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"content": "\u003cp> \u003c/p>\n\u003cp>For the third time in less than a week, a San Francisco art gallery’s mural that mixes Lowrider or “cholo” culture with LGBTQ themes has been vandalized.\u003c/p>\n\u003cp>The Mission District’s \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener\">Galeria de la Raza\u003c/a> announced on its \u003ca href=\"https://www.facebook.com/galeriadelaraza\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> Sunday that Manuel Paul’s giant digital mural \u003cem>Por Vida\u003c/em> had been defaced with black spray paint some time overnight. The mural, which is printed on heavy paper, had been replaced on Thursday after it was vandalized in a similar fashion, on two separate occasions, just a few days before.\u003c/p>\n\u003cfigure id=\"attachment_10789995\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10789995\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_456688963-1180x885.jpg\" alt=\"The Manuel Paul mural at Galeria de La Raza honoring LGBTQ's place in Chicano culture was defaced again (Photo by Cy Musiker)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Manuel Paul mural at Galeria de La Raza honoring LGBTQ’s place in Chicano culture was defaced again (Photo by Cy Musiker) \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Por Vida\u003c/em> shows a gay couple, a lesbian couple and a transsexual man, all dressed like cholos, with the two couples embracing. The piece was a part of the gallery’s new exhibit \u003ci>The Q-Sides,\u003c/i> which is described on \u003ca href=\"http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=5687\" target=\"_blank\" rel=\"noopener\">its website\u003c/a> as challenging “long-held assumptions regarding the traditional exclusivity of heterosexuality in lowrider culture.”\u003c/p>\n\u003cp>“The defacement and re-defacement of the current digital mural by Manuel Paul of Maricón Collective has only proven the credibility of its purpose,” a statement on Galeria de la Raza’s Facebook page said. “Galeria de la Raza believes in the importance of continued dialogue about LGBTQ visibility, awareness, and acceptance in the Mission District and within the greater Latino communities.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Around the first time the mural was vandalized, Paul and other \u003cem>Q-Sides\u003c/em> artists had reportedly received homophobic comments and even threats of bodily harm through social media.\u003c/p>\n\u003cp>The gallery also set up surveillance cameras after the first defacement and they have video of the second act of vandalism, which is being turned over to the police, according to \u003ca href=\"http://missionlocal.org/2015/06/mural-honoring-gay-love-vandalized-again/\" target=\"_blank\" rel=\"noopener\">Mission Local\u003c/a>.\u003c/p>\n\u003cp>Funds to repair the damaged mural are being raised with the help of \u003ca href=\"https://donatenow.networkforgood.org/1392515\" target=\"_blank\" rel=\"noopener\">Network For Good\u003c/a>. As of Sunday evening, it was unclear whether or not the mural would have to be replaced again.\u003c/p>\n\u003cp>The gallery, established in 1970, has had murals defaced before these incidents. A 2012 digital mural by artist Spencer Keeton Cunningham was vandalized and had to be \u003ca href=\"http://missionlocal.org/2012/05/galeria-de-la-raza-mural-defaced/\" target=\"_blank\" rel=\"noopener\">restored by the artist\u003c/a>. Back in 2000, \u003ca href=\"http://www.galeriadelaraza.org/eng/exhibits2/archive/artists.php?op=view&id=114&name=l&media=photo&mediaid=347\" target=\"_blank\" rel=\"noopener\">Alma Lopez’s “Heaven,”\u003c/a> which shows two women embracing, was also vandalized.\u003c/p>\n\u003cp>\u003cb>Update, 1 pm:\u003c/b>\u003c/p>\n\u003cp>Ani Rivera, Galeria de la Raza’s owner, emailed KQED Monday to confirm that there is video of two vandals defacing the mural around midnight on Sunday. The video will not be released to the media as it will first need to be reviewed by the San Francisco Police Department for their investigation.\u003c/p>\n\u003cp>Details on when the mural’s replacement will be released by the end of Monday, according to Rivera, though she is concerned that it will be vandalized again. The mural is scheduled to stay up until July 31 and Rivera is organizing a group to watch over it until it comes down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003c/p>\n\u003cp>For the third time in less than a week, a San Francisco art gallery’s mural that mixes Lowrider or “cholo” culture with LGBTQ themes has been vandalized.\u003c/p>\n\u003cp>The Mission District’s \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener\">Galeria de la Raza\u003c/a> announced on its \u003ca href=\"https://www.facebook.com/galeriadelaraza\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> Sunday that Manuel Paul’s giant digital mural \u003cem>Por Vida\u003c/em> had been defaced with black spray paint some time overnight. The mural, which is printed on heavy paper, had been replaced on Thursday after it was vandalized in a similar fashion, on two separate occasions, just a few days before.\u003c/p>\n\u003cfigure id=\"attachment_10789995\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10789995\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_456688963-1180x885.jpg\" alt=\"The Manuel Paul mural at Galeria de La Raza honoring LGBTQ's place in Chicano culture was defaced again (Photo by Cy Musiker)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_456688963-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Manuel Paul mural at Galeria de La Raza honoring LGBTQ’s place in Chicano culture was defaced again (Photo by Cy Musiker) \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Por Vida\u003c/em> shows a gay couple, a lesbian couple and a transsexual man, all dressed like cholos, with the two couples embracing. The piece was a part of the gallery’s new exhibit \u003ci>The Q-Sides,\u003c/i> which is described on \u003ca href=\"http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=5687\" target=\"_blank\" rel=\"noopener\">its website\u003c/a> as challenging “long-held assumptions regarding the traditional exclusivity of heterosexuality in lowrider culture.”\u003c/p>\n\u003cp>“The defacement and re-defacement of the current digital mural by Manuel Paul of Maricón Collective has only proven the credibility of its purpose,” a statement on Galeria de la Raza’s Facebook page said. “Galeria de la Raza believes in the importance of continued dialogue about LGBTQ visibility, awareness, and acceptance in the Mission District and within the greater Latino communities.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Around the first time the mural was vandalized, Paul and other \u003cem>Q-Sides\u003c/em> artists had reportedly received homophobic comments and even threats of bodily harm through social media.\u003c/p>\n\u003cp>The gallery also set up surveillance cameras after the first defacement and they have video of the second act of vandalism, which is being turned over to the police, according to \u003ca href=\"http://missionlocal.org/2015/06/mural-honoring-gay-love-vandalized-again/\" target=\"_blank\" rel=\"noopener\">Mission Local\u003c/a>.