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"title": "City Plans to Transform Treasure Island with $50 Million for Public Art",
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"content": "\u003cp>In an art-themed version of the movie axiom, “if you build it, they will come,” the San Francisco Arts Commission (SFAC) hopes to draw locals and tourists alike to Treasure Island — and not just for its views.\u003c/p>\n\u003cp>Over the next 20 years, the man-made tract of land will undergo a massive transformation, on par with its historical shift from world’s fair site to Navy base in 1941. Its population will swell from about 2,000 residents to an estimated 19,000, it will gain a ferry station, up to 500 hotel rooms, and, perhaps most remarkably, $50 million in public art.\u003c/p>\n\u003cfigure id=\"attachment_10826953\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826953\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IslandCenter-e1436399349906.jpg\" alt=\"Rendering from 'Treasure Island and Yerba Buena Island Design for Development' (Photo: TIDA)\" width=\"640\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">Rendering from ‘Treasure Island and Yerba Buena Island Design for Development’ (Photo: TIDA) \u003ccite>(Photo: Courtesy of Treasure Island Development Authority)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the housing crisis continues in San Francisco and East Bay prices rise to match, the promise of 8,000 new units on Treasure Island (25 percent at below-market rates) could be incentive enough to make people pay attention to a part of the city often left off the maps. But Treasure Island’s future includes more than just housing. And the SFAC’s arts master plan, expected by March 2016, seeks to make the spot an art-world destination.\u003c/p>\n\u003cp>The cause is led by Jill Manton, director of the SFAC’s Public Art Trust and Special Initiatives, who met with the mayor’s office ten years ago to make sure public art wasn’t neglected in Treasure Island’s long-term development plans. The SFAC will manage pooled funds from the development’s one percent for art fee, the city’s mandate that a building project expend one percent of the construction cost towards public art.\u003c/p>\n\u003cp>What does this mean for a part of the city currently and conspicuously lacking any public art? Instead of a smattering of monolithic entryway sculptures, the likes of which can be seen in many of San Francisco’s towering new condominiums, Treasure Island will host a deeply considered and generously budgeted public art program, all sited on publicly accessible open space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Think island-wide treasure hunts, dance performances, light displays, wind-activated art and sculpture gardens. Increasingly for the SFAC, public art is more than just graffiti-resistant plaza sculpture. Treasure Island is an opportunity for expansive definitions of public art to be put to the test on an unprecedented scale for the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_10826955\" class=\"wp-caption alignright\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826955\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/142627758.jpg\" alt=\"View from the Bay Bridge of the 1939 Golden Gate International Exposition, 1939. (Photo: Underwood Archives/Getty Images)\" width=\"594\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/142627758.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/142627758-400x312.jpg 400w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">View from the Bay Bridge of the 1939 Golden Gate International Exposition, 1939. (Photo: Underwood Archives/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Built for the 1939 Golden Gate International Exposition, Treasure Island soon abandoned such frivolity for a Navy station, which remained active until 1997. Today, the site is home to a small, but diverse community, including a Job Corps outpost, the Treasure Island Homeless Development Initiative (providing support and housing for people seeking to exit homelessness) and a single grocery store.\u003c/p>\n\u003cp>May 29, 2015 marked the first major transfer of 270 acres from the Navy to the city of San Francisco, beginning the long-awaited development process of the “Magic Isle” under the direction of the Treasure Island Development Authority (TIDA).\u003c/p>\n\u003cp>In addition to homes and hotels, the development plan includes basic infrastructure updates to Treasure Island’s streets, landscaping, an urban agricultural park and a new area of natural habitat called “The Wilds.” Land transfers will continue over the next seven years.\u003c/p>\n\u003cp>Becky Hogue, a member of TIDA’s Citizen Advisory Board (CAB) and a Treasure Island resident, says she currently knows more about the proposed trees and paving than the public art plan. She hopes the SFAC bucks a trend of excluding residents from the activities going on in their own backyard.\u003c/p>\n\u003cp>“There are a lot of big events on the great lawn,” Hogue says, pointing to Oracle’s annual OpenWorld “appreciation event” and the Treasure Island Music Festival. “But the residents aren’t part of them.”\u003c/p>\n\u003cfigure id=\"attachment_10826961\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826961\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/14533842461_9dbb9d456b_z.jpg\" alt=\"Benjamin Jones, 'Treehouse,' 2014 (Photo: Alex Taferner/figmentNYC)\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14533842461_9dbb9d456b_z.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14533842461_9dbb9d456b_z-400x265.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Benjamin Jones, ‘Treehouse,’ 2014 (Photo: Alex Taferner/figmentNYC)\u003c/figcaption>\u003c/figure>\n\u003cp>In an effort to be more inclusive, Manton is considering ways in which to democratize the curatorial process of a designated open space, a so-called “free zone.” The idea is similar to that of \u003ca href=\"http://newyork.figmentproject.org/\" target=\"_blank\" rel=\"noopener\">FIGMENT,\u003c/a> a weekend-long participatory art event that takes place in a number of cities around the country.\u003c/p>\n\u003cp>“We are often approached by artists about displaying their work in the city and it often does not work out for various reasons and logistics — aesthetic quality being one of the primary factors,” Manton says. FIGMENT is open to submissions from “anyone who can bring their project by their own means and de-install it when the event is over.”\u003c/p>\n\u003cp>The Oakland Museum’s \u003ca href=\"http://www.museumca.org/bay-bridge-steel\" target=\"_blank\" rel=\"noopener\">Bay Bridge Steel project\u003c/a> may provide another possibility for increased public collaboration. The program intends to make salvaged parts of the old bridge available to artists as material for public art projects. Could Treasure Island be one such destination for the transformed spans? Manton says it makes perfect sense: “What could be more site specific?”\u003c/p>\n\u003cp>Kathrin Moore, a CAB member since the group’s inception in 2001, is enthusiastic about the SFAC’s involvement. Moore thinks Treasure Island’s public art program, if curated correctly, could gain international recognition, likening the large-scale use of open space to \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Documenta\" target=\"_blank\" rel=\"noopener\">documenta\u003c/a>, \u003c/em>held every five years in Kassel, Germany.\u003c/p>\n\u003cp>“It’s interesting to talk about these large ideas when the project hasn’t even started,” Moore says. “It’s a way to think about art as a form of civic dialogue ahead of just using art as a way to furnish places.”\u003c/p>\n\u003cfigure id=\"attachment_10826954\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10826954\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-1180x911.jpg\" alt=\"Overview from 'Treasure Island and Yerba Buena Island Design for Development' (Photo: TIDA)\" width=\"640\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-1180x911.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-777x600.jpg 777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-960x741.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview.jpg 1224w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Overview from ‘Treasure Island and Yerba Buena Island Design for Development’ (Photo: TIDA)\u003c/figcaption>\u003c/figure>\n\u003cp>As the SFAC develops its plans, it looks to other island-based art projects for inspiration, especially New York City’s \u003ca href=\"http://govisland.com/\" target=\"_blank\" rel=\"noopener\">Governors Island\u003c/a>. Another former military base, Governors Island transferred to the city in 2003 and now hosts a summer-long series of concerts, art events, open studios, family activity days and site-specific projects, including an iteration of FIGMENT.\u003c/p>\n\u003cp>For Tom DeCaigny, the SFAC’s director of cultural affairs, the Treasure Island development project isn’t just about “placemaking” — a buzzword in the world of urban planning — but, rather, “placekeeping.” That is, honoring Treasure Island’s past and the communities that have shaped it, while recognizing the incredible alterations it will undergo in the years ahead. “As San Francisco is changing, this is really an investment in the role of artists in San Francisco and the artists who have made this city so great,” DeCaigny says.\u003c/p>\n\u003cp>Working collaboratively with TIDA, the architects and designers behind the development, Treasure Island residents and the San Francisco art community, the SFAC’s arts master plan will pinpoint sites for activation and detail a three-year schedule to jump-start a longer-term process. “Arts plans tend to be dry and rote,” Manton says. “I want this to be a dynamic and inspiring document, full of experimentation.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>While the physical realization of this plan is still years away, the city’s decision to consider public art alongside street parking and building setbacks represents a very different understanding of what it takes to build a thriving urban community. In this context, public art is cultural cachet for residents, tourists and the city itself. And for Treasure Island, it means yet another costume change in its eight decade history — this time, from being in the wings to taking center stage.\u003c/p>\n\n",
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"title": "City Plans to Transform Treasure Island with $50 Million for Public Art | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an art-themed version of the movie axiom, “if you build it, they will come,” the San Francisco Arts Commission (SFAC) hopes to draw locals and tourists alike to Treasure Island — and not just for its views.\u003c/p>\n\u003cp>Over the next 20 years, the man-made tract of land will undergo a massive transformation, on par with its historical shift from world’s fair site to Navy base in 1941. Its population will swell from about 2,000 residents to an estimated 19,000, it will gain a ferry station, up to 500 hotel rooms, and, perhaps most remarkably, $50 million in public art.\u003c/p>\n\u003cfigure id=\"attachment_10826953\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826953\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IslandCenter-e1436399349906.jpg\" alt=\"Rendering from 'Treasure Island and Yerba Buena Island Design for Development' (Photo: TIDA)\" width=\"640\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">Rendering from ‘Treasure Island and Yerba Buena Island Design for Development’ (Photo: TIDA) \u003ccite>(Photo: Courtesy of Treasure Island Development Authority)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the housing crisis continues in San Francisco and East Bay prices rise to match, the promise of 8,000 new units on Treasure Island (25 percent at below-market rates) could be incentive enough to make people pay attention to a part of the city often left off the maps. But Treasure Island’s future includes more than just housing. And the SFAC’s arts master plan, expected by March 2016, seeks to make the spot an art-world destination.\u003c/p>\n\u003cp>The cause is led by Jill Manton, director of the SFAC’s Public Art Trust and Special Initiatives, who met with the mayor’s office ten years ago to make sure public art wasn’t neglected in Treasure Island’s long-term development plans. The SFAC will manage pooled funds from the development’s one percent for art fee, the city’s mandate that a building project expend one percent of the construction cost towards public art.\u003c/p>\n\u003cp>What does this mean for a part of the city currently and conspicuously lacking any public art? Instead of a smattering of monolithic entryway sculptures, the likes of which can be seen in many of San Francisco’s towering new condominiums, Treasure Island will host a deeply considered and generously budgeted public art program, all sited on publicly accessible open space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Think island-wide treasure hunts, dance performances, light displays, wind-activated art and sculpture gardens. Increasingly for the SFAC, public art is more than just graffiti-resistant plaza sculpture. Treasure Island is an opportunity for expansive definitions of public art to be put to the test on an unprecedented scale for the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_10826955\" class=\"wp-caption alignright\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826955\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/142627758.jpg\" alt=\"View from the Bay Bridge of the 1939 Golden Gate International Exposition, 1939. (Photo: Underwood Archives/Getty Images)\" width=\"594\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/142627758.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/142627758-400x312.jpg 400w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">View from the Bay Bridge of the 1939 Golden Gate International Exposition, 1939. (Photo: Underwood Archives/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Built for the 1939 Golden Gate International Exposition, Treasure Island soon abandoned such frivolity for a Navy station, which remained active until 1997. Today, the site is home to a small, but diverse community, including a Job Corps outpost, the Treasure Island Homeless Development Initiative (providing support and housing for people seeking to exit homelessness) and a single grocery store.\u003c/p>\n\u003cp>May 29, 2015 marked the first major transfer of 270 acres from the Navy to the city of San Francisco, beginning the long-awaited development process of the “Magic Isle” under the direction of the Treasure Island Development Authority (TIDA).\u003c/p>\n\u003cp>In addition to homes and hotels, the development plan includes basic infrastructure updates to Treasure Island’s streets, landscaping, an urban agricultural park and a new area of natural habitat called “The Wilds.” Land transfers will continue over the next seven years.\u003c/p>\n\u003cp>Becky Hogue, a member of TIDA’s Citizen Advisory Board (CAB) and a Treasure Island resident, says she currently knows more about the proposed trees and paving than the public art plan. She hopes the SFAC bucks a trend of excluding residents from the activities going on in their own backyard.\u003c/p>\n\u003cp>“There are a lot of big events on the great lawn,” Hogue says, pointing to Oracle’s annual OpenWorld “appreciation event” and the Treasure Island Music Festival. “But the residents aren’t part of them.”\u003c/p>\n\u003cfigure id=\"attachment_10826961\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826961\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/14533842461_9dbb9d456b_z.jpg\" alt=\"Benjamin Jones, 'Treehouse,' 2014 (Photo: Alex Taferner/figmentNYC)\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14533842461_9dbb9d456b_z.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14533842461_9dbb9d456b_z-400x265.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Benjamin Jones, ‘Treehouse,’ 2014 (Photo: Alex Taferner/figmentNYC)\u003c/figcaption>\u003c/figure>\n\u003cp>In an effort to be more inclusive, Manton is considering ways in which to democratize the curatorial process of a designated open space, a so-called “free zone.” The idea is similar to that of \u003ca href=\"http://newyork.figmentproject.org/\" target=\"_blank\" rel=\"noopener\">FIGMENT,\u003c/a> a weekend-long participatory art event that takes place in a number of cities around the country.\u003c/p>\n\u003cp>“We are often approached by artists about displaying their work in the city and it often does not work out for various reasons and logistics — aesthetic quality being one of the primary factors,” Manton says. FIGMENT is open to submissions from “anyone who can bring their project by their own means and de-install it when the event is over.”