiwei received\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/22/425231907/after-four-years-chinese-dissident-artist-ai-weiwei-gets-his-passport-back\"> his passport back\u003c/a> this week.\u003c/p>\n\u003cp>“My heart is at peace,” the artist said in an \u003ca href=\"http://www.cnn.com/2015/07/23/asia/china-ai-weiwei-watson-interview/\">interview with CNN\u003c/a>. “I feel quite released.”\u003c/p>\n\u003cp>Although unable to travel abroad, Ai, who is known for contemporary art that asserts free speech and human rights, still managed to mount a major exhibition in San Francisco without ever setting foot in the city. \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2014/09/25/exploring-freedom-and-confinement-on-alcatraz/\">@ Large: Ai Weiwei on Alcatraz\u003c/a> \u003c/em>was curated by Cheryl Haines, founder of the For-Site Foundation located in San Francisco, and a friend of Ai. Haines spoke with KQED about her remote collaboration with the artist on \u003cem>@Large\u003c/em> and the significance of Ai’s ability to travel freely again.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/216223313″]\u003c/p>\n\u003cp>Alcatraz saw nearly 900,000 visitors, many of them Bay Area residents, during the exhibition’s run from Sep. 27, 2014 to Apr. 26, 2015, Haines said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=W_UkcNhY0IM]\u003c/p>\n\u003cp>In one of the show’s installations, \u003cem>Yours Truly\u003c/em>, visitors could send postcards addressed to dissidents in 30 nations, Haines said.\u003c/p>\n\u003cp>“Some of the individuals, particularly the children, I found, sent the most beautiful messages. Some of them very simple. Others way more emotionally complex and mature than their years might suggest,” she said.\u003c/p>\n\u003cp>Haines remembers one response from a “very serious” looking six-year-old. When the boy left, she picked up his card and read it.\u003c/p>\n\u003cp>“Dear Prisoner, I don’t know what your day is like,” Haines said, reciting the words on the card. “I’m not even sure what you did. But I’m very sorry and I hope that you get out soon. And if you don’t, please try to find some joy, some happiness everyday.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Haines said she is working on a documentary called \u003cem>Yours Truly\u003c/em>.\u003c/p>\n\n",
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"order": 1
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
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