\u003c/p>\n\u003cp>Funds to repair the damaged mural are being raised with the help of \u003ca href=\"https://donatenow.networkforgood.org/1392515\" target=\"_blank\" rel=\"noopener\">Network For Good\u003c/a>. As of Sunday evening, it was unclear whether or not the mural would have to be replaced again.\u003c/p>\n\u003cp>The gallery, established in 1970, has had murals defaced before these incidents. A 2012 digital mural by artist Spencer Keeton Cunningham was vandalized and had to be \u003ca href=\"http://missionlocal.org/2012/05/galeria-de-la-raza-mural-defaced/\" target=\"_blank\" rel=\"noopener\">restored by the artist\u003c/a>. Back in 2000, \u003ca href=\"http://www.galeriadelaraza.org/eng/exhibits2/archive/artists.php?op=view&id=114&name=l&media=photo&mediaid=347\" target=\"_blank\" rel=\"noopener\">Alma Lopez’s “Heaven,”\u003c/a> which shows two women embracing, was also vandalized.\u003c/p>\n\u003cp>\u003cb>Update, 1 pm:\u003c/b>\u003c/p>\n\u003cp>Ani Rivera, Galeria de la Raza’s owner, emailed KQED Monday to confirm that there is video of two vandals defacing the mural around midnight on Sunday. The video will not be released to the media as it will first need to be reviewed by the San Francisco Police Department for their investigation.\u003c/p>\n\u003cp>Details on when the mural’s replacement will be released by the end of Monday, according to Rivera, though she is concerned that it will be vandalized again. The mural is scheduled to stay up until July 31 and Rivera is organizing a group to watch over it until it comes down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Three volunteers were scraping a giant mural off the wall Thursday at \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener\">Galeria de la Raza\u003c/a>, the 55-year-old center for Chicano and Latino art located at 24th Street and Bryant in San Francisco’s Mission district.\u003c/p>\n\u003cp>“It’s heartbreaking,” said Galeria volunteer Dora Alvarez. “But the positive thing is we’re going to put another one up.”\u003c/p>\n\u003cfigure id=\"attachment_10776805\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Mural-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10776805 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Mural-1-1180x885.jpg\" alt=\"Mural 1\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mural-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mural-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mural-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mural-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Three volunteers scraping the defaced mural off the wall at Galeria de la Raza at 24th and Bryant in San Francisco’s Mission District \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The digital mural, printed on heavy paper and mounted on the wall like a billboard, depicts a heroic quintet: two couples — one gay, one lesbian — and a transsexual man.\u003c/p>\n\u003cp>But it seems someone didn’t like the way the mural and the gallery’s new photo exhibit \u003ca href=\"http://ww2.kqed.org/arts/2015/06/02/the-q-sides-merges-queer-culture-with-san-franciscos-lowrider-scene/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Q-Sides\u003c/em>\u003c/a> integrated queer and “cholo culture,” or Chicano lowrider culture. So between June 12 when it was initially installed and June 16, they defaced the mural twice with spray paint, damaging it beyond repair.\u003c/p>\n\u003cfigure id=\"attachment_10776806\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Mural-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10776806 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Mural-2-800x600.jpg\" alt=\"One of the women on the defaced mural at Galeria de la Raza\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mural-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mural-2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mural-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mural-2-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the women on the defaced mural at Galeria de la Raza \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Galeria de la Raza executive director, Ani Rivera, said the gallery won’t be intimidated. She’s standing her ground, even though someone also sent homophobic threats via social media to the gallery, mural artist \u003ca href=\"https://www.facebook.com/pages/Maric%C3%B3n-Collective/1410376759227544\" target=\"_blank\" rel=\"noopener\">Manuel Paul,\u003c/a> and Paul’s supporters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This wall has always been a space for public art to push and expand on the narratives that define Chicano-Latino aesthetics,” Rivera said. “What we’re talking about is the sort of the folks who have lived in the fringes of lowrider community, who have never been able to share their stories due to homophobia and rejection. ”\u003c/p>\n\u003cp>The volunteers were planning to mount a back-up copy of the mural on the wall by Thursday evening.\u003c/p>\n\u003cp>This is not the first time that Galeria de la Raza has dealt with vandalism. \u003ca href=\"http://missionlocal.org/2012/05/galeria-de-la-raza-mural-defaced/\" target=\"_blank\" rel=\"noopener\">In 2012, for instance, vandals defaced a work on the side of the building\u003c/a> by Spencer Keeton Cunningham. The artist restored the piece.\u003c/p>\n\u003cp>“We’re calling on folks to step up and say this is not acceptable,” Rivera said of this latest act of vandalism. “If you see somebody messing with it. Say something. Take a photo. Share it with us.”\u003c/p>\n\u003cp>Rivera has also called police and reported the threats, and set up cameras to help deter further vandalism.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s art,” said volunteer Alvarez. “Sometimes you’re not going to like it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three volunteers were scraping a giant mural off the wall Thursday at \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener\">Galeria de la Raza\u003c/a>, the 55-year-old center for Chicano and Latino art located at 24th Street and Bryant in San Francisco’s Mission district.\u003c/p>\n\u003cp>“It’s heartbreaking,” said Galeria volunteer Dora Alvarez. “But the positive thing is we’re going to put another one up.”\u003c/p>\n\u003cfigure id=\"attachment_10776805\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Mural-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10776805 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Mural-1-1180x885.jpg\" alt=\"Mural 1\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mural-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mural-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mural-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mural-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Three volunteers scraping the defaced mural off the wall at Galeria de la Raza at 24th and Bryant in San Francisco’s Mission District \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The digital mural, printed on heavy paper and mounted on the wall like a billboard, depicts a heroic quintet: two couples — one gay, one lesbian — and a transsexual man.