\u003c/p>\n\u003cp>The Oakland Museum’s \u003ca href=\"http://www.museumca.org/bay-bridge-steel\" target=\"_blank\" rel=\"noopener\">Bay Bridge Steel project\u003c/a> may provide another possibility for increased public collaboration. The program intends to make salvaged parts of the old bridge available to artists as material for public art projects. Could Treasure Island be one such destination for the transformed spans? Manton says it makes perfect sense: “What could be more site specific?”\u003c/p>\n\u003cp>Kathrin Moore, a CAB member since the group’s inception in 2001, is enthusiastic about the SFAC’s involvement. Moore thinks Treasure Island’s public art program, if curated correctly, could gain international recognition, likening the large-scale use of open space to \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Documenta\" target=\"_blank\" rel=\"noopener\">documenta\u003c/a>, \u003c/em>held every five years in Kassel, Germany.\u003c/p>\n\u003cp>“It’s interesting to talk about these large ideas when the project hasn’t even started,” Moore says. “It’s a way to think about art as a form of civic dialogue ahead of just using art as a way to furnish places.”\u003c/p>\n\u003cfigure id=\"attachment_10826954\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10826954\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-1180x911.jpg\" alt=\"Overview from 'Treasure Island and Yerba Buena Island Design for Development' (Photo: TIDA)\" width=\"640\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-1180x911.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-777x600.jpg 777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-960x741.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview.jpg 1224w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Overview from ‘Treasure Island and Yerba Buena Island Design for Development’ (Photo: TIDA)\u003c/figcaption>\u003c/figure>\n\u003cp>As the SFAC develops its plans, it looks to other island-based art projects for inspiration, especially New York City’s \u003ca href=\"http://govisland.com/\" target=\"_blank\" rel=\"noopener\">Governors Island\u003c/a>. Another former military base, Governors Island transferred to the city in 2003 and now hosts a summer-long series of concerts, art events, open studios, family activity days and site-specific projects, including an iteration of FIGMENT.\u003c/p>\n\u003cp>For Tom DeCaigny, the SFAC’s director of cultural affairs, the Treasure Island development project isn’t just about “placemaking” — a buzzword in the world of urban planning — but, rather, “placekeeping.” That is, honoring Treasure Island’s past and the communities that have shaped it, while recognizing the incredible alterations it will undergo in the years ahead. “As San Francisco is changing, this is really an investment in the role of artists in San Francisco and the artists who have made this city so great,” DeCaigny says.\u003c/p>\n\u003cp>Working collaboratively with TIDA, the architects and designers behind the development, Treasure Island residents and the San Francisco art community, the SFAC’s arts master plan will pinpoint sites for activation and detail a three-year schedule to jump-start a longer-term process. “Arts plans tend to be dry and rote,” Manton says. “I want this to be a dynamic and inspiring document, full of experimentation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the physical realization of this plan is still years away, the city’s decision to consider public art alongside street parking and building setbacks represents a very different understanding of what it takes to build a thriving urban community. In this context, public art is cultural cachet for residents, tourists and the city itself. And for Treasure Island, it means yet another costume change in its eight decade history — this time, from being in the wings to taking center stage.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A New Museum in a Changing Tenderloin",
"headTitle": "A New Museum in a Changing Tenderloin | KQED",
"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/215048940″ 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>A new museum opened Thursday in downtown San Francisco.\u003c/p>\n\u003cp>The Tenderloin Museum sits on the corner of Eddy and Leavenworth Street in the middle of one of San Francisco’s most economically and socially challenged neighborhoods. The airy new 3,200 square foot museum cost $3.5 million to build. It stands out against the backdrop of Single Resident Occupancy (SRO) hotels and drug rehabilitation clinics.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/a/forum/R201506021000\">Randy Shaw\u003c/a>, the director of the neighborhood community development organizations Tenderloin Housing Clinic and Uptown Tenderloin, helped to spearhead the development of the new museum. Shaw hopes the institution will help change negative perceptions of the area, bring pride to residents and make the Tenderloin a more desirable neighborhood in which to live.\u003c/p>\n\u003cp>“The Tenderloin has a perception problem,” Shaw says . “We have the highest percent of children of any neighborhood in San Francisco. We have over 409 historic buildings and it’s a walkable neighborhood and a very diverse neighborhood.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The museum focuses on the Tenderloin’s influence on counterculture going all the way back to the 1906 earthquake. It has exhibits on the neighborhood’s ties to Lesbian, Gay, Transgender and Bisexual (LGBT) movements, housing activism and gambling.\u003c/p>\n\u003cp>“If you wanted to gamble, the Tenderloin was where you came,” Shaw says. “We were the gambling capital of the bay area.” He attributes the fall of the Tenderloin to gambling being outlawed. “After that, we had no economic purpose,” Shaw says.\u003c/p>\n\u003cp>The museum also offers walking tours of the Tenderloin. Along the way, guides will point out architectural gems, infamous bars and places where historic events occurred, like the location where the Grateful Dead recorded the seminal album \u003cem>American Beauty\u003c/em>.\u003c/p>\n\u003cp>As rents rise in San Francisco, those who once avoided the neighborhood are edging in. Technology companies like Twitter have been quick to snatch up properties along Market Street. Cultural institutions are also getting closer. The American Conservatory Theater launched its new performance venue, The Strand, on the fringes of the neighborhood last month. Galleries have also been popping up in the area and more are on the way.\u003c/p>\n\u003cp>Although he is attempting to make the neighborhood a desirable place to live, Shaw believes that the Tenderloin will remain a low-income neighborhood.\u003c/p>\n\u003cp>“We have so much property off the speculative market,” Shaw says. “Nearly a third is either owned by non profits or privately subsidized. We don’t have Ellis Act evictions or owner move in evictions. This community has a history of activism battling the establishment and we’ve passed so many laws to protect all of our housing.”\u003c/p>\n\u003cp>Elvin Padilla, a Tenderloin community organizer and economic development consultant, hopes the extra foot traffic will help clean up the neighborhood.\u003c/p>\n\u003cp>“The city uses the neighborhood as its containment zone,” Padilla says. “If it’s no longer a containment zone because other people are coming in to do positive things, like going to a theater show or a museum, then the city is forced to pay more attention to public safety considerations.”\u003c/p>\n\u003cp>But not everyone sees the appearance of the new museum in such a positive light.\u003c/p>\n\u003cp>“You know, me and my roommates, we joke about it, like, oh what are they going to do, have a big picture of a needle?” Tenderloin resident Chloe Brubaker says.\u003c/p>\n\u003cp>Shaw and his team are working to change such impressions.\u003c/p>\n\u003cp>The Museum will be free to Tenderloin residents once a month. It has also hired guides who live in the local SROs to lead the walking tours.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Tenderloin Museum is open to the public 10-5 Tuesday through Sunday.\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/215048940″&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/215048940″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A new museum opened Thursday in downtown San Francisco.\u003c/p>\n\u003cp>The Tenderloin Museum sits on the corner of Eddy and Leavenworth Street in the middle of one of San Francisco’s most economically and socially challenged neighborhoods. The airy new 3,200 square foot museum cost $3.5 million to build. It stands out against the backdrop of Single Resident Occupancy (SRO) hotels and drug rehabilitation clinics.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/a/forum/R201506021000\">Randy Shaw\u003c/a>, the director of the neighborhood community development organizations Tenderloin Housing Clinic and Uptown Tenderloin, helped to spearhead the development of the new museum. Shaw hopes the institution will help change negative perceptions of the area, bring pride to residents and make the Tenderloin a more desirable neighborhood in which to live.\u003c/p>\n\u003cp>“The Tenderloin has a perception problem,” Shaw says . “We have the highest percent of children of any neighborhood in San Francisco. We have over 409 historic buildings and it’s a walkable neighborhood and a very diverse neighborhood.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The museum focuses on the Tenderloin’s influence on counterculture going all the way back to the 1906 earthquake. It has exhibits on the neighborhood’s ties to Lesbian, Gay, Transgender and Bisexual (LGBT) movements, housing activism and gambling.\u003c/p>\n\u003cp>“If you wanted to gamble, the Tenderloin was where you came,” Shaw says. “We were the gambling capital of the bay area.” He attributes the fall of the Tenderloin to gambling being outlawed. “After that, we had no economic purpose,” Shaw says.\u003c/p>\n\u003cp>The museum also offers walking tours of the Tenderloin. Along the way, guides will point out architectural gems, infamous bars and places where historic events occurred, like the location where the Grateful Dead recorded the seminal album \u003cem>American Beauty\u003c/em>.\u003c/p>\n\u003cp>As rents rise in San Francisco, those who once avoided the neighborhood are edging in. Technology companies like Twitter have been quick to snatch up properties along Market Street. Cultural institutions are also getting closer. The American Conservatory Theater launched its new performance venue, The Strand, on the fringes of the neighborhood last month. Galleries have also been popping up in the area and more are on the way.\u003c/p>\n\u003cp>Although he is attempting to make the neighborhood a desirable place to live, Shaw believes that the Tenderloin will remain a low-income neighborhood.\u003c/p>\n\u003cp>“We have so much property off the speculative market,” Shaw says. “Nearly a third is either owned by non profits or privately subsidized. We don’t have Ellis Act evictions or owner move in evictions. This community has a history of activism battling the establishment and we’ve passed so many laws to protect all of our housing.”\u003c/p>\n\u003cp>Elvin Padilla, a Tenderloin community organizer and economic development consultant, hopes the extra foot traffic will help clean up the neighborhood.\u003c/p>\n\u003cp>“The city uses the neighborhood as its containment zone,” Padilla says. “If it’s no longer a containment zone because other people are coming in to do positive things, like going to a theater show or a museum, then the city is forced to pay more attention to public safety considerations.”\u003c/p>\n\u003cp>But not everyone sees the appearance of the new museum in such a positive light.\u003c/p>\n\u003cp>“You know, me and my roommates, we joke about it, like, oh what are they going to do, have a big picture of a needle?” Tenderloin resident Chloe Brubaker says.\u003c/p>\n\u003cp>Shaw and his team are working to change such impressions.\u003c/p>\n\u003cp>The Museum will be free to Tenderloin residents once a month. It has also hired guides who live in the local SROs to lead the walking tours.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Tenderloin Museum is open to the public 10-5 Tuesday through Sunday.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco-based visual arts organization \u003ca href=\"https://www.soex.org/index.php\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a> announced on Tuesday that its Executive Director Courtney Fink will step down after 13 years.\u003c/p>\n\u003cp>Fink’s exit marks the \u003ca href=\"http://ww2.kqed.org/arts/2015/05/27/pro-arts-executive-director-steps-down-latest-in-wave-of-recent-art-world-departures/\" target=\"_blank\" rel=\"noopener\">fourth such departure\u003c/a> from a Bay Area visual arts nonprofit this year, a trend she says is merely part of a natural progression rather than an indication that local support for the arts is dwindling.\u003c/p>\n\u003cp>“Historically change does seem to happen in waves and that’s normal,” Fink says. “I think that means progress for the Bay Area. Change is what keeps things interesting and moving forward.”\u003c/p>\n\u003cp>Fink joined Southern Exposure in 2003 and has steadily built what she describes as a “very diverse base of support” for non-commercial experimental arts programming. She instituted \u003ca href=\"https://www.soex.org/alternative-exposure\" target=\"_blank\" rel=\"noopener\">Alternative Exposure\u003c/a>, a re-granting initiative with major support from the Andy Warhol Foundation for the Visual Arts, awarding nearly $500,000 to 135 independently-run spaces and projects over the past nine years.\u003c/p>\n\u003cp>“Transitions can be very challenging times for a lot of nonprofits so I always wanted Southern Exposure to be in a really strong place during the change and that time really felt like now,” Fink says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fink’s departure is something she says Southern Exposure’s staff and board have been discussing for two months. They are currently in the final stages of naming an interim executive director and will begin their search for Fink’s permanent replacement in September. She will continue in her role through August.\u003c/p>\n\u003cp>“I don’t have any plans to leave the nonprofit world,” says Fink. “I’m excited to continue my lifelong commitment to advocating for artists. I don’t know what it will look like next but I have no plans to leave the Bay Area. Who knows what will happen?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Back at Southern Exposure, programming continues full steam ahead. The ninth round of Alternative Exposure is now open to applications, the organization’s free three-week summer intensive for youth artists, \u003ca href=\"https://www.soex.org/artists-education-program/mission-voices-summer-2015\" target=\"_blank\" rel=\"noopener\">Mission Voices Summer\u003c/a>, is underway, and Los Angeles-based artist Robby Herbst hosts \u003ca href=\"https://www.soex.org/events/mapping-californian-ideology\" target=\"_blank\" rel=\"noopener\">a group discussion\u003c/a> on “California ideology” on July 18.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco-based visual arts organization \u003ca href=\"https://www.soex.org/index.php\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a> announced on Tuesday that its Executive Director Courtney Fink will step down after 13 years.\u003c/p>\n\u003cp>Fink’s exit marks the \u003ca href=\"http://ww2.kqed.org/arts/2015/05/27/pro-arts-executive-director-steps-down-latest-in-wave-of-recent-art-world-departures/\" target=\"_blank\" rel=\"noopener\">fourth such departure\u003c/a> from a Bay Area visual arts nonprofit this year, a trend she says is merely part of a natural progression rather than an indication that local support for the arts is dwindling.\u003c/p>\n\u003cp>“Historically change does seem to happen in waves and that’s normal,” Fink says. “I think that means progress for the Bay Area. Change is what keeps things interesting and moving forward.”\u003c/p>\n\u003cp>Fink joined Southern Exposure in 2003 and has steadily built what she describes as a “very diverse base of support” for non-commercial experimental arts programming. She instituted \u003ca href=\"https://www.soex.org/alternative-exposure\" target=\"_blank\" rel=\"noopener\">Alternative Exposure\u003c/a>, a re-granting initiative with major support from the Andy Warhol Foundation for the Visual Arts, awarding nearly $500,000 to 135 independently-run spaces and projects over the past nine years.\u003c/p>\n\u003cp>“Transitions can be very challenging times for a lot of nonprofits so I always wanted Southern Exposure to be in a really strong place during the change and that time really felt like now,” Fink says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fink’s departure is something she says Southern Exposure’s staff and board have been discussing for two months. They are currently in the final stages of naming an interim executive director and will begin their search for Fink’s permanent replacement in September. She will continue in her role through August.