\u003c/p>\n\u003cp>But it seems someone didn’t like the way the mural and the gallery’s new photo exhibit \u003ca href=\"http://ww2.kqed.org/arts/2015/06/02/the-q-sides-merges-queer-culture-with-san-franciscos-lowrider-scene/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Q-Sides\u003c/em>\u003c/a> integrated queer and “cholo culture,” or Chicano lowrider culture. So between June 12 when it was initially installed and June 16, they defaced the mural twice with spray paint, damaging it beyond repair.\u003c/p>\n\u003cfigure id=\"attachment_10776806\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Mural-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10776806 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Mural-2-800x600.jpg\" alt=\"One of the women on the defaced mural at Galeria de la Raza\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mural-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mural-2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mural-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mural-2-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the women on the defaced mural at Galeria de la Raza \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Galeria de la Raza executive director, Ani Rivera, said the gallery won’t be intimidated. She’s standing her ground, even though someone also sent homophobic threats via social media to the gallery, mural artist \u003ca href=\"https://www.facebook.com/pages/Maric%C3%B3n-Collective/1410376759227544\" target=\"_blank\" rel=\"noopener\">Manuel Paul,\u003c/a> and Paul’s supporters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This wall has always been a space for public art to push and expand on the narratives that define Chicano-Latino aesthetics,” Rivera said. “What we’re talking about is the sort of the folks who have lived in the fringes of lowrider community, who have never been able to share their stories due to homophobia and rejection. ”\u003c/p>\n\u003cp>The volunteers were planning to mount a back-up copy of the mural on the wall by Thursday evening.\u003c/p>\n\u003cp>This is not the first time that Galeria de la Raza has dealt with vandalism. \u003ca href=\"http://missionlocal.org/2012/05/galeria-de-la-raza-mural-defaced/\" target=\"_blank\" rel=\"noopener\">In 2012, for instance, vandals defaced a work on the side of the building\u003c/a> by Spencer Keeton Cunningham. The artist restored the piece.\u003c/p>\n\u003cp>“We’re calling on folks to step up and say this is not acceptable,” Rivera said of this latest act of vandalism. “If you see somebody messing with it. Say something. Take a photo. Share it with us.”\u003c/p>\n\u003cp>Rivera has also called police and reported the threats, and set up cameras to help deter further vandalism.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s art,” said volunteer Alvarez. “Sometimes you’re not going to like it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In Ma Li’s hands, clear plastic bottles transform into suspended fields of jellyfish-like sculptures, and colored foam and clothes hangers resemble migrating flocks of birds.\u003c/p>\n\u003cp>With references to Chinese history, ecological concerns, ritual and fantasy, the Bay Area-based visual and performance artist weaves unlikely materials into large-scale immersive environments, and brings them to life with choreographed movements.\u003c/p>\n\u003cp>A recent artist residency at Recology, San Francisco’s municipal waste company, provided powerful fodder for Ma’s natural inclination to accumulate materials from unlikely sources. “The giant pile of trash is to me a treasure mountain,” she explains.\u003c/p>\n\u003cp>Growing up in China in the 1980s, when poverty was widespread, primed the artist for scavenging. “Watching people repurpose old objects and materials was really inspiring, and in my blood,” Ma says.\u003c/p>\n\u003cp>Ma’s colorful, suspended sculptures are full of whimsy. \u003cem>Meet You at the Bird Bridge in the Milky Way\u003c/em>, an installation marking the end of her time at Recology, was inspired by a Chinese folktale of the Cow Herder and the Weaver Maid. Separated by a galaxy of stars, the two lovers in the legend are reunited by sympathetic birds who form a bridge across the expanse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the use of uniform, prefabricated elements, Ma’s work looks handmade. “In China we were expected to be exactly the same, just like machine-made plastic bottles,” she recalls. “Through my work, I like to transform the bottles into individuals with different personalities.”\u003c/p>\n\u003cp>Trained as a choreographer, Ma’s sculptures also double as props in her ritual-like group performances. “In China, the government uses military training and giant group routines to generate a non-individualist community spirit,” she says.\u003c/p>\n\u003cp>Repurposing these strict routines into playful performances complete with fake flower headdresses and futuristic LED accents, she blends kitschy materials and purposeful movements into a visual language that’s all her own.\u003c/p>\n\u003cp>“I’m always trying to provide a dream-like experience to the audience to remind them of their childhood, and how they can still be free to play, to dream,” Ma says.\u003c/p>\n\u003cp>At \u003cem>Gathering Among Stars\u003c/em>, a one-night performance event at San Francisco’s Asian Art Museum, Ma played the role of the ringleader, whistle at the ready to direct her performers in a slow-moving procession up the Asian’s main staircase. The performance culminates in a celebration of what Ma calls as “imagination, playfulness and freedom.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>– Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Ma Li’s hands, clear plastic bottles transform into suspended fields of jellyfish-like sculptures, and colored foam and clothes hangers resemble migrating flocks of birds.\u003c/p>\n\u003cp>With references to Chinese history, ecological concerns, ritual and fantasy, the Bay Area-based visual and performance artist weaves unlikely materials into large-scale immersive environments, and brings them to life with choreographed movements.\u003c/p>\n\u003cp>A recent artist residency at Recology, San Francisco’s municipal waste company, provided powerful fodder for Ma’s natural inclination to accumulate materials from unlikely sources. “The giant pile of trash is to me a treasure mountain,” she explains.\u003c/p>\n\u003cp>Growing up in China in the 1980s, when poverty was widespread, primed the artist for scavenging. “Watching people repurpose old objects and materials was really inspiring, and in my blood,” Ma says.\u003c/p>\n\u003cp>Ma’s colorful, suspended sculptures are full of whimsy. \u003cem>Meet You at the Bird Bridge in the Milky Way\u003c/em>, an installation marking the end of her time at Recology, was inspired by a Chinese folktale of the Cow Herder and the Weaver Maid. Separated by a galaxy of stars, the two lovers in the legend are reunited by sympathetic birds who form a bridge across the expanse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the use of uniform, prefabricated elements, Ma’s work looks handmade. “In China we were expected to be exactly the same, just like machine-made plastic bottles,” she recalls. “Through my work, I like to transform the bottles into individuals with different personalities.”\u003c/p>\n\u003cp>Trained as a choreographer, Ma’s sculptures also double as props in her ritual-like group performances. “In China, the government uses military training and giant group routines to generate a non-individualist community spirit,” she says.\u003c/p>\n\u003cp>Repurposing these strict routines into playful performances complete with fake flower headdresses and futuristic LED accents, she blends kitschy materials and purposeful movements into a visual language that’s all her own.\u003c/p>\n\u003cp>“I’m always trying to provide a dream-like experience to the audience to remind them of their childhood, and how they can still be free to play, to dream,” Ma says.\u003c/p>\n\u003cp>At \u003cem>Gathering Among Stars\u003c/em>, a one-night performance event at San Francisco’s Asian Art Museum, Ma played the role of the ringleader, whistle at the ready to direct her performers in a slow-moving procession up the Asian’s main staircase. The performance culminates in a celebration of what Ma calls as “imagination, playfulness and freedom.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>– Sarah Hotchkiss\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bridge Project to Put Chinatown on the Public Art Map",