\u003c/p>\n\u003cp>“I don’t have any plans to leave the nonprofit world,” says Fink. “I’m excited to continue my lifelong commitment to advocating for artists. I don’t know what it will look like next but I have no plans to leave the Bay Area. Who knows what will happen?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Back at Southern Exposure, programming continues full steam ahead. The ninth round of Alternative Exposure is now open to applications, the organization’s free three-week summer intensive for youth artists, \u003ca href=\"https://www.soex.org/artists-education-program/mission-voices-summer-2015\" target=\"_blank\" rel=\"noopener\">Mission Voices Summer\u003c/a>, is underway, and Los Angeles-based artist Robby Herbst hosts \u003ca href=\"https://www.soex.org/events/mapping-californian-ideology\" target=\"_blank\" rel=\"noopener\">a group discussion\u003c/a> on “California ideology” on July 18.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Rock Papers Scissors Collective (RPSC), a volunteer-run communal artist space in Oakland, announced this week that it is losing its lease on the Telegraph Ave. storefront it has called home for the past 11 years. The group must relocate by Aug. 31.\u003c/p>\n\u003cp>The collective, which hosts gallery shows and other events, as well as workshops and other resources for local artists of all ages, is the last remnant from the original group of founders of the\u003ca href=\"http://oaklandfirstfridays.org/ABOUT\" target=\"_blank\" rel=\"noopener\"> Oakland Art Murmur and First Friday\u003c/a> events remaining in uptown Oakland. Both the Murmur and the monthly First Fridays have been credited with revitalizing the \u003ca href=\"http://oaklandlocal.com/2014/03/oakulture-betti-ono-first-fridays-and-the-booming-state-of-oaklands-cultural-arts/\" target=\"_blank\" rel=\"noopener\">city’s cultural arts scene\u003c/a>. \u003c/p>\n\u003cp>In a \u003ca href=\"http://rpscollective.org/rps-is-moving/\" target=\"_blank\" rel=\"noopener\">statement released July 10\u003c/a> and signed by the RSPC, it’s revealed that the buildings longtime landlord wants to charge market value for the space, which the collective, a non-profit, cannot afford. \u003c/p>\n\u003cp>“Eleven years ago we could afford market value for the space, but thanks to our success in building a vibrant community in downtown, market rate is now far out of reach,” said the statement.\u003c/p>\n\u003cp>The forced relocation has been on the horizon for the RSPC since February, when it started an \u003ca href=\"https://www.indiegogo.com/projects/save-rock-paper-scissors-collective#/story\" target=\"_blank\" rel=\"noopener\">IndieGoGo campaign\u003c/a> to raise $25,000 for operating costs. Sadly, after a month, the campaign managed to raise just under $10,000.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when new details are learned.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Rock Papers Scissors Collective (RPSC), a volunteer-run communal artist space in Oakland, announced this week that it is losing its lease on the Telegraph Ave. storefront it has called home for the past 11 years. The group must relocate by Aug. 31.\u003c/p>\n\u003cp>The collective, which hosts gallery shows and other events, as well as workshops and other resources for local artists of all ages, is the last remnant from the original group of founders of the\u003ca href=\"http://oaklandfirstfridays.org/ABOUT\" target=\"_blank\" rel=\"noopener\"> Oakland Art Murmur and First Friday\u003c/a> events remaining in uptown Oakland. Both the Murmur and the monthly First Fridays have been credited with revitalizing the \u003ca href=\"http://oaklandlocal.com/2014/03/oakulture-betti-ono-first-fridays-and-the-booming-state-of-oaklands-cultural-arts/\" target=\"_blank\" rel=\"noopener\">city’s cultural arts scene\u003c/a>. \u003c/p>\n\u003cp>In a \u003ca href=\"http://rpscollective.org/rps-is-moving/\" target=\"_blank\" rel=\"noopener\">statement released July 10\u003c/a> and signed by the RSPC, it’s revealed that the buildings longtime landlord wants to charge market value for the space, which the collective, a non-profit, cannot afford. \u003c/p>\n\u003cp>“Eleven years ago we could afford market value for the space, but thanks to our success in building a vibrant community in downtown, market rate is now far out of reach,” said the statement.\u003c/p>\n\u003cp>The forced relocation has been on the horizon for the RSPC since February, when it started an \u003ca href=\"https://www.indiegogo.com/projects/save-rock-paper-scissors-collective#/story\" target=\"_blank\" rel=\"noopener\">IndieGoGo campaign\u003c/a> to raise $25,000 for operating costs. Sadly, after a month, the campaign managed to raise just under $10,000.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Peruvians Love Their Chicha Street Art. The Government ... Not So Much",
"headTitle": "Peruvians Love Their Chicha Street Art. The Government … Not So Much | KQED",
"content": "\u003cp>Elliot Tupac is bringing the street art of Peru to Washington, D.C.\u003c/p>\n\u003cp>A brush in one hand, a can of spray paint in the other, a tanned \u003ca href=\"http://www.elliottupac.com/\" target=\"_blank\" rel=\"noopener\">Tupac\u003c/a> is emblazoning the word “Libertad” — Spanish for freedom — in big bold letters. Their neon colors are so intense they could practically glow in the dark.\u003c/p>\n\u003cp>The art he’s creating is called chicha. It’s definitely fun to look at it. And it turns out to be a bit controversial as well. In March, the government of Peru painted over a Tupac mural with the words “Antes sonaba” (I used to dream) and many other street murals in a historic district in Lima. The reasons are unclear; the government reportedly says it was trying to preserve the historic district.\u003c/p>\n\u003cp>As for Tupac, he just keeps on making chicha-style murals. That’s why the \u003ca href=\"http://www.festival.si.edu/2015/peru/performing-and-visual-arts/urban-art-and-music/smithsonian\" target=\"_blank\" rel=\"noopener\">Smithsonian Folklife Festival\u003c/a> brought him to town for its celebration of Peruvian culture.\u003c/p>\n\u003cp>If you’ve not been to Peru (or the festival), you may be wondering: What exactly is chicha?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The word itself has a murky origin. In Latin America, most people use it to refer to a popular fermented corn \u003ca href=\"http://www.festival.si.edu/2015/peru/foodways/smithsonian\" target=\"_blank\" rel=\"noopener\">drink\u003c/a>. Some say it’s derived from the word for maize (\u003cem>chichab\u003c/em> in Kuna, a Colombian language) or fermented water (\u003cem>chichiatl\u003c/em> in Nahutl, an Aztec language).\u003c/p>\n\u003cp>But in Peru, chicha is more than just a drink. It’s a \u003ca href=\"http://www.festival.si.edu/2015/peru/performing-and-visual-arts/urban-art-and-music/smithsonian\" target=\"_blank\" rel=\"noopener\">music\u003c/a> genre that uses rock ‘n’ roll instruments like \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15400402\" target=\"_blank\" rel=\"noopener\">electric guitars\u003c/a> and synthesizers to rock out funky beats and folk melodies.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ow_OjkSLZDI\u003c/p>\n\u003cp>“Chicha started out as a music movement in the ’60s,” says Cristina Díaz-Carrera, co-curator of the 2015 Smithsonian Folklife Festival. It sprang from Cumbia, a “catchy” dance music that started out in Colombia. Peruvians added local rhythms, instruments, melodies and dance moves and renamed it “chicha.” In the ’90s, says Diaz-Carrera, the Ministry of Culture in Peru recognized chicha as a valid art form.\u003c/p>\n\u003cp>Alfredo Villar, a Peruvian art historian and a participant at the festival, called chicha “the contemporary baroque.”\u003c/p>\n\u003cp>“It’s overloaded with information. It’s an explosion of color and sound,” Villar says of the music, “It’s like a carnival.”\u003c/p>\n\u003cp>Many of the fans are migrants from the central Andean valley regions of Peru — the Huancayo, who’d flocked to cities like Lima as a result of the \u003ca href=\"https://books.google.com/books?id=UA84AAAAIAAJ&pg=PA26&lpg=PA26&dq=huancayo+land+reform&source=bl&ots=ez78l7XcFv&sig=hkm6MfR0REIRUqV3Z4YRg0izjWk&hl=en&sa=X&ei=uIqVVY_hGMK5ggSLv7vYBw&ved=0CCgQ6AEwBA#v=onepage&q=huancayo%20land%20reform&f=false\" target=\"_blank\" rel=\"noopener\">land reform\u003c/a> in the 1940s.\u003c/p>\n\u003cp>With the music came the art — first posters advertising concerts, then murals with a message.\u003c/p>\n\u003cp>The look of chicha is credited to Los Shapis, an ’80s band, which wore brightly colored outfits inspired by embroidery from their native Huancayo region. Other groups loved the look. And bands began working with street artists to create posters that captured their essence and style with \u003ca href=\"http://www.festival.si.edu/blog/2015/chicha-art-ancestral-colors-modern-designs/\" target=\"_blank\" rel=\"noopener\">neon\u003c/a>-bright colors and big letters.\u003c/p>\n\u003cp>But not everyone in Peru approved of the music and the street art it spawned.\u003c/p>\n\u003cp>“Chicha was actually a disparaging word in the beginning. The lower class listens to this music,” Díaz-Carrera says, “the art and everything associated with it, if you’re in the upper class you didn’t want it on your street.”\u003c/p>\n\u003cp>These class tensions remain.\u003c/p>\n\u003cp>“The elite don’t like chicha art, especially when it’s in the streets,” Villar says. “They’re changing a little bit, but I don’t think there’s sincere change.”\u003c/p>\n\u003cp>The murals offer these communities a way to express themselves, to communicate with each other, and appreciate art outside of the museum setting, says Alexia Fawcett, community engagement manager for the Folklife Festival.\u003c/p>\n\u003cfigure id=\"attachment_10825145\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768-800x533.jpg\" alt=\""Monky" silk screens posters for some of Peru's top chicha bands. (Photo by Joshua Cogan)\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10825145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Monky” silk screens posters for some of Peru’s top chicha bands. (Photo by Joshua Cogan)\u003c/figcaption>\u003c/figure>\n\u003cp>So naturally there was an uproar when the government erased the murals earlier this year. The people of Lima responded on social media with hashtags \u003ca href=\"https://twitter.com/search?q=%23SalvemosLosMurales&src=typd\" target=\"_blank\" rel=\"noopener\">#SalvemosLosMurales\u003c/a> (save the murals) and \u003ca href=\"https://twitter.com/search?q=%23BorraronUnoPintaremosMil&src=typd\" target=\"_blank\" rel=\"noopener\">#BorraronUnoPintaremosMil\u003c/a> (they erased one, we’ll paint a thousand) as well as staged protests.\u003c/p>\n\u003cp>Meanwhile, chicha is finding a global audience. “In other countries we have love and support; they let us do the work we do on the walls,” says Pedro “Monky” Rojas, a chicha pioneer who was also part of the Folklife contingent.\u003c/p>\n\u003cp>Tupac has brought his brightly colored artwork to the walls of many countries — Chile, Tunisia and even the United Kingdom a couple of weeks ago. The art is mainly in the streets — “that’s where it has to be,” Tupac says — but he also offers lettering workshops.\u003c/p>\n\u003cp>And despite the Peruvian government’s recent action, chicha continues to flourish in the streets where it was born.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can go to Lima, go to the northern coast, the southern coast,” says Diaz-Carrera. “Chicha is everywhere.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Peruvians+Love+Their+Chicha+Street+Art.+The+Government+...+Not+So+Much&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Walk down a street in Peru and you'll likely see an example of the glow-in-the-dark posters and murals. Lots of people love them. But the upper crust — and the government — aren't impressed.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Elliot Tupac is bringing the street art of Peru to Washington, D.C.\u003c/p>\n\u003cp>A brush in one hand, a can of spray paint in the other, a tanned \u003ca href=\"http://www.elliottupac.com/\" target=\"_blank\" rel=\"noopener\">Tupac\u003c/a> is emblazoning the word “Libertad” — Spanish for freedom — in big bold letters. Their neon colors are so intense they could practically glow in the dark.\u003c/p>\n\u003cp>The art he’s creating is called chicha. It’s definitely fun to look at it. And it turns out to be a bit controversial as well. In March, the government of Peru painted over a Tupac mural with the words “Antes sonaba” (I used to dream) and many other street murals in a historic district in Lima. The reasons are unclear; the government reportedly says it was trying to preserve the historic district.\u003c/p>\n\u003cp>As for Tupac, he just keeps on making chicha-style murals. That’s why the \u003ca href=\"http://www.festival.si.edu/2015/peru/performing-and-visual-arts/urban-art-and-music/smithsonian\" target=\"_blank\" rel=\"noopener\">Smithsonian Folklife Festival\u003c/a> brought him to town for its celebration of Peruvian culture.\u003c/p>\n\u003cp>If you’ve not been to Peru (or the festival), you may be wondering: What exactly is chicha?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The word itself has a murky origin. In Latin America, most people use it to refer to a popular fermented corn \u003ca href=\"http://www.festival.si.edu/2015/peru/foodways/smithsonian\" target=\"_blank\" rel=\"noopener\">drink\u003c/a>. Some say it’s derived from the word for maize (\u003cem>chichab\u003c/em> in Kuna, a Colombian language) or fermented water (\u003cem>chichiatl\u003c/em> in Nahutl, an Aztec language).\u003c/p>\n\u003cp>But in Peru, chicha is more than just a drink. It’s a \u003ca href=\"http://www.festival.si.edu/2015/peru/performing-and-visual-arts/urban-art-and-music/smithsonian\" target=\"_blank\" rel=\"noopener\">music\u003c/a> genre that uses rock ‘n’ roll instruments like \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15400402\" target=\"_blank\" rel=\"noopener\">electric guitars\u003c/a> and synthesizers to rock out funky beats and folk melodies.\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/Ow_OjkSLZDI'\n title='//www.youtube.com/embed/Ow_OjkSLZDI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Chicha started out as a music movement in the ’60s,” says Cristina Díaz-Carrera, co-curator of the 2015 Smithsonian Folklife Festival. It sprang from Cumbia, a “catchy” dance music that started out in Colombia. Peruvians added local rhythms, instruments, melodies and dance moves and renamed it “chicha.” In the ’90s, says Diaz-Carrera, the Ministry of Culture in Peru recognized chicha as a valid art form.\u003c/p>\n\u003cp>Alfredo Villar, a Peruvian art historian and a participant at the festival, called chicha “the contemporary baroque.”\u003c/p>\n\u003cp>“It’s overloaded with information. It’s an explosion of color and sound,” Villar says of the music, “It’s like a carnival.”\u003c/p>\n\u003cp>Many of the fans are migrants from the central Andean valley regions of Peru — the Huancayo, who’d flocked to cities like Lima as a result of the \u003ca href=\"https://books.google.com/books?id=UA84AAAAIAAJ&pg=PA26&lpg=PA26&dq=huancayo+land+reform&source=bl&ots=ez78l7XcFv&sig=hkm6MfR0REIRUqV3Z4YRg0izjWk&hl=en&sa=X&ei=uIqVVY_hGMK5ggSLv7vYBw&ved=0CCgQ6AEwBA#v=onepage&q=huancayo%20land%20reform&f=false\" target=\"_blank\" rel=\"noopener\">land reform\u003c/a> in the 1940s.\u003c/p>\n\u003cp>With the music came the art — first posters advertising concerts, then murals with a message.\u003c/p>\n\u003cp>The look of chicha is credited to Los Shapis, an ’80s band, which wore brightly colored outfits inspired by embroidery from their native Huancayo region. Other groups loved the look. And bands began working with street artists to create posters that captured their essence and style with \u003ca href=\"http://www.festival.si.edu/blog/2015/chicha-art-ancestral-colors-modern-designs/\" target=\"_blank\" rel=\"noopener\">neon\u003c/a>-bright colors and big letters.\u003c/p>\n\u003cp>But not everyone in Peru approved of the music and the street art it spawned.\u003c/p>\n\u003cp>“Chicha was actually a disparaging word in the beginning. The lower class listens to this music,” Díaz-Carrera says, “the art and everything associated with it, if you’re in the upper class you didn’t want it on your street.”\u003c/p>\n\u003cp>These class tensions remain.\u003c/p>\n\u003cp>“The elite don’t like chicha art, especially when it’s in the streets,” Villar says. “They’re changing a little bit, but I don’t think there’s sincere change.”\u003c/p>\n\u003cp>The murals offer these communities a way to express themselves, to communicate with each other, and appreciate art outside of the museum setting, says Alexia Fawcett, community engagement manager for the Folklife Festival.\u003c/p>\n\u003cfigure id=\"attachment_10825145\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768-800x533.jpg\" alt=\""Monky" silk screens posters for some of Peru's top chicha bands. (Photo by Joshua Cogan)\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10825145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/n77a8474-9_custom-c88d0627f5549702c8dc173cbe3ed99916a83768.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Monky” silk screens posters for some of Peru’s top chicha bands. (Photo by Joshua Cogan)\u003c/figcaption>\u003c/figure>\n\u003cp>So naturally there was an uproar when the government erased the murals earlier this year. The people of Lima responded on social media with hashtags \u003ca href=\"https://twitter.com/search?q=%23SalvemosLosMurales&src=typd\" target=\"_blank\" rel=\"noopener\">#SalvemosLosMurales\u003c/a> (save the murals) and \u003ca href=\"https://twitter.com/search?q=%23BorraronUnoPintaremosMil&src=typd\" target=\"_blank\" rel=\"noopener\">#BorraronUnoPintaremosMil\u003c/a> (they erased one, we’ll paint a thousand) as well as staged protests.\u003c/p>\n\u003cp>Meanwhile, chicha is finding a global audience. “In other countries we have love and support; they let us do the work we do on the walls,” says Pedro “Monky” Rojas, a chicha pioneer who was also part of the Folklife contingent.\u003c/p>\n\u003cp>Tupac has brought his brightly colored artwork to the walls of many countries — Chile, Tunisia and even the United Kingdom a couple of weeks ago. The art is mainly in the streets — “that’s where it has to be,” Tupac says — but he also offers lettering workshops.\u003c/p>\n\u003cp>And despite the Peruvian government’s recent action, chicha continues to flourish in the streets where it was born.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can go to Lima, go to the northern coast, the southern coast,” says Diaz-Carrera. “Chicha is everywhere.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Peruvians+Love+Their+Chicha+Street+Art.+The+Government+...+Not+So+Much&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "David Maisel's Surreal Aerial Photos Reveal Scars on the American West",