"headTitle": "Bridge Project to Put Chinatown on the Public Art Map | KQED",
"content": "\u003cp>The Chinese Culture Center of San Francisco (CCC), a 50-year-old arts organization lodged on the third floor of Chinatown’s Hilton, announced last week the launch of an \u003ca href=\"http://www.c-c-c.org/ccg/\" target=\"_blank\" rel=\"noopener\">“Innovative Open Space Project”\u003c/a> combining a public art installation with landscaping. The target? The Portsmouth Square pedestrian bridge spanning Kearny Street, linking the Culture Center to Portsmouth Square Plaza.\u003c/p>\n\u003cp>The bland brick-covered bridge currently hosts two rows of concrete benches and not much else. For local skateboarders, \u003ca href=\"https://www.youtube.com/watch?v=ia4yukCBhMU\" target=\"_blank\" rel=\"noopener\">the spot is legendary\u003c/a>, but as far as bridges go, it’s not the most convenient pathway through the neighborhood (the bridge is only open during select business hours).\u003c/p>\n\u003cfigure id=\"attachment_10749557\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10749557\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/People640.jpg\" alt=\"The people behind the project, showcasing early landscaping designs. (Courtesy of CCC)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/People640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/People640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The people behind the project, showcasing early landscaping designs. (Courtesy of CCC)\u003c/figcaption>\u003c/figure>\n\u003cp>Proposals for the art portion of the bridge’s redesign are due by June 22, 2015. The project budget is a hefty $20,000, an amount that goes a bit farther if the selected artist or collaborative is local. Landscape designers Jennifer Ng and Christopher Hardy are responsible for bringing greenery to the bridge, which the CCC envisions as a “welcome retreat.”\u003c/p>\n\u003cp>For CCC’s artistic director and curator Abby Chen, a permanent installation on the bridge is the realization of a dream she’s had since she joined the organization in 2006. Temporary projects and performances over the past nine years kept the site active and paved the way for the current initiative. Now, with backing from a Community Challenge Grant and additional funds from the Hilton, the bridge can become what Chen has long envisioned, “a critical metaphor connecting Chinatown to the rest of the city.”\u003c/p>\n\u003cp>“A lot of times, community organizations don’t get to do innovate projects like this,” Chen said at last week’s press conference. The CCC has a deep roster of support even beyond funding, including a partnership with the Chinatown Cultural Development Center (CCDC) and oversight from a local advisory committee.\u003c/p>\n\u003cfigure id=\"attachment_10749553\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10749553\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Abby640.jpg\" alt=\"Abby Chen speaks at last week's press conference. (Courtesy of CCC)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Abby640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Abby640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Abby Chen speaks at last week’s press conference. (Courtesy of CCC)\u003c/figcaption>\u003c/figure>\n\u003cp>For Malcolm Yeung, deputy director of the CCDC, the bridge project is more than beautification: “It’s about engaging people in owning their community… so that in the future they’re adamant about making Chinatown a better and greater place. So they step forward in advocating for the neighborhood improvements that Chinatown needs.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The bridge project hopes to reach beyond the neighborhood to reposition Chinatown as a contemporary cultural destination. CCC Executive Director Mabel Teng cited the historical importance of Portsmouth Square Plaza. The highly active gathering place for both old and young (one group seeks out card games, the other playground equipment) was the first public square in the early 19th-century Mexican community of Yerba Buena, predating even the name of “San Francisco.”\u003c/p>\n\u003cp>Chen, too, frowned at misconceptions about the neighborhood. There is a belief, she pointed out, that “this community doesn’t deserve the best quality art. This community doesn’t need contemporary art, nor does it have any.” She believes this project can bridge — literally — the immediate needs of the neighborhood and the desire for daring public art.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Spiritually, idealistically, we are leading a new form of art production that is inclusive, but at the same time has its heart in the community,” Chen concluded.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Chinese Culture Center of San Francisco (CCC), a 50-year-old arts organization lodged on the third floor of Chinatown’s Hilton, announced last week the launch of an \u003ca href=\"http://www.c-c-c.org/ccg/\" target=\"_blank\" rel=\"noopener\">“Innovative Open Space Project”\u003c/a> combining a public art installation with landscaping. The target? The Portsmouth Square pedestrian bridge spanning Kearny Street, linking the Culture Center to Portsmouth Square Plaza.\u003c/p>\n\u003cp>The bland brick-covered bridge currently hosts two rows of concrete benches and not much else. For local skateboarders, \u003ca href=\"https://www.youtube.com/watch?v=ia4yukCBhMU\" target=\"_blank\" rel=\"noopener\">the spot is legendary\u003c/a>, but as far as bridges go, it’s not the most convenient pathway through the neighborhood (the bridge is only open during select business hours).\u003c/p>\n\u003cfigure id=\"attachment_10749557\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10749557\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/People640.jpg\" alt=\"The people behind the project, showcasing early landscaping designs. (Courtesy of CCC)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/People640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/People640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The people behind the project, showcasing early landscaping designs. (Courtesy of CCC)\u003c/figcaption>\u003c/figure>\n\u003cp>Proposals for the art portion of the bridge’s redesign are due by June 22, 2015. The project budget is a hefty $20,000, an amount that goes a bit farther if the selected artist or collaborative is local. Landscape designers Jennifer Ng and Christopher Hardy are responsible for bringing greenery to the bridge, which the CCC envisions as a “welcome retreat.”