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"content": "\u003cp>In 2001, during a flight in the tiny Cessna he’d chartered, photographer \u003ca href=\"http://davidmaisel.com\" target=\"_blank\" rel=\"noopener\">David Maisel\u003c/a> felt his fingers grow so numb from the cold that he began to lose dexterity operating his medium-format camera. When Maisel told the pilot, the man laughed. It’s not the cold, the pilot explained, it’s your brain. \u003c/p>\n\u003cp>[contextly_auto_sidebar id=”umUhcWIaUnJ6tPVb6f8FEvqgMJdx9GSf”]\u003c/p>\n\u003cp>The pilot had soared up to 10,000 feet, circling and banking the plane for hours at a time, and Maisel’s brain was indeed starved of oxygen. Loss of dexterity, extreme cold and heat, and cramped conditions are all challenges the photographer must endure as he uses altitude to compose his stunning images. \u003c/p>\n\u003cp>“Shooting from the air gives me a perspective that’s not usual. It also allows for gathering information that you ordinarily wouldn’t be able to see,” Maisel said. “It also allows for a graphic intensity to the images. When you’re removing the sky and most sense of scale from the frame, the images become abstract.”\u003c/p>\n\u003cp>The results from that day’s flight, titled \u003ca href=\"http://davidmaisel.com/portfolio-item/the-lake-project/#1\" target=\"_blank\" rel=\"noopener\">The Lake Project\u003c/a>, are a series of surreal and otherworldly pictures of salt flats that are all that remain of what was once California’s biggest natural lake. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For more than three decades, David Maisel has been making aerial photographs of Western lands that have suffered “traumatic” interventions by human beings. These include \u003ca href=\"http://davidmaisel.com/portfolio-item/american-mine/#1\" target=\"_blank\" rel=\"noopener\">open pit mines\u003c/a>, large swaths of \u003ca href=\"http://davidmaisel.com/portfolio-item/the-forest/#1\" target=\"_blank\" rel=\"noopener\">clear-cut forests\u003c/a> and \u003ca href=\"http://davidmaisel.com/portfolio-item/oblivion/#1\" target=\"_blank\" rel=\"noopener\">over-developed urban areas\u003c/a>.\u003c/p>\n\u003cp>“I don’t consider myself an environmental photographer,” Maisel said. “I don’t even consider myself a landscape photographer…the pictures are a starting point to seeing how traumatic these sites are and how natural resource collection is incredibly damaging.” \u003c/p>\n\u003cp>In May, the KQED Arts crew hit the road to follow the Marin County- based photographer as he returned to Owens Lake, located on the eastern side of the Sierra Nevada, about 200 miles north of Los Angeles. In 1913 the City of Los Angeles diverted the Owens River, the sole source of water to the lake, to flow into the newly constructed L.A. Aqueduct. Within ten years, the lake had completely dried up, exposing the soils and minerals to high winds, creating toxic dust storms. \u003c/p>\n\u003caside class=\"pullquote alignright\">\nShooting from the air gives me a perspective that’s not usual… When you’re removing the sky and most sense of scale from the frame, the images become abstract.\u003cbr>\n\u003ccite>David Maisel\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>The Los Angeles Department of Water and Power has tried over the years to keep down the dust by irrigating the lake, covering it with gravel, and planting vegetation to recreate natural habitat. The massive engineering project has changed the way Owens Lake appears from outer space, providing incredible shapes, forms and colors that fascinate Maisel. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maisel’s next series is focused on Dugway Proving Ground in Utah, a military site larger than the state of Rhode Island, where the U.S. government tests and develops defense systems against chemical and biological weapons. It took him more than a decade to obtain permission from the U.S. military to photograph the site from both the ground and the air. Maisel plans to include the Dugway images, along with his latest Owens Lake photographs, in a new exhibition opening Jan. 7, 2016 at \u003ca href=\"http://www.hainesgallery.com\" target=\"_blank\" rel=\"noopener\">the Haines Gallery\u003c/a> in San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2001, during a flight in the tiny Cessna he’d chartered, photographer \u003ca href=\"http://davidmaisel.com\" target=\"_blank\" rel=\"noopener\">David Maisel\u003c/a> felt his fingers grow so numb from the cold that he began to lose dexterity operating his medium-format camera. When Maisel told the pilot, the man laughed. It’s not the cold, the pilot explained, it’s your brain. \u003c/p>\n\u003cp>[contextly_auto_sidebar id=”umUhcWIaUnJ6tPVb6f8FEvqgMJdx9GSf”]\u003c/p>\n\u003cp>The pilot had soared up to 10,000 feet, circling and banking the plane for hours at a time, and Maisel’s brain was indeed starved of oxygen. Loss of dexterity, extreme cold and heat, and cramped conditions are all challenges the photographer must endure as he uses altitude to compose his stunning images. \u003c/p>\n\u003cp>“Shooting from the air gives me a perspective that’s not usual. It also allows for gathering information that you ordinarily wouldn’t be able to see,” Maisel said. “It also allows for a graphic intensity to the images. When you’re removing the sky and most sense of scale from the frame, the images become abstract.”\u003c/p>\n\u003cp>The results from that day’s flight, titled \u003ca href=\"http://davidmaisel.com/portfolio-item/the-lake-project/#1\" target=\"_blank\" rel=\"noopener\">The Lake Project\u003c/a>, are a series of surreal and otherworldly pictures of salt flats that are all that remain of what was once California’s biggest natural lake. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For more than three decades, David Maisel has been making aerial photographs of Western lands that have suffered “traumatic” interventions by human beings. These include \u003ca href=\"http://davidmaisel.com/portfolio-item/american-mine/#1\" target=\"_blank\" rel=\"noopener\">open pit mines\u003c/a>, large swaths of \u003ca href=\"http://davidmaisel.com/portfolio-item/the-forest/#1\" target=\"_blank\" rel=\"noopener\">clear-cut forests\u003c/a> and \u003ca href=\"http://davidmaisel.com/portfolio-item/oblivion/#1\" target=\"_blank\" rel=\"noopener\">over-developed urban areas\u003c/a>.\u003c/p>\n\u003cp>“I don’t consider myself an environmental photographer,” Maisel said. “I don’t even consider myself a landscape photographer…the pictures are a starting point to seeing how traumatic these sites are and how natural resource collection is incredibly damaging.” \u003c/p>\n\u003cp>In May, the KQED Arts crew hit the road to follow the Marin County- based photographer as he returned to Owens Lake, located on the eastern side of the Sierra Nevada, about 200 miles north of Los Angeles. In 1913 the City of Los Angeles diverted the Owens River, the sole source of water to the lake, to flow into the newly constructed L.A. Aqueduct. Within ten years, the lake had completely dried up, exposing the soils and minerals to high winds, creating toxic dust storms. \u003c/p>\n\u003caside class=\"pullquote alignright\">\nShooting from the air gives me a perspective that’s not usual… When you’re removing the sky and most sense of scale from the frame, the images become abstract.\u003cbr>\n\u003ccite>David Maisel\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>The Los Angeles Department of Water and Power has tried over the years to keep down the dust by irrigating the lake, covering it with gravel, and planting vegetation to recreate natural habitat. The massive engineering project has changed the way Owens Lake appears from outer space, providing incredible shapes, forms and colors that fascinate Maisel. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maisel’s next series is focused on Dugway Proving Ground in Utah, a military site larger than the state of Rhode Island, where the U.S. government tests and develops defense systems against chemical and biological weapons. It took him more than a decade to obtain permission from the U.S. military to photograph the site from both the ground and the air. Maisel plans to include the Dugway images, along with his latest Owens Lake photographs, in a new exhibition opening Jan. 7, 2016 at \u003ca href=\"http://www.hainesgallery.com\" target=\"_blank\" rel=\"noopener\">the Haines Gallery\u003c/a> in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hundreds of people gathered in San Francisco’s Mission District on Wednesday to rally in support of a vandalized mural that celebrates Latino LGBTQ.\u003c/p>\n\u003cp>The rally featured speakers, dancers and poets.\u003c/p>\n\u003cfigure id=\"attachment_10813803\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10813803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4184-800x533.jpg\" alt=\"The crowd at the Galeria de la Raza rally. (Photo by Jessica Placzek)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Galeria de la Raza rally. (Photo by Jessica Placzek) \u003ccite>(Photo: Jessica Placzek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Manuel Paul’s mural, “Por Vida,” has been defaced four times since it was put up for Pride month by Galería de la Raza, an art gallery located at the corner of 24th and Bryant Street.\u003c/p>\n\u003cp>The mural depicts two gay couples and a trans man.\u003c/p>\n\u003cp>San Francisco Supervisor David Campos, an openly gay Latino, helped organize the event along with Galería de la Raza.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“After such a beautiful and historic Pride weekend, it was heartbreaking to wake up to the news that a mural that celebrates Latino/Chicano LGBT culture in the Mission was destroyed yet again, this time by arson,” Campos said.\u003c/p>\n\u003cp>The mural was defaced with spray paint repeatedly during the month of June. It costs the gallery about $3000 to replace the mural. Gallery staff eventually had the mural printed on vinyl, enabling them to scrub off any spray paint.\u003c/p>\n\u003cp>But a determined arsonist or group of arsonists destroyed the mural again on Monday.\u003c/p>\n\u003cp>“They could have set fire not just to the mural, but to the building,” Campos said. “I think it’s important to call it out for what it is. It’s an act of hate.”\u003c/p>\n\u003cp>The San Francisco Police Department is investigating the case as a hate crime. Investigators are currently reviewing video footage of this and previous attacks captured by surveillance cameras.\u003c/p>\n\u003cp>Speakers at the rally emphasized nonviolence, compassion and love. “In the face of violence, the response is healing,” Estela Reyes Garcia, executive director of the Latino health services organization Instituto Familiar de la Raza, said. “We want to rise to the idea of restorative justice.”\u003c/p>\n\u003cp>Luciano Sagastume, a trans community organizer, lives three blocks from the mural. Sagastume said the mural is personally important because he hardly ever sees depictions of Latino trans men.\u003c/p>\n\u003cp>When he first saw it, he didn’t believe it.\u003c/p>\n\u003cp>“The first time I walked by, I told my friend ‘I really like how those thorns on that chest kind of look like they could be my surgery scars. That’s so cool, like, I’m kind of there,'” Sagastume said. “And my friend turned to me and she says, ‘Luciano, that is a Latino trans man up there. That is you.’”\u003c/p>\n\u003cfigure id=\"attachment_11791662\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/LGBTQ-mural-rally-1.jpg\" alt=\"Luciano Sagastume, a transgender community organizer.\" width=\"400\" height=\"600\" class=\"size-full wp-image-11791662\">\u003cfigcaption class=\"wp-caption-text\">Luciano Sagastume, a transgender community organizer. \u003ccite>(Photo: Jessica Placzek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Henry Pacheco, communications coordinator for Galería de la Raza, said the gallery and mural artist Paul have been subjected to homophobic violent threats on social media.\u003c/p>\n\u003cp>The gallery does not plan to replace the mural again. Pacheco said leaving the burnt mural standing makes a more powerful statement.\u003c/p>\n\u003cp>Pacheco said the gallery is grateful for all the support it has received from the community.\u003c/p>\n\u003cp>“Tonight we are feeling happy and exited that the community came out to support galleria and LGBTQ people,” Pacheco said. “Love is always going to conquer hate.”\u003c/p>\n\u003cp>Galería de la Raza plans to host a community forum on July 18 to further explore the issues surrounding the events of the past few weeks.\u003c/p>\n\u003cp>\u003ci>Watch this video from KQED’s Wendy Goodfriend of Luciano Sagastume speaking at the rally:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4tTCitYoi2o\u003c/p>\n\n",
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"excerpt": "Manuel Paul’s mural, \"Por Vida,\" has been defaced numerous times since it was put up for Pride month by Mission art gallery Galeria de la Raza. The San Francisco Police Department is investigating the case as a hate crime. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hundreds of people gathered in San Francisco’s Mission District on Wednesday to rally in support of a vandalized mural that celebrates Latino LGBTQ.\u003c/p>\n\u003cp>The rally featured speakers, dancers and poets.\u003c/p>\n\u003cfigure id=\"attachment_10813803\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10813803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4184-800x533.jpg\" alt=\"The crowd at the Galeria de la Raza rally. (Photo by Jessica Placzek)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4184-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Galeria de la Raza rally. (Photo by Jessica Placzek) \u003ccite>(Photo: Jessica Placzek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Manuel Paul’s mural, “Por Vida,” has been defaced four times since it was put up for Pride month by Galería de la Raza, an art gallery located at the corner of 24th and Bryant Street.\u003c/p>\n\u003cp>The mural depicts two gay couples and a trans man.\u003c/p>\n\u003cp>San Francisco Supervisor David Campos, an openly gay Latino, helped organize the event along with Galería de la Raza.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“After such a beautiful and historic Pride weekend, it was heartbreaking to wake up to the news that a mural that celebrates Latino/Chicano LGBT culture in the Mission was destroyed yet again, this time by arson,” Campos said.\u003c/p>\n\u003cp>The mural was defaced with spray paint repeatedly during the month of June. It costs the gallery about $3000 to replace the mural. Gallery staff eventually had the mural printed on vinyl, enabling them to scrub off any spray paint.\u003c/p>\n\u003cp>But a determined arsonist or group of arsonists destroyed the mural again on Monday.\u003c/p>\n\u003cp>“They could have set fire not just to the mural, but to the building,” Campos said. “I think it’s important to call it out for what it is. It’s an act of hate.”\u003c/p>\n\u003cp>The San Francisco Police Department is investigating the case as a hate crime. Investigators are currently reviewing video footage of this and previous attacks captured by surveillance cameras.\u003c/p>\n\u003cp>Speakers at the rally emphasized nonviolence, compassion and love. “In the face of violence, the response is healing,” Estela Reyes Garcia, executive director of the Latino health services organization Instituto Familiar de la Raza, said. “We want to rise to the idea of restorative justice.”\u003c/p>\n\u003cp>Luciano Sagastume, a trans community organizer, lives three blocks from the mural. Sagastume said the mural is personally important because he hardly ever sees depictions of Latino trans men.\u003c/p>\n\u003cp>When he first saw it, he didn’t believe it.\u003c/p>\n\u003cp>“The first time I walked by, I told my friend ‘I really like how those thorns on that chest kind of look like they could be my surgery scars. That’s so cool, like, I’m kind of there,'” Sagastume said. “And my friend turned to me and she says, ‘Luciano, that is a Latino trans man up there. That is you.’”\u003c/p>\n\u003cfigure id=\"attachment_11791662\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/LGBTQ-mural-rally-1.jpg\" alt=\"Luciano Sagastume, a transgender community organizer.\" width=\"400\" height=\"600\" class=\"size-full wp-image-11791662\">\u003cfigcaption class=\"wp-caption-text\">Luciano Sagastume, a transgender community organizer. \u003ccite>(Photo: Jessica Placzek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Henry Pacheco, communications coordinator for Galería de la Raza, said the gallery and mural artist Paul have been subjected to homophobic violent threats on social media.\u003c/p>\n\u003cp>The gallery does not plan to replace the mural again. Pacheco said leaving the burnt mural standing makes a more powerful statement.\u003c/p>\n\u003cp>Pacheco said the gallery is grateful for all the support it has received from the community.\u003c/p>\n\u003cp>“Tonight we are feeling happy and exited that the community came out to support galleria and LGBTQ people,” Pacheco said. “Love is always going to conquer hate.”\u003c/p>\n\u003cp>Galería de la Raza plans to host a community forum on July 18 to further explore the issues surrounding the events of the past few weeks.\u003c/p>\n\u003cp>\u003ci>Watch this video from KQED’s Wendy Goodfriend of Luciano Sagastume speaking at the rally:\u003c/i>\u003c/p>\n\u003cp>\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/4tTCitYoi2o'\n title='//www.youtube.com/embed/4tTCitYoi2o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Celebrities Try on Their Artist Hats, Find Not All Berets Fit",
"headTitle": "Celebrities Try on Their Artist Hats, Find Not All Berets Fit | KQED",
"content": "\u003cp>Celebrities aren’t just at the checkout aisle at the supermarket anymore. They’ve infiltrated the art world.\u003c/p>\n\u003cp>Just a few weeks ago, MoMA’s \u003ca href=\"http://www.newyorker.com/culture/cultural-comment/moma-embarrassing-bjork-crush\" target=\"_blank\" rel=\"noopener\">“embarrassing”\u003c/a> Björk show closed. Two years before, actress Tilda Swinton \u003ca href=\"http://www.vulture.com/2013/03/jerry-saltz-moma-sleeping-tilda-swinton.html\" target=\"_blank\" rel=\"noopener\">slept in a glass case\u003c/a> in the museum’s atrium, \u003ca href=\"http://www.serpentinegalleries.org/exhibitions-events/maybe\" target=\"_blank\" rel=\"noopener\">reprising a similar stunt\u003c/a> the actress pulled off at The Serpentine Gallery in London back in the mid-1990s. And now San Francisco’s Contemporary Jewish Museum opens \u003cem>\u003ca href=\"http://www.thecjm.org/on-view/upcoming/amy-winehouse-a-family-portrait/about\" target=\"_blank\" rel=\"noopener\">Amy Winehouse: A Family Portrait\u003c/a>\u003c/em> at the end of July, though to be fair, the exhibition is more about the late British pop star’s life and legacy than any serious attempt to classify her as a visual artist.\u003c/p>\n\u003cp>Art history is filled with multi-talented individuals who float effortlessly through the artistic disciplines. But it is also filled with dilettantes.\u003c/p>\n\u003cp>Here are seven chameleons (or crossover artists, if you will) who shifted from stage or screen to the white cube — to mixed results.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10786891\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10786891 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Franco400-400x264.jpg\" alt=\"James Franco, 'New Film Still #42,' 2013. (Courtesy of Pace Gallery)\" width=\"400\" height=\"264\">\u003cfigcaption class=\"wp-caption-text\">James Franco, ‘New Film Still #42,’ 2013. (Courtesy of Pace Gallery)\u003c/figcaption>\u003c/figure>\n\u003ch3>James Franco\u003c/h3>\n\u003cp>Where hasn’t this man dabbled? It’s hard to keep track of all his side projects, let alone separate the spoofs from the serious offerings. The most glaring of the latter was a much-maligned 2014 exhibition of photographs at New York’s Pace Gallery. \u003cem>\u003ca href=\"http://www.pacegallery.com/newyork/exhibitions/12662/new-film-stills\" target=\"_blank\" rel=\"noopener\">New Film Stills\u003c/a>\u003c/em> recreated images from Cindy Sherman’s seminal series \u003cem>Untitled Film Series\u003c/em> — with Franco posing in drag as the young Sherman. The artist statement had something to do with role-reversal — Sherman, an artist, looked to film; Franco, an actor, looks to art. But the final word came from Sherman herself. In \u003ca href=\"http://observer.com/2014/04/cindy-sherman-on-james-francos-new-show-i-dont-know-that-i-can-say-its-art/\" target=\"_blank\" rel=\"noopener\">a candid moment\u003c/a> with the \u003cem>Observer\u003c/em> she said, “I don’t know that I can say it’s art.”\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10786892\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10786892 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gordon400-400x300.jpg\" alt=\"Kim Gordon, 'Chelsea Enclave,' 2015. (Courtesy of 303 Gallery)\" width=\"400\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Kim Gordon, ‘Chelsea Enclave,’ 2015. (Courtesy of 303 Gallery)\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Gordon\u003c/h3>\n\u003cp>This might be a little known fact, but Kim Gordon has always been an artist. Before Sonic Youth, before her fashion line, before moving to New York, Gordon studied art. She works in painting and sculpture, with a messy, punk-rock aesthetic of splatters and drips, silver spray paint and glitter. In her current solo show at 303 Gallery, \u003ca href=\"http://www.303gallery.com/exhibition/index.php?exhid=277&p=images\" target=\"_blank\" rel=\"noopener\">\u003cem>Design Office: The City is a Garden\u003c/em>\u003c/a>, crumpled resin-covered canvases hold their shape like fake rocks, their surfaces covered with black text that takes jabs at New York’s highly manicured and antiseptic redevelopment.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10786902\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10786902 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Picasso400-400x225.jpg\" alt=\"'Picasso Baby: A Performance Art Film,' 2013. (Courtesy of HBO Films)\" width=\"400\" height=\"225\">\u003cfigcaption class=\"wp-caption-text\">‘Picasso Baby: A Performance Art Film,’ 2013. (Courtesy of HBO Films)\u003c/figcaption>\u003c/figure>\n\u003ch3>Jay-Z\u003c/h3>\n\u003cp>Jay-Z aired his first \u003ca href=\"https://vimeo.com/80930630\" target=\"_blank\" rel=\"noopener\">“performance art video”\u003c/a> on HBO, a ten-minute version of a six-hour performance at Pace Gallery in 2013. The artwork doubles as a music video for “Picasso Baby” — a song about living large with expensive art. Inside the gallery, Jay-Z raps for a celebrity audience, some of whom take turns sitting on a bench to gaze at the performer. The event was “explicitly inspired” by Marina Abramović’s \u003cem>The Artist Is Present\u003c/em>, and Abramović herself makes an appearance. Jay-Z likens the event to a concert in a different setting, ignoring the strange blend of celebrity cameos, adoring fans and armchair philosophizing. “We’re artists, we’re alike, we’re cousins,” he says.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10787048\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10787048 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Cyrus400-400x277.jpg\" alt=\"Miley Cyrus artwork on view at Miami Basel, 2014. (Photo by V Magazine)\" width=\"400\" height=\"277\">\u003cfigcaption class=\"wp-caption-text\">Miley Cyrus’ artwork on view at Miami Basel, 2014. (Photo by V Magazine)\u003c/figcaption>\u003c/figure>\n\u003ch3>Miley Cyrus\u003c/h3>\n\u003cp>The child star turned tongue-waggling pop figure who brought us “Wrecking Ball,” also produces readymade sculpture. As Cyrus puts it in her \u003ca href=\"https://news.artnet.com/people/miley-cyrus-makes-erotic-sculptures-95337\" target=\"_blank\" rel=\"noopener\">artist statement\u003c/a>, courtesy of artnet News: “I had a bunch of f**king junk and s**t, and so instead of letting it be junk and s**t, I turned it into something that made me happy.” The pieces, over-the-top assemblages of cheap toys, craft materials, drug paraphernalia and plastic beads, appeared at Art Basel Miami in 2014 thanks to former Los Angeles Museum of Contemporary Art director Jeffrey Deitch.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10786894\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10786894 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/LaBoeuf400-400x269.jpg\" alt=\"LaBeouf, Rönkkö & Turner, '#iamsorry,' 2014. (Courtesy of the artists)\" width=\"400\" height=\"269\">\u003cfigcaption class=\"wp-caption-text\">LaBeouf, Rönkkö & Turner, ‘#iamsorry,’ 2014. (Courtesy of the artists)\u003c/figcaption>\u003c/figure>\n\u003ch3>Shia LaBeouf\u003c/h3>\n\u003cp>Like Cyrus, Shia LaBeouf is another grown up child star who decided he could do it all. LaBeouf’s career as a performance artist can be traced back to the “existential crisis” he suffered after Oakland cartoonist Daniel Clowes accused him of plagiarism in 2013. \u003ca href=\"http://thecampaignbook.com/\" target=\"_blank\" rel=\"noopener\">Collaborating\u003c/a> with artists Nastja Säde Rönkkö and Luke Turner, LaBeouf wore a paper bag over his head proclaiming “I AM NOT FAMOUS ANYMORE,” commissioned some skywriting, staged an endurance performance at Los Angeles’ Cohen Gallery and overall, showed himself to have an amazing talent for appropriating and regurgitating the words and work of others.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10787051\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10787051 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Shawkat400b-e1434931096580-400x327.jpg\" alt=\"Alia Shawkat, 'bin laden.' (Courtesy of the artist)\" width=\"400\" height=\"327\">\u003cfigcaption class=\"wp-caption-text\">Alia Shawkat, ‘bin laden.’ (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Alia Shawkat\u003c/h3>\n\u003cp>Remember Maeby Fünke from television’s \u003cem>Arrested Development\u003c/em>? She makes art now! Alia Shawkat, the actress behind the con artist character and other screen projects, creates mixed media works on paper. Her pieces (for sale on \u003ca href=\"http://mutantalia.com/\" target=\"_blank\" rel=\"noopener\">her website\u003c/a>) are full of strange cartoonish characters, Raymond Pettibon-like comics and surreal scenes of human and nonhuman intermingling. Watch Shawkat host a series of \u003ca href=\"https://www.youtube.com/watch?v=W7KAymZOsLI&list=PLLdkjkOBv9VRyBdiN3jUUxpalpB9t108y\" target=\"_blank\" rel=\"noopener\">artist interviews for MOCAtv\u003c/a> and revel in her endearingly awkward giggle.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10786896\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10786896 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Sly400-400x339.jpg\" alt=\"Stallone at his museum opening in Nice, 2015. (Courtesy of the artist)\" width=\"400\" height=\"339\">\u003cfigcaption class=\"wp-caption-text\">Stallone at his museum opening in Nice, 2015. (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Sylvester Stallone\u003c/h3>\n\u003cp>Yes, Sly is a painter. \u003cem>Real Love: Paintings 1975-2015\u003c/em>, his recent retrospective at the Galerie Contemporaine du Musée de Nice, spanned four decades and charted the film actor’s development as an artist from figurative works to large abstract canvases. Stallone’s paintings are expressionistic, full of bright colors, heavy brushstrokes, fellow celebrities and recurring images of clocks. No word yet on an American museum retrospective. But like Rocky and Apollo Creed, I believe “America is the land of opportunity.”\u003c/p>\n\u003c/div>\n\u003ch3>The list goes on…\u003c/h3>\n\u003cp>Dennis Hopper was an \u003ca href=\"http://dennishopper.com/art/\" target=\"_blank\" rel=\"noopener\">accomplished photographer\u003c/a>. Mark Mothersbaugh returned to his visual roots with a \u003ca href=\"http://mcadenver.org/myopia.php\" target=\"_blank\" rel=\"noopener\">solo museum exhibition\u003c/a>. Director \u003ca href=\"http://www.gagosian.com/exhibitions/february-26-2011--james-franco--gus-van-sant\" target=\"_blank\" rel=\"noopener\">Gus Van Sant paints\u003c/a>. Pierce Brosnan, Viggo Mortensen and Johnny Depp dabble in oils. Lucy Liu has some pretty interesting work and a \u003ca href=\"http://lucyliu.net/\" target=\"_blank\" rel=\"noopener\">really nice website\u003c/a>. And \u003ca href=\"http://moby-photography.com/\" target=\"_blank\" rel=\"noopener\">Moby takes pictures\u003c/a> of his concert crowds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Other suggestions for artists leaping off the magazine racks? Leave ’em in the comments.\u003c/em>\u003c/p>\n\n",
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"excerpt": "When high-profile actors and musicians shift their attention to visual art, the results range from quality to disaster.",
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"title": "Celebrities Try on Their Artist Hats, Find Not All Berets Fit | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Celebrities aren’t just at the checkout aisle at the supermarket anymore. They’ve infiltrated the art world.\u003c/p>\n\u003cp>Just a few weeks ago, MoMA’s \u003ca href=\"http://www.newyorker.com/culture/cultural-comment/moma-embarrassing-bjork-crush\" target=\"_blank\" rel=\"noopener\">“embarrassing”\u003c/a> Björk show closed. Two years before, actress Tilda Swinton \u003ca href=\"http://www.vulture.com/2013/03/jerry-saltz-moma-sleeping-tilda-swinton.html\" target=\"_blank\" rel=\"noopener\">slept in a glass case\u003c/a> in the museum’s atrium, \u003ca href=\"http://www.serpentinegalleries.org/exhibitions-events/maybe\" target=\"_blank\" rel=\"noopener\">reprising a similar stunt\u003c/a> the actress pulled off at The Serpentine Gallery in London back in the mid-1990s. And now San Francisco’s Contemporary Jewish Museum opens \u003cem>\u003ca href=\"http://www.thecjm.org/on-view/upcoming/amy-winehouse-a-family-portrait/about\" target=\"_blank\" rel=\"noopener\">Amy Winehouse: A Family Portrait\u003c/a>\u003c/em> at the end of July, though to be fair, the exhibition is more about the late British pop star’s life and legacy than any serious attempt to classify her as a visual artist.\u003c/p>\n\u003cp>Art history is filled with multi-talented individuals who float effortlessly through the artistic disciplines. But it is also filled with dilettantes.\u003c/p>\n\u003cp>Here are seven chameleons (or crossover artists, if you will) who shifted from stage or screen to the white cube — to mixed results.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10786891\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10786891 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Franco400-400x264.jpg\" alt=\"James Franco, 'New Film Still #42,' 2013. (Courtesy of Pace Gallery)\" width=\"400\" height=\"264\">\u003cfigcaption class=\"wp-caption-text\">James Franco, ‘New Film Still #42,’ 2013. (Courtesy of Pace Gallery)\u003c/figcaption>\u003c/figure>\n\u003ch3>James Franco\u003c/h3>\n\u003cp>Where hasn’t this man dabbled? It’s hard to keep track of all his side projects, let alone separate the spoofs from the serious offerings. The most glaring of the latter was a much-maligned 2014 exhibition of photographs at New York’s Pace Gallery. \u003cem>\u003ca href=\"http://www.pacegallery.com/newyork/exhibitions/12662/new-film-stills\" target=\"_blank\" rel=\"noopener\">New Film Stills\u003c/a>\u003c/em> recreated images from Cindy Sherman’s seminal series \u003cem>Untitled Film Series\u003c/em> — with Franco posing in drag as the young Sherman. The artist statement had something to do with role-reversal — Sherman, an artist, looked to film; Franco, an actor, looks to art. But the final word came from Sherman herself. In \u003ca href=\"http://observer.com/2014/04/cindy-sherman-on-james-francos-new-show-i-dont-know-that-i-can-say-its-art/\" target=\"_blank\" rel=\"noopener\">a candid moment\u003c/a> with the \u003cem>Observer\u003c/em> she said, “I don’t know that I can say it’s art.”