\u003c/p>\n\u003cp>For CCC’s artistic director and curator Abby Chen, a permanent installation on the bridge is the realization of a dream she’s had since she joined the organization in 2006. Temporary projects and performances over the past nine years kept the site active and paved the way for the current initiative. Now, with backing from a Community Challenge Grant and additional funds from the Hilton, the bridge can become what Chen has long envisioned, “a critical metaphor connecting Chinatown to the rest of the city.”\u003c/p>\n\u003cp>“A lot of times, community organizations don’t get to do innovate projects like this,” Chen said at last week’s press conference. The CCC has a deep roster of support even beyond funding, including a partnership with the Chinatown Cultural Development Center (CCDC) and oversight from a local advisory committee.\u003c/p>\n\u003cfigure id=\"attachment_10749553\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10749553\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Abby640.jpg\" alt=\"Abby Chen speaks at last week's press conference. (Courtesy of CCC)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Abby640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Abby640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Abby Chen speaks at last week’s press conference. (Courtesy of CCC)\u003c/figcaption>\u003c/figure>\n\u003cp>For Malcolm Yeung, deputy director of the CCDC, the bridge project is more than beautification: “It’s about engaging people in owning their community… so that in the future they’re adamant about making Chinatown a better and greater place. So they step forward in advocating for the neighborhood improvements that Chinatown needs.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The bridge project hopes to reach beyond the neighborhood to reposition Chinatown as a contemporary cultural destination. CCC Executive Director Mabel Teng cited the historical importance of Portsmouth Square Plaza. The highly active gathering place for both old and young (one group seeks out card games, the other playground equipment) was the first public square in the early 19th-century Mexican community of Yerba Buena, predating even the name of “San Francisco.”\u003c/p>\n\u003cp>Chen, too, frowned at misconceptions about the neighborhood. There is a belief, she pointed out, that “this community doesn’t deserve the best quality art. This community doesn’t need contemporary art, nor does it have any.” She believes this project can bridge — literally — the immediate needs of the neighborhood and the desire for daring public art.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Spiritually, idealistically, we are leading a new form of art production that is inclusive, but at the same time has its heart in the community,” Chen concluded.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Robert Williams' 'Slang Aesthetics' Ushers in New Era for Sonoma County",
"headTitle": "Robert Williams’ ‘Slang Aesthetics’ Ushers in New Era for Sonoma County | KQED",
"content": "\u003cp>Robert Williams sat before a sold-out audience last Saturday and, wasting no time, immediately took note of his place in bucolic wine country. \u003c/p>\n\u003cp>“We’re in a town here with artwork that might not be apropos,” the 72-year-old artist said, opening his talk at the \u003ca href=\"http://www.sonomacountymuseum.org/\" target=\"_blank\" rel=\"noopener\">Art Museum of Sonoma County\u003c/a> in Santa Rosa. “So I’m in a position where I have to answer for this material.”\u003c/p>\n\u003cp>Of course, answering for his material seems an absurd requirement for someone like Williams, the famous artist and co-founder of \u003cem>Juxtapoz\u003c/em> magazine, whose towering stature in the art world has been cemented for decades. But in wine country, where pastel landscapes and vineyard scenes dominate many gallery walls, Williams’ exhibit \u003cem>Slang Aesthetics\u003c/em> is easily the most cutting-edge art event since Christo erected his “Running Fence” across the wilds of Sonoma County.\u003c/p>\n\u003cfigure id=\"attachment_10740122\" 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/Williams-Pathos-in-Paper-Ma.jpg\" alt=\"Robert Williams, <em>Pathos in Paper-Mâché</em>, 2013.\" width=\"640\" height=\"587\" class=\"size-full wp-image-10740122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Williams-Pathos-in-Paper-Ma.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Williams-Pathos-in-Paper-Ma-400x367.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Robert Williams, \u003cem>Pathos in Paper-Mâché\u003c/em>, 2013.\u003c/figcaption>\u003c/figure>\n\u003cp>A collection of mostly recent work totaling approximately 60 paintings and sculptures, \u003cem>Slang Aesthetics\u003c/em>, running through Sept. 20, originally showed at the Los Angeles Municipal Art Gallery (\u003ca href=\"http://ww2.kqed.org/news/2015/03/07/the-glorious-profane-spoils-of-robert-williams-50-year-war-with-mainstream-art\" target=\"_blank\" rel=\"noopener\">read KQED’s review here\u003c/a>). The fact that its next home turned out to be Santa Rosa was “very much a surprise,” Williams said before the event.\u003c/p>\n\u003cp>“I’m dying to see what the results are going to be, and the reaction,” he continued. “I’ve always been part of an outlaw world — underground comics, and hot-rod art and stuff — so this would probably chafe a few people in Santa Rosa. But on the other hand, it may be the first shock they need to get used to a changing world.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Adapting to a changing world is a goal for the brand-new museum, a 15-years-in-the-making spinoff from the Sonoma County Museum, which opened just next door in 1985. Located in the city’s former post office, an \u003ca href=\"http://3.bp.blogspot.com/-gZXjg9o6u2c/T6GIRdcCpPI/AAAAAAAABQU/Qchx-X4jfOs/s1600/postoffice3.jpg\" target=\"_blank\" rel=\"noopener\">ornate yet small building\u003c/a>, the Sonoma County Museum had long struggled with its dual mission to present both history and art in such tight confines.\u003c/p>\n\u003cp>“It was always too small,” said Diane Evans, Executive Director of the museum, at Saturday’s event. “The history folks thought that we were only doing art, and the art folks thought that it was just a history building, and that we weren’t doing art. So no one was happy. We always knew we needed to expand.”\u003c/p>\n\u003cfigure id=\"attachment_10740124\" 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/SpoilingP.jpg\" alt=\"Detail of Robert Williams' <em>Spoiling Pollyannaville</em>\" width=\"640\" height=\"457\" class=\"size-full wp-image-10740124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/SpoilingP.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/SpoilingP-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Robert Williams’ \u003cem>Spoiling Pollyannaville\u003c/em> — a reference to the Disney film partially filmed in Santa Rosa.\u003c/figcaption>\u003c/figure>\n\u003cp>Several options for expansion came and went over the years, but the museum has now finally split in two, taking over a building next door which previously housed a Conklin Bros. carpet store and warehouse. The former post office is now the History Museum of Sonoma County, and the Conklin Bros. space — a roomy, open area perfectly suited to showing art — has become the Art Museum of Sonoma County.\u003c/p>\n\u003cp>The exhibit comes at an exciting time for art in the region. Later this month, the \u003ca href=\"https://petalumaartscenter.org/\" target=\"_blank\" rel=\"noopener\">Petaluma Arts Center\u003c/a> opens a \u003ca href=\"http://www.southernsonomacountrylife.com/blogs/2015/05/edgar-degas-the-private-impressionist-works-on-paper-by-the-artist-and-his-circle-petaluma-arts-cent.html\" target=\"_blank\" rel=\"noopener\">show of over 100 works on paper by Edgar Degas\u003c/a>, while the Sonoma Valley Museum of Art has just opened an \u003ca href=\"https://www.svma.org/exhibitions/intimate-diebenkorn\" target=\"_blank\" rel=\"noopener\">exhibit of work by Richard Diebenkorn\u003c/a>. Meanwhile, in the wake of \u003ca href=\"http://www.pressdemocrat.com/news/2221242-181/sonoma-county-arts-council-broke\" target=\"_blank\" rel=\"noopener\">the 2013 dissolution of the Sonoma County Arts Council\u003c/a>, the county has announced the \u003ca href=\"http://sonomacounty.ca.gov/EDB/Press-Releases/Director-to-Ignite--Arts-Industry-in-Sonoma-County/\" target=\"_blank\" rel=\"noopener\">hire of Kristen Madsen\u003c/a>, Senior Vice President of the GRAMMY Foundation and MusicCares Foundation, as Director of Arts to create an optimum environment for art in the region.\u003c/p>\n\u003cp>Key to that mission, certainly, will be the new space in downtown Santa Rosa. Wasting no time steering into modern fare, the Art Museum of Sonoma County opened in April with a well-received, well-attended exhibit featuring work by Keith Haring, Roy Lichtenstein, Jasper Johns, Ed Ruscha, Andy Warhol, John Baldessari, Kara Walker, Robert Indiana and more. \u003c/p>\n\u003cfigure id=\"attachment_10740123\" 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/RobtWillSig.jpg\" alt=\"Robert Williams' recognizable signature, in light-box form, at the Art Museum of Sonoma County.\" width=\"640\" height=\"457\" class=\"size-full wp-image-10740123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/RobtWillSig.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/RobtWillSig-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Robert Williams’ recognizable signature, in light-box form, at the Art Museum of Sonoma County. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>Having planted its flag, the museum then kicked off \u003cem>Slang Aesthetics\u003c/em> not with a wine-and-cheese reception, but with a hot rod street party that shut down the block — full of people, Evans noted, that otherwise would have never come to the museum. “And it’s my goal to get them to at least come back, or tell their friends,” she said.\u003c/p>\n\u003cp>Early next year, the museum will host an installation by \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=4330\" target=\"_blank\" rel=\"noopener\">Petaluma-based sculptor and art-car icon David Best\u003c/a>. And after \u003cem>Slang Aesthetics\u003c/em>, in October, the museum will open a “politically inspired” exhibit with artists from Oakland studio \u003ca href=\"http://www.magnoliaeditions.com/\" target=\"_blank\" rel=\"noopener\">Magnolia Editions\u003c/a>.\u003c/p>\n\u003cp>Until then, Evans believes in the thirst for edgier art in Sonoma County, and expects a high turnout for the show by Williams, who before Saturday’s event dryly noted that “I’m not a wine taster, I’m not that affluent, and I’m certainly not an interior decorator” — in other words, the typical wine-country lifestyle promoted by tourism marketers and glossy travel magazines.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Maybe after this show they should go back to more mellow material, I don’t know,” Williams chuckled, as his fans poured through the front door for the talk. “This is pretty rough material for a lot of people. This is art that has no responsibility for decoration.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Robert Williams sat before a sold-out audience last Saturday and, wasting no time, immediately took note of his place in bucolic wine country. \u003c/p>\n\u003cp>“We’re in a town here with artwork that might not be apropos,” the 72-year-old artist said, opening his talk at the \u003ca href=\"http://www.sonomacountymuseum.org/\" target=\"_blank\" rel=\"noopener\">Art Museum of Sonoma County\u003c/a> in Santa Rosa. “So I’m in a position where I have to answer for this material.”\u003c/p>\n\u003cp>Of course, answering for his material seems an absurd requirement for someone like Williams, the famous artist and co-founder of \u003cem>Juxtapoz\u003c/em> magazine, whose towering stature in the art world has been cemented for decades. But in wine country, where pastel landscapes and vineyard scenes dominate many gallery walls, Williams’ exhibit \u003cem>Slang Aesthetics\u003c/em> is easily the most cutting-edge art event since Christo erected his “Running Fence” across the wilds of Sonoma County.\u003c/p>\n\u003cfigure id=\"attachment_10740122\" 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/Williams-Pathos-in-Paper-Ma.jpg\" alt=\"Robert Williams, <em>Pathos in Paper-Mâché</em>, 2013.\" width=\"640\" height=\"587\" class=\"size-full wp-image-10740122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Williams-Pathos-in-Paper-Ma.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Williams-Pathos-in-Paper-Ma-400x367.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Robert Williams, \u003cem>Pathos in Paper-Mâché\u003c/em>, 2013.\u003c/figcaption>\u003c/figure>\n\u003cp>A collection of mostly recent work totaling approximately 60 paintings and sculptures, \u003cem>Slang Aesthetics\u003c/em>, running through Sept. 20, originally showed at the Los Angeles Municipal Art Gallery (\u003ca href=\"http://ww2.kqed.org/news/2015/03/07/the-glorious-profane-spoils-of-robert-williams-50-year-war-with-mainstream-art\" target=\"_blank\" rel=\"noopener\">read KQED’s review here\u003c/a>). The fact that its next home turned out to be Santa Rosa was “very much a surprise,” Williams said before the event.\u003c/p>\n\u003cp>“I’m dying to see what the results are going to be, and the reaction,” he continued. “I’ve always been part of an outlaw world — underground comics, and hot-rod art and stuff — so this would probably chafe a few people in Santa Rosa. But on the other hand, it may be the first shock they need to get used to a changing world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Adapting to a changing world is a goal for the brand-new museum, a 15-years-in-the-making spinoff from the Sonoma County Museum, which opened just next door in 1985. Located in the city’s former post office, an \u003ca href=\"http://3.bp.blogspot.com/-gZXjg9o6u2c/T6GIRdcCpPI/AAAAAAAABQU/Qchx-X4jfOs/s1600/postoffice3.jpg\" target=\"_blank\" rel=\"noopener\">ornate yet small building\u003c/a>, the Sonoma County Museum had long struggled with its dual mission to present both history and art in such tight confines.