\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10786892\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10786892 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gordon400-400x300.jpg\" alt=\"Kim Gordon, 'Chelsea Enclave,' 2015. (Courtesy of 303 Gallery)\" width=\"400\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Kim Gordon, ‘Chelsea Enclave,’ 2015. (Courtesy of 303 Gallery)\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Gordon\u003c/h3>\n\u003cp>This might be a little known fact, but Kim Gordon has always been an artist. Before Sonic Youth, before her fashion line, before moving to New York, Gordon studied art. She works in painting and sculpture, with a messy, punk-rock aesthetic of splatters and drips, silver spray paint and glitter. In her current solo show at 303 Gallery, \u003ca href=\"http://www.303gallery.com/exhibition/index.php?exhid=277&p=images\" target=\"_blank\" rel=\"noopener\">\u003cem>Design Office: The City is a Garden\u003c/em>\u003c/a>, crumpled resin-covered canvases hold their shape like fake rocks, their surfaces covered with black text that takes jabs at New York’s highly manicured and antiseptic redevelopment.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10786902\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10786902 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Picasso400-400x225.jpg\" alt=\"'Picasso Baby: A Performance Art Film,' 2013. (Courtesy of HBO Films)\" width=\"400\" height=\"225\">\u003cfigcaption class=\"wp-caption-text\">‘Picasso Baby: A Performance Art Film,’ 2013. (Courtesy of HBO Films)\u003c/figcaption>\u003c/figure>\n\u003ch3>Jay-Z\u003c/h3>\n\u003cp>Jay-Z aired his first \u003ca href=\"https://vimeo.com/80930630\" target=\"_blank\" rel=\"noopener\">“performance art video”\u003c/a> on HBO, a ten-minute version of a six-hour performance at Pace Gallery in 2013. The artwork doubles as a music video for “Picasso Baby” — a song about living large with expensive art. Inside the gallery, Jay-Z raps for a celebrity audience, some of whom take turns sitting on a bench to gaze at the performer. The event was “explicitly inspired” by Marina Abramović’s \u003cem>The Artist Is Present\u003c/em>, and Abramović herself makes an appearance. Jay-Z likens the event to a concert in a different setting, ignoring the strange blend of celebrity cameos, adoring fans and armchair philosophizing. “We’re artists, we’re alike, we’re cousins,” he says.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10787048\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10787048 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Cyrus400-400x277.jpg\" alt=\"Miley Cyrus artwork on view at Miami Basel, 2014. (Photo by V Magazine)\" width=\"400\" height=\"277\">\u003cfigcaption class=\"wp-caption-text\">Miley Cyrus’ artwork on view at Miami Basel, 2014. (Photo by V Magazine)\u003c/figcaption>\u003c/figure>\n\u003ch3>Miley Cyrus\u003c/h3>\n\u003cp>The child star turned tongue-waggling pop figure who brought us “Wrecking Ball,” also produces readymade sculpture. As Cyrus puts it in her \u003ca href=\"https://news.artnet.com/people/miley-cyrus-makes-erotic-sculptures-95337\" target=\"_blank\" rel=\"noopener\">artist statement\u003c/a>, courtesy of artnet News: “I had a bunch of f**king junk and s**t, and so instead of letting it be junk and s**t, I turned it into something that made me happy.” The pieces, over-the-top assemblages of cheap toys, craft materials, drug paraphernalia and plastic beads, appeared at Art Basel Miami in 2014 thanks to former Los Angeles Museum of Contemporary Art director Jeffrey Deitch.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10786894\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10786894 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/LaBoeuf400-400x269.jpg\" alt=\"LaBeouf, Rönkkö & Turner, '#iamsorry,' 2014. (Courtesy of the artists)\" width=\"400\" height=\"269\">\u003cfigcaption class=\"wp-caption-text\">LaBeouf, Rönkkö & Turner, ‘#iamsorry,’ 2014. (Courtesy of the artists)\u003c/figcaption>\u003c/figure>\n\u003ch3>Shia LaBeouf\u003c/h3>\n\u003cp>Like Cyrus, Shia LaBeouf is another grown up child star who decided he could do it all. LaBeouf’s career as a performance artist can be traced back to the “existential crisis” he suffered after Oakland cartoonist Daniel Clowes accused him of plagiarism in 2013. \u003ca href=\"http://thecampaignbook.com/\" target=\"_blank\" rel=\"noopener\">Collaborating\u003c/a> with artists Nastja Säde Rönkkö and Luke Turner, LaBeouf wore a paper bag over his head proclaiming “I AM NOT FAMOUS ANYMORE,” commissioned some skywriting, staged an endurance performance at Los Angeles’ Cohen Gallery and overall, showed himself to have an amazing talent for appropriating and regurgitating the words and work of others.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10787051\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10787051 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Shawkat400b-e1434931096580-400x327.jpg\" alt=\"Alia Shawkat, 'bin laden.' (Courtesy of the artist)\" width=\"400\" height=\"327\">\u003cfigcaption class=\"wp-caption-text\">Alia Shawkat, ‘bin laden.’ (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Alia Shawkat\u003c/h3>\n\u003cp>Remember Maeby Fünke from television’s \u003cem>Arrested Development\u003c/em>? She makes art now! Alia Shawkat, the actress behind the con artist character and other screen projects, creates mixed media works on paper. Her pieces (for sale on \u003ca href=\"http://mutantalia.com/\" target=\"_blank\" rel=\"noopener\">her website\u003c/a>) are full of strange cartoonish characters, Raymond Pettibon-like comics and surreal scenes of human and nonhuman intermingling. Watch Shawkat host a series of \u003ca href=\"https://www.youtube.com/watch?v=W7KAymZOsLI&list=PLLdkjkOBv9VRyBdiN3jUUxpalpB9t108y\" target=\"_blank\" rel=\"noopener\">artist interviews for MOCAtv\u003c/a> and revel in her endearingly awkward giggle.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10786896\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10786896 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Sly400-400x339.jpg\" alt=\"Stallone at his museum opening in Nice, 2015. (Courtesy of the artist)\" width=\"400\" height=\"339\">\u003cfigcaption class=\"wp-caption-text\">Stallone at his museum opening in Nice, 2015. (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Sylvester Stallone\u003c/h3>\n\u003cp>Yes, Sly is a painter. \u003cem>Real Love: Paintings 1975-2015\u003c/em>, his recent retrospective at the Galerie Contemporaine du Musée de Nice, spanned four decades and charted the film actor’s development as an artist from figurative works to large abstract canvases. Stallone’s paintings are expressionistic, full of bright colors, heavy brushstrokes, fellow celebrities and recurring images of clocks. No word yet on an American museum retrospective. But like Rocky and Apollo Creed, I believe “America is the land of opportunity.”\u003c/p>\n\u003c/div>\n\u003ch3>The list goes on…\u003c/h3>\n\u003cp>Dennis Hopper was an \u003ca href=\"http://dennishopper.com/art/\" target=\"_blank\" rel=\"noopener\">accomplished photographer\u003c/a>. Mark Mothersbaugh returned to his visual roots with a \u003ca href=\"http://mcadenver.org/myopia.php\" target=\"_blank\" rel=\"noopener\">solo museum exhibition\u003c/a>. Director \u003ca href=\"http://www.gagosian.com/exhibitions/february-26-2011--james-franco--gus-van-sant\" target=\"_blank\" rel=\"noopener\">Gus Van Sant paints\u003c/a>. Pierce Brosnan, Viggo Mortensen and Johnny Depp dabble in oils. Lucy Liu has some pretty interesting work and a \u003ca href=\"http://lucyliu.net/\" target=\"_blank\" rel=\"noopener\">really nice website\u003c/a>. And \u003ca href=\"http://moby-photography.com/\" target=\"_blank\" rel=\"noopener\">Moby takes pictures\u003c/a> of his concert crowds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Other suggestions for artists leaping off the magazine racks? Leave ’em in the comments.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the latest act of vandalism this month, the mural outside the Mission district’s Galería de la Raza was set on fire Monday night. The section of Manuel Paul’s mural “Por Vida” that depicts two men embracing was burned beyond recognition just after 11 pm.\u003c/p>\n\u003cp>“This is an act of terrorism in every sense of the word,” said Henry Pacheco, Galería’s communications representative. “They are terrorizing the staff of Galería, the people who live in the building, and the larger community. If it weren’t for the person who came with the fire extinguisher, the entire block could’ve been burned down.”\u003c/p>\n\u003cp>The mural, which L.A.-based artist Paul created as a celebration of lowrider culture and Chicano LGBT pride, was first erected on June 12. It has since been reinstalled twice by Galería volunteers after the piece was \u003ca href=\"http://ww2.kqed.org/arts/2015/06/22/mission-district-gallerys-queer-cholo-mural-defaced-again/\">vandalized over two consecutive weekends\u003c/a>, as previously reported by KQED Arts.\u003c/p>\n\u003cp>The most recent acts of vandalism, including Monday night’s arson attack, were captured by surveillance cameras and the footage is currently under review by the San Francisco Police Department (SFPD.)\u003c/p>\n\u003cp>“There was an accelerant that was found at the scene, as well as an incendiary device, and essentially it’s being investigated as a hate crime and an arson,” said SFPD Spokesman Albie Esparza. Esparza described the suspect as a 5’9” white or Hispanic male between the ages of 20-40 who was dressed in black and wearing white gloves. “The suspect did have his face covered in this latest video so we’re asking the public’s help if they know who this person is.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ani Rivera, Galería de la Raza’s executive director, is now working to create a space for her neighbors and community members to talk about the impact of the vandalism.\u003c/p>\n\u003cp>“We have to take this horrible situation and turn it into a healing opportunity,” Rivera said. “The issue is so much bigger than the mural itself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tomorrow night, Galería de la Raza will \u003ca href=\"https://www.facebook.com/events/794025240710866/\" target=\"_blank\" rel=\"noopener\">host a rally\u003c/a> in front of the burned mural to elicit support and feedback from the community.\u003c/p>\n\n",
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"excerpt": "Around 11pm Monday, a section of a mural outside the Mission district’s Galeria de la Raza depicting two men embracing was set on fire.\r\n\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the latest act of vandalism this month, the mural outside the Mission district’s Galería de la Raza was set on fire Monday night. The section of Manuel Paul’s mural “Por Vida” that depicts two men embracing was burned beyond recognition just after 11 pm.\u003c/p>\n\u003cp>“This is an act of terrorism in every sense of the word,” said Henry Pacheco, Galería’s communications representative. “They are terrorizing the staff of Galería, the people who live in the building, and the larger community. If it weren’t for the person who came with the fire extinguisher, the entire block could’ve been burned down.”\u003c/p>\n\u003cp>The mural, which L.A.-based artist Paul created as a celebration of lowrider culture and Chicano LGBT pride, was first erected on June 12. It has since been reinstalled twice by Galería volunteers after the piece was \u003ca href=\"http://ww2.kqed.org/arts/2015/06/22/mission-district-gallerys-queer-cholo-mural-defaced-again/\">vandalized over two consecutive weekends\u003c/a>, as previously reported by KQED Arts.\u003c/p>\n\u003cp>The most recent acts of vandalism, including Monday night’s arson attack, were captured by surveillance cameras and the footage is currently under review by the San Francisco Police Department (SFPD.)\u003c/p>\n\u003cp>“There was an accelerant that was found at the scene, as well as an incendiary device, and essentially it’s being investigated as a hate crime and an arson,” said SFPD Spokesman Albie Esparza. Esparza described the suspect as a 5’9” white or Hispanic male between the ages of 20-40 who was dressed in black and wearing white gloves. “The suspect did have his face covered in this latest video so we’re asking the public’s help if they know who this person is.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ani Rivera, Galería de la Raza’s executive director, is now working to create a space for her neighbors and community members to talk about the impact of the vandalism.\u003c/p>\n\u003cp>“We have to take this horrible situation and turn it into a healing opportunity,” Rivera said. “The issue is so much bigger than the mural itself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tomorrow night, Galería de la Raza will \u003ca href=\"https://www.facebook.com/events/794025240710866/\" target=\"_blank\" rel=\"noopener\">host a rally\u003c/a> in front of the burned mural to elicit support and feedback from the community.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Photographers Divulge Best Places to Take Wedding Pics at SF City Hall",
"headTitle": "Photographers Divulge Best Places to Take Wedding Pics at SF City Hall | KQED",
"content": "\u003cp>San Francisco’s City Hall just celebrated its \u003ca href=\"http://sfcityhall100.com/\" target=\"_blank\" rel=\"noopener\">100th anniversary\u003c/a>. And with last week’s \u003ca href=\"http://ww2.kqed.org/news/2015/06/26/supreme-court-same-sex-marriage\" target=\"_blank\" rel=\"noopener\">landmark Supreme Court decision on same-sex marriage\u003c/a>, the many couples who nobly awaited nationwide marriage equality before tying the knot are now headed to the grand, gold-domed building to apply for marriage licenses.\u003c/p>\n\u003cp>San Francisco’s City Hall is a famously scenic, \u003ca href=\"http://www.sfgov2.org/index.aspx?page=18\" target=\"_blank\" rel=\"noopener\">inexpensive\u003c/a> venue for weddings. (Its colorful history of nuptials is detailed in \u003ca href=\"https://youtu.be/07dfVA0eXMQ?t=8m32s\" target=\"_blank\" rel=\"noopener\">a recent KQED News report\u003c/a>.) Wedding photographers have a long tradition of capturing the building’s architectural elegance and grandeur.\u003c/p>\n\u003cp>We asked a handful of local wedding photographers about their favorite spots to shoot — the nooks and crannies of City Hall where the art of the building itself inspires the art of the camera.\u003c/p>\n\u003cfigure id=\"attachment_10809303\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/JessamynEmbed1.jpg\" alt=\"(Photos: Jessamyn Harris)\" width=\"1100\" height=\"551\" class=\"size-full wp-image-10809303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/JessamynEmbed1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/JessamynEmbed1-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/JessamynEmbed1-800x401.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/JessamynEmbed1-960x481.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">(Photos: Jessamyn Harris)\u003c/figcaption>\u003c/figure>\n\u003ch3>Jessamyn Harris, \u003ca href=\"http://www.jessamynharrisweddings.com/\" target=\"_blank\" rel=\"noopener\">Jessamyn Harris Photography\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>Third Floor Catwalk\u003c/strong>\u003c/p>\n\u003cp>My favorite spot for shooting is up on the third floor. If you take the stairs or the elevator up to the next floor after the rotunda, the light comes in perfectly diffused, the patterned windows are old-fashioned looking, and there’s lovely light pouring in, which the marble bounces around perfectly. It’s like a gorgeous little studio up there. Most of the building doesn’t have a lot of lighting – the rotunda can be pretty dark, actually. But if you go up the funky antique stairs or the antique elevator, you come into this glowing space. There are polished marble floors, there are archways connecting the catwalks, the lighting is perfect for everybody’s skin — and, of course, the San Francisco fog adds additional diffusing. It’s just soft and kind of heavenly. It’s hard to get a bad shot there.\u003c/p>\n\u003cfigure id=\"attachment_10809114\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10809114\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/MichelleFEmbed.jpg\" alt=\"Kacper and Jenna. \" width=\"1100\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/MichelleFEmbed.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/MichelleFEmbed-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/MichelleFEmbed-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/MichelleFEmbed-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Kacper and Jenna. (Photo: Michelle Felieacan)\u003c/figcaption>\u003c/figure>\n\u003ch3>Michelle Felieacan, \u003ca href=\"http://michellefphoto.com/\" target=\"_blank\" rel=\"noopener\">Michelle Feileacan Photography\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>Fourth Floor North Gallery\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For a premium, couples can rent out special places in the building, like the fourth floor balcony, which allows them to bring more guests. The light on that side – that’s the north facing window – it’s all white marble and the light just comes in. Everybody looks good in that light. It’s so creamy and soft. That side has everything: The windows themselves are really beautiful, it’s got all this ironwork around it, it’s got the stone urns as decoration. The dome — the big iconic part of that building – when you’re down on the floor, it’s hard to get that dome in the shot. But when you’re up there, it’s easy. It’s right behind you. And even though that fourth floor ceremony area is very intimate, you’re overlooking this very gigantic beautiful rotunda area. Everyone looks over the edge and says, “Oh my God, it’s huge here.” Everything’s bigger than it looks. It has such a grand feeling.\u003c/p>\n\u003cfigure id=\"attachment_10809116\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10809116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/LilyWildAboutYou.jpg\" alt=\"Henry and Mary. \" width=\"1100\" height=\"735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/LilyWildAboutYou.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/LilyWildAboutYou-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/LilyWildAboutYou-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/LilyWildAboutYou-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Henry and Mary. (Photo: Wild About You Photography)\u003c/figcaption>\u003c/figure>\n\u003ch3>Lily Chao, \u003ca href=\"http://wildaboutyouphotography.com/\" target=\"_blank\" rel=\"noopener\">Wild About You Photography\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>The Staircase\u003c/strong>\u003c/p>\n\u003cp>We usually try to get some photos of the couple going up or down the staircase. It feels more dramatic and more dynamic than just standing and posing for a portrait. It’s also reflective of most people’s City Hall moment together: either the anticipation beforehand, going up, or the excitement afterward, walking down. Not only do the stairs lend to showing off their day, they’re also central to showing off the building itself. You can see the ceiling, the columns, the dome, all from the stairs.\u003c/p>\n\u003cfigure id=\"attachment_10809117\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10809117\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Ariel-Christoph-City-Hall-194pp_w750_h500.jpg\" alt=\"Ariel and Christoph. \" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ariel-Christoph-City-Hall-194pp_w750_h500.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ariel-Christoph-City-Hall-194pp_w750_h500-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Ariel and Christoph. (Photo: Alyssa Kapnick)\u003c/figcaption>\u003c/figure>\n\u003ch3>Alyssa Kapnick, \u003ca href=\"http://alyssakapnik.com/\" target=\"_blank\" rel=\"noopener\">Alyssa Kapnick Portraiture\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>Fourth floor, across the span\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This building is so majestic and intricate. If you photograph people in the middle of a workday there, there are always a ton of tourists, workers and people getting married. But if you go up to the fourth floor, and manage to get a time when no one’s walking by, it will feel like a really quiet spot, which is kind of a contradiction in San Francisco. It’s not about just the couple; it’s about the bigger picture. And the building is incredibly beautiful and geometrically sound.\u003c/p>\n\n",
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"excerpt": "With wedding season in full swing, we asked four Bay Area wedding photographers about their favorite camera angles inside the 100-year-old architectural marvel.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s City Hall just celebrated its \u003ca href=\"http://sfcityhall100.com/\" target=\"_blank\" rel=\"noopener\">100th anniversary\u003c/a>. And with last week’s \u003ca href=\"http://ww2.kqed.org/news/2015/06/26/supreme-court-same-sex-marriage\" target=\"_blank\" rel=\"noopener\">landmark Supreme Court decision on same-sex marriage\u003c/a>, the many couples who nobly awaited nationwide marriage equality before tying the knot are now headed to the grand, gold-domed building to apply for marriage licenses.\u003c/p>\n\u003cp>San Francisco’s City Hall is a famously scenic, \u003ca href=\"http://www.sfgov2.org/index.aspx?page=18\" target=\"_blank\" rel=\"noopener\">inexpensive\u003c/a> venue for weddings. (Its colorful history of nuptials is detailed in \u003ca href=\"https://youtu.be/07dfVA0eXMQ?t=8m32s\" target=\"_blank\" rel=\"noopener\">a recent KQED News report\u003c/a>.) Wedding photographers have a long tradition of capturing the building’s architectural elegance and grandeur.\u003c/p>\n\u003cp>We asked a handful of local wedding photographers about their favorite spots to shoot — the nooks and crannies of City Hall where the art of the building itself inspires the art of the camera.\u003c/p>\n\u003cfigure id=\"attachment_10809303\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/JessamynEmbed1.jpg\" alt=\"(Photos: Jessamyn Harris)\" width=\"1100\" height=\"551\" class=\"size-full wp-image-10809303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/JessamynEmbed1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/JessamynEmbed1-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/JessamynEmbed1-800x401.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/JessamynEmbed1-960x481.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">(Photos: Jessamyn Harris)\u003c/figcaption>\u003c/figure>\n\u003ch3>Jessamyn Harris, \u003ca href=\"http://www.jessamynharrisweddings.com/\" target=\"_blank\" rel=\"noopener\">Jessamyn Harris Photography\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>Third Floor Catwalk\u003c/strong>\u003c/p>\n\u003cp>My favorite spot for shooting is up on the third floor. If you take the stairs or the elevator up to the next floor after the rotunda, the light comes in perfectly diffused, the patterned windows are old-fashioned looking, and there’s lovely light pouring in, which the marble bounces around perfectly. It’s like a gorgeous little studio up there. Most of the building doesn’t have a lot of lighting – the rotunda can be pretty dark, actually. But if you go up the funky antique stairs or the antique elevator, you come into this glowing space. There are polished marble floors, there are archways connecting the catwalks, the lighting is perfect for everybody’s skin — and, of course, the San Francisco fog adds additional diffusing. It’s just soft and kind of heavenly. It’s hard to get a bad shot there.\u003c/p>\n\u003cfigure id=\"attachment_10809114\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10809114\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/MichelleFEmbed.jpg\" alt=\"Kacper and Jenna. \" width=\"1100\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/MichelleFEmbed.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/MichelleFEmbed-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/MichelleFEmbed-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/MichelleFEmbed-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Kacper and Jenna. (Photo: Michelle Felieacan)\u003c/figcaption>\u003c/figure>\n\u003ch3>Michelle Felieacan, \u003ca href=\"http://michellefphoto.com/\" target=\"_blank\" rel=\"noopener\">Michelle Feileacan Photography\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>Fourth Floor North Gallery\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For a premium, couples can rent out special places in the building, like the fourth floor balcony, which allows them to bring more guests. The light on that side – that’s the north facing window – it’s all white marble and the light just comes in. Everybody looks good in that light. It’s so creamy and soft. That side has everything: The windows themselves are really beautiful, it’s got all this ironwork around it, it’s got the stone urns as decoration. The dome — the big iconic part of that building – when you’re down on the floor, it’s hard to get that dome in the shot. But when you’re up there, it’s easy. It’s right behind you. And even though that fourth floor ceremony area is very intimate, you’re overlooking this very gigantic beautiful rotunda area. Everyone looks over the edge and says, “Oh my God, it’s huge here.” Everything’s bigger than it looks. It has such a grand feeling.\u003c/p>\n\u003cfigure id=\"attachment_10809116\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10809116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/LilyWildAboutYou.jpg\" alt=\"Henry and Mary. \" width=\"1100\" height=\"735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/LilyWildAboutYou.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/LilyWildAboutYou-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/LilyWildAboutYou-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/LilyWildAboutYou-960x641.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Henry and Mary. (Photo: Wild About You Photography)\u003c/figcaption>\u003c/figure>\n\u003ch3>Lily Chao, \u003ca href=\"http://wildaboutyouphotography.com/\" target=\"_blank\" rel=\"noopener\">Wild About You Photography\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>The Staircase\u003c/strong>\u003c/p>\n\u003cp>We usually try to get some photos of the couple going up or down the staircase. It feels more dramatic and more dynamic than just standing and posing for a portrait. It’s also reflective of most people’s City Hall moment together: either the anticipation beforehand, going up, or the excitement afterward, walking down. Not only do the stairs lend to showing off their day, they’re also central to showing off the building itself. You can see the ceiling, the columns, the dome, all from the stairs.\u003c/p>\n\u003cfigure id=\"attachment_10809117\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10809117\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Ariel-Christoph-City-Hall-194pp_w750_h500.jpg\" alt=\"Ariel and Christoph. \" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ariel-Christoph-City-Hall-194pp_w750_h500.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ariel-Christoph-City-Hall-194pp_w750_h500-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Ariel and Christoph. (Photo: Alyssa Kapnick)\u003c/figcaption>\u003c/figure>\n\u003ch3>Alyssa Kapnick, \u003ca href=\"http://alyssakapnik.com/\" target=\"_blank\" rel=\"noopener\">Alyssa Kapnick Portraiture\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>Fourth floor, across the span\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This building is so majestic and intricate. If you photograph people in the middle of a workday there, there are always a ton of tourists, workers and people getting married. But if you go up to the fourth floor, and manage to get a time when no one’s walking by, it will feel like a really quiet spot, which is kind of a contradiction in San Francisco. It’s not about just the couple; it’s about the bigger picture. And the building is incredibly beautiful and geometrically sound.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 1927, when they were both just seventeen, Hansel Mieth and Otto Hagel left their home town of Fellbach, Germany and headed to America. For the next five decades, they would make their careers as socially conscious photographers, creating beautiful and heartbreaking images of America’s working classes.\u003c/p>\n\u003cp>Leaving Baltimore for California in 1930, they braved the harsh realities of the Great Depression. They lived in a tent, worked as migrant farm laborers and documented all of these experiences with a second-hand Rolleiflex camera.\u003c/p>\n\u003cfigure id=\"attachment_10784425\" class=\"wp-caption alignright\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10784425 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Mieth.jpg\" alt=\"Hansel Mieth, 'Navajo Herders in New Mexico,' 1941. (Courtesy of the Sonoma County Museum)\" width=\"680\" height=\"509\">\u003cfigcaption class=\"wp-caption-text\">Hansel Mieth, ‘Navajo Herders in New Mexico,’ 1941. (Courtesy of the Sonoma County Museum)\u003c/figcaption>\u003c/figure>\n\u003cp>Mieth and Hagel began their long careers with images of poverty and harsh work conditions on California’s farms, many of which are currently on display at the Sonoma County Museum in \u003cem>LIFE, Labor, and Purpose: The Photography of Hansel Mieth and Otto Hagel\u003c/em>, the largest exhibition of their work ever shown in the United States.\u003c/p>\n\u003cp>The collection blends the heaviness of Dorothea Lange’s iconic Depression-era work with the energy of late night strike meetings. Cotton picker families offer emotional glimpses into California’s historical struggles; a stark contrast to today’s highly developed, tech-derived wealth.\u003c/p>\n\u003cp>Mieth’s 1932 image of a shanty town (informal settlements once called “Hoovervilles”) near the Sacramento city dump is especially profound — countless men and boys dig through the trash, looking for food and supplies.\u003c/p>\n\u003cfigure id=\"attachment_10784427\" class=\"wp-caption alignright\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10784427 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/hagel_otto_387_1993_457599_displaysize.jpg\" alt=\"Otto Hagel, 'Orphan Band,' 1938. (Courtesy of Sonoma County Museum)\" width=\"700\" height=\"565\">\u003cfigcaption class=\"wp-caption-text\">Otto Hagel, ‘Orphan Band,’ 1938. (Courtesy of Sonoma County Museum)\u003c/figcaption>\u003c/figure>\n\u003cp>Mieth and Hagel also documented the San Francisco Longshoreman Strike of 1934, a time when people were so desperate for food and a day’s work that the couple had their apartment robbed. Mieth’s 1934 image \u003cem>Outstretched Hands\u003c/em> relays that desperation with immediacy; it soon became an icon of the union.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The couple’s work reflected the times outside of California as well, and the raw images gained notoriety, eventually leading to job offers for both at \u003cem>LIFE Magazine\u003c/em>. Mieth accepted her offer in 1937, while Hagel opted to work for the magazine on a freelance basis.\u003c/p>\n\u003cp>Mieth’s photography rose to a new level of radicalism for the time; she documented issues like birth control, unwed mother’s homes, orphanages, Japanese interment camps and female garment worker strikes.\u003c/p>\n\u003cp>Although both Mieth and Hagel became known and respected for images that humanized the experiences of poor working families, their viewpoints and friends resulted in scrutiny during the McCarthy era, especially after refusing to appear before the House Un-American Activities Committee (HUAC).\u003c/p>\n\u003cp>The McCarthy era didn’t scare them away from social justice issues forever, even after Mieth lost her job at \u003ci>LIFE\u003c/i>. One of the most powerful images in the exhibit is one of a series on the local Pomo Indians. The photograph shows a tribal burial for the leader’s son, killed in Vietnam in 1965.\u003c/p>\n\u003cp>Hansel Mieth and Otto Hagel’s work captures the beauty, heartache and adventure of the immigrant experience in America. But it also pays homage to the often-unseen players who toiled on the land we inhabit today. And though the exhibit includes glimpses of their personal lives and circles of famed friends, it’s the nameless workers and families who leave the most meaningful impact.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>LIFE, Labor, and Purpose: The Photography of Hansel Mieth and Otto Hagel \u003c/em>is on view at the Sonoma County Museum through August 30, 2015. For more information visit \u003ca href=\"http://www.sonomacountymuseum.org/exhibits/upcoming-history-exhibitions.aspx\" target=\"_blank\" rel=\"noopener\">sonomacountymuseum.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1927, when they were both just seventeen, Hansel Mieth and Otto Hagel left their home town of Fellbach, Germany and headed to America. For the next five decades, they would make their careers as socially conscious photographers, creating beautiful and heartbreaking images of America’s working classes.\u003c/p>\n\u003cp>Leaving Baltimore for California in 1930, they braved the harsh realities of the Great Depression. They lived in a tent, worked as migrant farm laborers and documented all of these experiences with a second-hand Rolleiflex camera.\u003c/p>\n\u003cfigure id=\"attachment_10784425\" class=\"wp-caption alignright\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10784425 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Mieth.jpg\" alt=\"Hansel Mieth, 'Navajo Herders in New Mexico,' 1941. (Courtesy of the Sonoma County Museum)\" width=\"680\" height=\"509\">\u003cfigcaption class=\"wp-caption-text\">Hansel Mieth, ‘Navajo Herders in New Mexico,’ 1941. (Courtesy of the Sonoma County Museum)\u003c/figcaption>\u003c/figure>\n\u003cp>Mieth and Hagel began their long careers with images of poverty and harsh work conditions on California’s farms, many of which are currently on display at the Sonoma County Museum in \u003cem>LIFE, Labor, and Purpose: The Photography of Hansel Mieth and Otto Hagel\u003c/em>, the largest exhibition of their work ever shown in the United States.