\u003c/p>\n\u003cp>“It was always too small,” said Diane Evans, Executive Director of the museum, at Saturday’s event. “The history folks thought that we were only doing art, and the art folks thought that it was just a history building, and that we weren’t doing art. So no one was happy. We always knew we needed to expand.”\u003c/p>\n\u003cfigure id=\"attachment_10740124\" 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/SpoilingP.jpg\" alt=\"Detail of Robert Williams' <em>Spoiling Pollyannaville</em>\" width=\"640\" height=\"457\" class=\"size-full wp-image-10740124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/SpoilingP.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/SpoilingP-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Robert Williams’ \u003cem>Spoiling Pollyannaville\u003c/em> — a reference to the Disney film partially filmed in Santa Rosa.\u003c/figcaption>\u003c/figure>\n\u003cp>Several options for expansion came and went over the years, but the museum has now finally split in two, taking over a building next door which previously housed a Conklin Bros. carpet store and warehouse. The former post office is now the History Museum of Sonoma County, and the Conklin Bros. space — a roomy, open area perfectly suited to showing art — has become the Art Museum of Sonoma County.\u003c/p>\n\u003cp>The exhibit comes at an exciting time for art in the region. Later this month, the \u003ca href=\"https://petalumaartscenter.org/\" target=\"_blank\" rel=\"noopener\">Petaluma Arts Center\u003c/a> opens a \u003ca href=\"http://www.southernsonomacountrylife.com/blogs/2015/05/edgar-degas-the-private-impressionist-works-on-paper-by-the-artist-and-his-circle-petaluma-arts-cent.html\" target=\"_blank\" rel=\"noopener\">show of over 100 works on paper by Edgar Degas\u003c/a>, while the Sonoma Valley Museum of Art has just opened an \u003ca href=\"https://www.svma.org/exhibitions/intimate-diebenkorn\" target=\"_blank\" rel=\"noopener\">exhibit of work by Richard Diebenkorn\u003c/a>. Meanwhile, in the wake of \u003ca href=\"http://www.pressdemocrat.com/news/2221242-181/sonoma-county-arts-council-broke\" target=\"_blank\" rel=\"noopener\">the 2013 dissolution of the Sonoma County Arts Council\u003c/a>, the county has announced the \u003ca href=\"http://sonomacounty.ca.gov/EDB/Press-Releases/Director-to-Ignite--Arts-Industry-in-Sonoma-County/\" target=\"_blank\" rel=\"noopener\">hire of Kristen Madsen\u003c/a>, Senior Vice President of the GRAMMY Foundation and MusicCares Foundation, as Director of Arts to create an optimum environment for art in the region.\u003c/p>\n\u003cp>Key to that mission, certainly, will be the new space in downtown Santa Rosa. Wasting no time steering into modern fare, the Art Museum of Sonoma County opened in April with a well-received, well-attended exhibit featuring work by Keith Haring, Roy Lichtenstein, Jasper Johns, Ed Ruscha, Andy Warhol, John Baldessari, Kara Walker, Robert Indiana and more. \u003c/p>\n\u003cfigure id=\"attachment_10740123\" 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/RobtWillSig.jpg\" alt=\"Robert Williams' recognizable signature, in light-box form, at the Art Museum of Sonoma County.\" width=\"640\" height=\"457\" class=\"size-full wp-image-10740123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/RobtWillSig.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/RobtWillSig-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Robert Williams’ recognizable signature, in light-box form, at the Art Museum of Sonoma County. (Photo: Gabe Meline)\u003c/figcaption>\u003c/figure>\n\u003cp>Having planted its flag, the museum then kicked off \u003cem>Slang Aesthetics\u003c/em> not with a wine-and-cheese reception, but with a hot rod street party that shut down the block — full of people, Evans noted, that otherwise would have never come to the museum. “And it’s my goal to get them to at least come back, or tell their friends,” she said.\u003c/p>\n\u003cp>Early next year, the museum will host an installation by \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=4330\" target=\"_blank\" rel=\"noopener\">Petaluma-based sculptor and art-car icon David Best\u003c/a>. And after \u003cem>Slang Aesthetics\u003c/em>, in October, the museum will open a “politically inspired” exhibit with artists from Oakland studio \u003ca href=\"http://www.magnoliaeditions.com/\" target=\"_blank\" rel=\"noopener\">Magnolia Editions\u003c/a>.\u003c/p>\n\u003cp>Until then, Evans believes in the thirst for edgier art in Sonoma County, and expects a high turnout for the show by Williams, who before Saturday’s event dryly noted that “I’m not a wine taster, I’m not that affluent, and I’m certainly not an interior decorator” — in other words, the typical wine-country lifestyle promoted by tourism marketers and glossy travel magazines.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Maybe after this show they should go back to more mellow material, I don’t know,” Williams chuckled, as his fans poured through the front door for the talk. “This is pretty rough material for a lot of people. This is art that has no responsibility for decoration.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Game On! Oakland Museum Director Bets on Warriors to Win",
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"content": "\u003cp>Who says art and sports can’t play together, especially if there’s a good wager in the mix?\u003c/p>\n\u003cp>On Thursday, the directors of the Oakland Museum of California (OMCA) and the Cleveland Museum of Art (CMA) entered into a public bet on their respective home teams to win the NBA finals.\u003c/p>\n\u003cp>While basketball has long provided source material or inspirational fodder for visual artists (see \u003ca href=\"https://www.youtube.com/watch?v=tIj4IpTATLM\" target=\"_blank\" rel=\"noopener\">Paul Pfeiffer\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=rM3x0XOll30\" target=\"_blank\" rel=\"noopener\">Mark Bradford\u003c/a>, \u003ca href=\"http://marlboroughchelsea.com/chelsea/exhibitions/devin-troy-strother-space-jam\" target=\"_blank\" rel=\"noopener\">Devin Troy Strother \u003c/a>and recent CCA MFA grad \u003ca href=\"https://vimeo.com/118424262\" target=\"_blank\" rel=\"noopener\">Josh Stulen\u003c/a>, to name a few) it’s rare for museum professionals to publicly proclaim their fandom.\u003c/p>\n\u003cp>But this time, you know, it’s for the kids!\u003c/p>\n\u003cp>The stakes are set: If the Golden State Warriors win (knock on wood), the CMA will sponsor a “Warriors-themed art experience” at OMCA for 100 children from YMCA of the East Bay.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But if the Cleveland Cavaliers take the title, OMCA will similarly sponsor 100 children from the Cleveland-area Boys and Girls Clubs Fatima Family Center in Cleveland’s Hough neighborhood to visit the CMA.\u003c/p>\n\u003cp>Friendly bets between rival cities and their institutions are nothing new. Remember \u003ca href=\"http://sfmayor.org/index.aspx?recordid=683&page=846\" target=\"_blank\" rel=\"noopener\">last year’s wager\u003c/a> between Mayor Ed Lee and Kansas City’s Sly James over the 2014 World Series? Or the art museums of Denver and Seattle \u003ca href=\"http://www.npr.org/2014/01/30/268685305/the-last-word-in-business\" target=\"_blank\" rel=\"noopener\">promising to trade in signature items\u003c/a> from their collections depending on the outcome of the 2014 Super Bowl?