\u003c/p>\n\u003cp>The collection blends the heaviness of Dorothea Lange’s iconic Depression-era work with the energy of late night strike meetings. Cotton picker families offer emotional glimpses into California’s historical struggles; a stark contrast to today’s highly developed, tech-derived wealth.\u003c/p>\n\u003cp>Mieth’s 1932 image of a shanty town (informal settlements once called “Hoovervilles”) near the Sacramento city dump is especially profound — countless men and boys dig through the trash, looking for food and supplies.\u003c/p>\n\u003cfigure id=\"attachment_10784427\" class=\"wp-caption alignright\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10784427 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/hagel_otto_387_1993_457599_displaysize.jpg\" alt=\"Otto Hagel, 'Orphan Band,' 1938. (Courtesy of Sonoma County Museum)\" width=\"700\" height=\"565\">\u003cfigcaption class=\"wp-caption-text\">Otto Hagel, ‘Orphan Band,’ 1938. (Courtesy of Sonoma County Museum)\u003c/figcaption>\u003c/figure>\n\u003cp>Mieth and Hagel also documented the San Francisco Longshoreman Strike of 1934, a time when people were so desperate for food and a day’s work that the couple had their apartment robbed. Mieth’s 1934 image \u003cem>Outstretched Hands\u003c/em> relays that desperation with immediacy; it soon became an icon of the union.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The couple’s work reflected the times outside of California as well, and the raw images gained notoriety, eventually leading to job offers for both at \u003cem>LIFE Magazine\u003c/em>. Mieth accepted her offer in 1937, while Hagel opted to work for the magazine on a freelance basis.\u003c/p>\n\u003cp>Mieth’s photography rose to a new level of radicalism for the time; she documented issues like birth control, unwed mother’s homes, orphanages, Japanese interment camps and female garment worker strikes.\u003c/p>\n\u003cp>Although both Mieth and Hagel became known and respected for images that humanized the experiences of poor working families, their viewpoints and friends resulted in scrutiny during the McCarthy era, especially after refusing to appear before the House Un-American Activities Committee (HUAC).\u003c/p>\n\u003cp>The McCarthy era didn’t scare them away from social justice issues forever, even after Mieth lost her job at \u003ci>LIFE\u003c/i>. One of the most powerful images in the exhibit is one of a series on the local Pomo Indians. The photograph shows a tribal burial for the leader’s son, killed in Vietnam in 1965.\u003c/p>\n\u003cp>Hansel Mieth and Otto Hagel’s work captures the beauty, heartache and adventure of the immigrant experience in America. But it also pays homage to the often-unseen players who toiled on the land we inhabit today. And though the exhibit includes glimpses of their personal lives and circles of famed friends, it’s the nameless workers and families who leave the most meaningful impact.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>LIFE, Labor, and Purpose: The Photography of Hansel Mieth and Otto Hagel \u003c/em>is on view at the Sonoma County Museum through August 30, 2015. For more information visit \u003ca href=\"http://www.sonomacountymuseum.org/exhibits/upcoming-history-exhibitions.aspx\" target=\"_blank\" rel=\"noopener\">sonomacountymuseum.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What Happened to the 9-Year-Old Smoking in Mary Ellen Mark's Photo?",
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"content": "\u003cp>A good photograph can speak volumes about its subjects, yet still leave you wanting to know more.\u003c/p>\n\u003cp>The acclaimed and prolific American photographer Mary Ellen Mark, who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/05/26/409806219/photographer-mary-ellen-mark-dies-at-75\" target=\"_blank\" rel=\"noopener\">died May 25\u003c/a> at the age of 75, was known for her humanist portraits: \u003ca href=\"http://www.maryellenmark.com/text/magazines/life/905W-000-021.html\" target=\"_blank\" rel=\"noopener\">homeless children\u003c/a> in Seattle, \u003ca href=\"http://www.npr.org/sections/goatsandsoda/2015/05/30/410521364/mary-ellen-mark-and-the-caged-prostitutes-of-mumbai\" target=\"_blank\" rel=\"noopener\">prostitutes\u003c/a> in India, \u003ca href=\"http://www.maryellenmark.com/text/magazines/life/905W-000-031.html\" target=\"_blank\" rel=\"noopener\">a family\u003c/a> living out of their car. In 1990, she took one of her most memorable shots, titled, “Amanda and her cousin Amy.” The location is listed as Valdese, N.C.\u003c/p>\n\u003cp>“This photograph raises a lot of questions and leaves me with a slightly uneasy feeling,” says Jeff Jacobson, a New York \u003ca href=\"http://www.jeffjacobsonphotography.com/\" target=\"_blank\" rel=\"noopener\">photographer\u003c/a> and a friend of Mark’s. “That, I feel, over and over again is the hallmark of her best work.”\u003c/p>\n\u003cp>In light of Mark’s passing, NPR sought to find out more about the two children in the photograph, particularly Amanda: Why was she smoking and wearing makeup and fake nails at age 9? What does she remember of the photo shoot? And what has happened since that sunny afternoon in 1990?\u003c/p>\n\u003cp>She now goes by Amanda Marie Ellison — her surname was Minton at the time of the photo. She is 34 years old, lives in Lenoir, N.C., and indeed still remembers the photo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Never forgotten it. Never in my life have I forgotten it,” she says.\u003c/p>\n\u003cp>Ellison says Mark formed a bond with her over multiple photo shoots, but after Mark left, Ellison lost track of the photographer’s name and phone number. For 25 years, she says she searched for the photo to no avail. Then last month, after Mark’s death, her cousin posted the picture to Facebook and tagged Ellison.\u003c/p>\n\u003cp>“I cried. I cried. Because … all at once, there it was,” Ellison says.\u003c/p>\n\u003cp>In 1990, Mark had been sent to rural North Carolina by \u003cem>Life \u003c/em>magazine to cover a school for “problem children.” Ellison was one of those children. “She’s my favourite,” Mark \u003ca href=\"http://www.maryellenmark.com/text/magazines/vogue%20england/925M-000-003.html\" target=\"_blank\" rel=\"noopener\">told British Vogue\u003c/a> in 1993. “She was so bad she was wonderful, she had a really vulgar mouth, she was brilliant.”\u003c/p>\n\u003cfigure id=\"attachment_10805906\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/401p-003-001-small_slide-ab5f240cc00922afecf6c94c82b64fac5c57c351-1180x787.jpg\" alt=\"Photographer Mary Ellen Mark in New York City in 1987. (Courtesy of Mary Ellen Mark Studio and Library)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10805906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/401p-003-001-small_slide-ab5f240cc00922afecf6c94c82b64fac5c57c351-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/401p-003-001-small_slide-ab5f240cc00922afecf6c94c82b64fac5c57c351-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/401p-003-001-small_slide-ab5f240cc00922afecf6c94c82b64fac5c57c351-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/401p-003-001-small_slide-ab5f240cc00922afecf6c94c82b64fac5c57c351-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Mary Ellen Mark in New York City in 1987.\u003cbr>(Courtesy of Mary Ellen Mark Studio and Library)\u003c/figcaption>\u003c/figure>\n\u003cp>Mark added: “I was something of a problem kid. I was emotional, wild, rebellious at school. I’m very touched by kids who don’t have advantages; they are much more interesting than kids who have everything. They have a lot of passion and emotion, such a strong will.”\u003c/p>\n\u003cp>Ellison openly concedes she was a “wild” child, but she says she was just emulating the adults in her life, all of whom by her memory were drug-addicted, residing in a low-income housing complex nicknamed “Sin City.” It was around that time that she began to smoke.\u003c/p>\n\u003cp>“If I couldn’t get [cigarettes], if somebody wouldn’t give them to me, yes, I’d steal a pack of cigarettes and be gone,” she says. “I’d sit in the woods and smoke ’til they were gone.”\u003c/p>\n\u003cp>Two years after the photo, at age 11, Ellison says she was taken into foster care and later lived in group homes. She says she developed an addiction for hard drugs when she was 16.\u003c/p>\n\u003cp>Amy Minton Velasquez, Ellison’s cousin and the other child in “Amanda and her cousin Amy,” corroborates much of her account.\u003c/p>\n\u003cp>“I mean, I had a rough childhood,” Velasquez says. “But I will say this: that youngin’, she was put through things that would probably make the hair stand on your head if you really knew.”\u003c/p>\n\u003cp>Ellison says at age 9 she knew there were deep problems with her childhood; she viewed Mark’s photos as not just a fun diversion but as a possible solution.\u003c/p>\n\u003cp>“When she came along and took those photos, I thought, ‘Well, hey, people will see me and this may get me the attention that I want; it may change things for me,’ ” Ellison says. She thought someone would see the images and come rescue her. “I had thought that that might have been the way out. But it wasn’t.”\u003c/p>\n\u003cp>Jacobson, the New York photographer, says Mark was not the type to give her subjects false impressions. But he says, “In any photographic encounter, the one person that always benefits and always is in a more powerful position and always knows more is the photographer.”\u003c/p>\n\u003cp>By her own admission, Ellison’s adulthood is still tumultuous. She has served time in prison and says she is still “surrounded by crazy people and drugs.” But she says her life has improved, and she wishes she could talk again with “that photographer lady.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If I had to guess,” Ellison says, “I would say she would be, I don’t know, overwhelmed with joy that I have made it this far.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Happened+To+The+9-Year-Old+Smoking+In+Mary+Ellen+Mark%27s+Photo%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A good photograph can speak volumes about its subjects, yet still leave you wanting to know more.\u003c/p>\n\u003cp>The acclaimed and prolific American photographer Mary Ellen Mark, who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/05/26/409806219/photographer-mary-ellen-mark-dies-at-75\" target=\"_blank\" rel=\"noopener\">died May 25\u003c/a> at the age of 75, was known for her humanist portraits: \u003ca href=\"http://www.maryellenmark.com/text/magazines/life/905W-000-021.html\" target=\"_blank\" rel=\"noopener\">homeless children\u003c/a> in Seattle, \u003ca href=\"http://www.npr.org/sections/goatsandsoda/2015/05/30/410521364/mary-ellen-mark-and-the-caged-prostitutes-of-mumbai\" target=\"_blank\" rel=\"noopener\">prostitutes\u003c/a> in India, \u003ca href=\"http://www.maryellenmark.com/text/magazines/life/905W-000-031.html\" target=\"_blank\" rel=\"noopener\">a family\u003c/a> living out of their car. In 1990, she took one of her most memorable shots, titled, “Amanda and her cousin Amy.” The location is listed as Valdese, N.C.\u003c/p>\n\u003cp>“This photograph raises a lot of questions and leaves me with a slightly uneasy feeling,” says Jeff Jacobson, a New York \u003ca href=\"http://www.jeffjacobsonphotography.com/\" target=\"_blank\" rel=\"noopener\">photographer\u003c/a> and a friend of Mark’s. “That, I feel, over and over again is the hallmark of her best work.”\u003c/p>\n\u003cp>In light of Mark’s passing, NPR sought to find out more about the two children in the photograph, particularly Amanda: Why was she smoking and wearing makeup and fake nails at age 9? What does she remember of the photo shoot? And what has happened since that sunny afternoon in 1990?\u003c/p>\n\u003cp>She now goes by Amanda Marie Ellison — her surname was Minton at the time of the photo. She is 34 years old, lives in Lenoir, N.C., and indeed still remembers the photo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Never forgotten it. Never in my life have I forgotten it,” she says.\u003c/p>\n\u003cp>Ellison says Mark formed a bond with her over multiple photo shoots, but after Mark left, Ellison lost track of the photographer’s name and phone number. For 25 years, she says she searched for the photo to no avail. Then last month, after Mark’s death, her cousin posted the picture to Facebook and tagged Ellison.\u003c/p>\n\u003cp>“I cried. I cried. Because … all at once, there it was,” Ellison says.\u003c/p>\n\u003cp>In 1990, Mark had been sent to rural North Carolina by \u003cem>Life \u003c/em>magazine to cover a school for “problem children.” Ellison was one of those children. “She’s my favourite,” Mark \u003ca href=\"http://www.maryellenmark.com/text/magazines/vogue%20england/925M-000-003.html\" target=\"_blank\" rel=\"noopener\">told British Vogue\u003c/a> in 1993. “She was so bad she was wonderful, she had a really vulgar mouth, she was brilliant.”\u003c/p>\n\u003cfigure id=\"attachment_10805906\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/401p-003-001-small_slide-ab5f240cc00922afecf6c94c82b64fac5c57c351-1180x787.jpg\" alt=\"Photographer Mary Ellen Mark in New York City in 1987. (Courtesy of Mary Ellen Mark Studio and Library)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10805906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/401p-003-001-small_slide-ab5f240cc00922afecf6c94c82b64fac5c57c351-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/401p-003-001-small_slide-ab5f240cc00922afecf6c94c82b64fac5c57c351-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/401p-003-001-small_slide-ab5f240cc00922afecf6c94c82b64fac5c57c351-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/401p-003-001-small_slide-ab5f240cc00922afecf6c94c82b64fac5c57c351-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Mary Ellen Mark in New York City in 1987.\u003cbr>(Courtesy of Mary Ellen Mark Studio and Library)\u003c/figcaption>\u003c/figure>\n\u003cp>Mark added: “I was something of a problem kid. I was emotional, wild, rebellious at school. I’m very touched by kids who don’t have advantages; they are much more interesting than kids who have everything. They have a lot of passion and emotion, such a strong will.”\u003c/p>\n\u003cp>Ellison openly concedes she was a “wild” child, but she says she was just emulating the adults in her life, all of whom by her memory were drug-addicted, residing in a low-income housing complex nicknamed “Sin City.” It was around that time that she began to smoke.\u003c/p>\n\u003cp>“If I couldn’t get [cigarettes], if somebody wouldn’t give them to me, yes, I’d steal a pack of cigarettes and be gone,” she says. “I’d sit in the woods and smoke ’til they were gone.”\u003c/p>\n\u003cp>Two years after the photo, at age 11, Ellison says she was taken into foster care and later lived in group homes. She says she developed an addiction for hard drugs when she was 16.\u003c/p>\n\u003cp>Amy Minton Velasquez, Ellison’s cousin and the other child in “Amanda and her cousin Amy,” corroborates much of her account.\u003c/p>\n\u003cp>“I mean, I had a rough childhood,” Velasquez says. “But I will say this: that youngin’, she was put through things that would probably make the hair stand on your head if you really knew.”\u003c/p>\n\u003cp>Ellison says at age 9 she knew there were deep problems with her childhood; she viewed Mark’s photos as not just a fun diversion but as a possible solution.\u003c/p>\n\u003cp>“When she came along and took those photos, I thought, ‘Well, hey, people will see me and this may get me the attention that I want; it may change things for me,’ ” Ellison says. She thought someone would see the images and come rescue her. “I had thought that that might have been the way out. But it wasn’t.”\u003c/p>\n\u003cp>Jacobson, the New York photographer, says Mark was not the type to give her subjects false impressions. But he says, “In any photographic encounter, the one person that always benefits and always is in a more powerful position and always knows more is the photographer.”\u003c/p>\n\u003cp>By her own admission, Ellison’s adulthood is still tumultuous. She has served time in prison and says she is still “surrounded by crazy people and drugs.” But she says her life has improved, and she wishes she could talk again with “that photographer lady.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If I had to guess,” Ellison says, “I would say she would be, I don’t know, overwhelmed with joy that I have made it this far.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Happened+To+The+9-Year-Old+Smoking+In+Mary+Ellen+Mark%27s+Photo%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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