\u003c/p>\n\u003cp>But a new trend is on the rise, in which the old stakes of public humiliation (donning, say, a rival jersey or swapping regional delicacies) are abandoned in favor of community service and support.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not above a little trash talk, Lori Fogarty, Director and CEO of the Oakland Museum of California says, “We look forward to welcoming children to OMCA when the Cavaliers lose. Game on! Go Dubs!”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who says art and sports can’t play together, especially if there’s a good wager in the mix?\u003c/p>\n\u003cp>On Thursday, the directors of the Oakland Museum of California (OMCA) and the Cleveland Museum of Art (CMA) entered into a public bet on their respective home teams to win the NBA finals.\u003c/p>\n\u003cp>While basketball has long provided source material or inspirational fodder for visual artists (see \u003ca href=\"https://www.youtube.com/watch?v=tIj4IpTATLM\" target=\"_blank\" rel=\"noopener\">Paul Pfeiffer\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=rM3x0XOll30\" target=\"_blank\" rel=\"noopener\">Mark Bradford\u003c/a>, \u003ca href=\"http://marlboroughchelsea.com/chelsea/exhibitions/devin-troy-strother-space-jam\" target=\"_blank\" rel=\"noopener\">Devin Troy Strother \u003c/a>and recent CCA MFA grad \u003ca href=\"https://vimeo.com/118424262\" target=\"_blank\" rel=\"noopener\">Josh Stulen\u003c/a>, to name a few) it’s rare for museum professionals to publicly proclaim their fandom.\u003c/p>\n\u003cp>But this time, you know, it’s for the kids!\u003c/p>\n\u003cp>The stakes are set: If the Golden State Warriors win (knock on wood), the CMA will sponsor a “Warriors-themed art experience” at OMCA for 100 children from YMCA of the East Bay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But if the Cleveland Cavaliers take the title, OMCA will similarly sponsor 100 children from the Cleveland-area Boys and Girls Clubs Fatima Family Center in Cleveland’s Hough neighborhood to visit the CMA.\u003c/p>\n\u003cp>Friendly bets between rival cities and their institutions are nothing new. Remember \u003ca href=\"http://sfmayor.org/index.aspx?recordid=683&page=846\" target=\"_blank\" rel=\"noopener\">last year’s wager\u003c/a> between Mayor Ed Lee and Kansas City’s Sly James over the 2014 World Series? Or the art museums of Denver and Seattle \u003ca href=\"http://www.npr.org/2014/01/30/268685305/the-last-word-in-business\" target=\"_blank\" rel=\"noopener\">promising to trade in signature items\u003c/a> from their collections depending on the outcome of the 2014 Super Bowl?\u003c/p>\n\u003cp>But a new trend is on the rise, in which the old stakes of public humiliation (donning, say, a rival jersey or swapping regional delicacies) are abandoned in favor of community service and support.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not above a little trash talk, Lori Fogarty, Director and CEO of the Oakland Museum of California says, “We look forward to welcoming children to OMCA when the Cavaliers lose. Game on! Go Dubs!”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'The Q-Sides' Merges Queer Culture with San Francisco's Lowrider Scene",
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"headTitle": "‘The Q-Sides’ Merges Queer Culture with San Francisco’s Lowrider Scene | KQED",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-q-sides/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>The Q-Sides\u003c/h2>\n\u003cdiv class=\"event-desc\">Exhibition challenges traditions of lowrider culture.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 23-Jul. 5, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Galería de la Raza\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-q-sides/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>San Francisco’s Mission District has a long legacy of lowrider culture, a rich history artist Vero Majano has documented and celebrated through film for almost two decades. Yet, as a queer woman living on the periphery of a traditionally male-hetero dominated community, Majano never quite saw herself represented in the scene. \u003cem>The Q-Sides\u003c/em>, a collaborative art project between Majano, photographer Kari Orvik and Hard French DJ Amy Martinez (aka DJ Brown Amy), brings imagined queer inclusion and celebration to recreated album covers of the \u003ca href=\"http://www.allmusic.com/album/east-side-story-vol-1-12-mw0000221873\" target=\"_blank\" rel=\"noopener\">\u003cem>East Side Story \u003c/em>anthologies\u003c/a>.\u003c/p>\n\u003cp>“Growing up in the eighties, every weekend was a parade of lowriders cruising up and down Mission Street, oldies serenading everyone on the streets,” says Majano. “It was a beautiful street culture. Groups would claim their corners with jackets that said Sir Locos, Slick Frisco Chicks, Santa Locas, and I would be standing on the curb, watching — not necessarily included — in my black Sir Jacket that had ‘La Shorty de San Fran’ embroidered in cursive letters on the back. Being queer is the only thing I’ve ever been sure about in my life, but I knew enough at the time that it wasn’t cool to let the Santa Locas homegirls know I thought they were fine.”\u003c/p>\n\u003cfigure id=\"attachment_10706114\" class=\"wp-caption alignright\" style=\"max-width: 616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10706114\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/QSides_Volume7-e1433119571308.jpg\" alt=\"Vero Majano, DJ Brown Amy and Kari Orvik, <i>The Q-Sides, Volume 3</i>, 2015. (Courtesy of the artists and Galería de la Raza)\" width=\"616\" height=\"640\">\u003cfigcaption class=\"wp-caption-text\">Vero Majano, DJ Brown Amy and Kari Orvik, \u003ci>The Q-Sides, Volume 3\u003c/i>, 2015. (Courtesy of the artists and Galería de la Raza)\u003c/figcaption>\u003c/figure>\n\u003cp>“What draws me to the culture more then anything else is the music, it’s what I’ve fallen in love to, what I go to when I feel heartbreak and what reminds me of my childhood,” adds Martinez. “I think it is important to celebrate lowrider culture in the context that \u003cem>Q-Sides\u003c/em> has because there is not a ton of queer representation within the culture. When I was a kid I desired to be that homeboy with the car and girl by his side and this project has made that desire a reality. It goes really deep for me.”\u003c/p>\n\u003cp>That feeling of longing saturates Kari Orvik’s photography. She, Majano and Martinez faithfully staged each image in canny mergers of queer and lowrider culture.\u003c/p>\n\u003cp>“\u003cem>The\u003c/em> \u003cem>Q-Sides\u003c/em> photographs are not necessarily any one person’s fantasy, but they open the door to the possibility of inserting your fantasy in place of a more traditional narrative,” says Orvik. “I think that growing up you can have a sense that you don’t see what you desire reflected in your environment. Even if you don’t know exactly who or what you are looking for, it can feel like there’s no place for your desire. We wanted to represent a spectrum of queer culture in these photographs that opens the door to those possibilities.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The three admit they hesitated slightly when setting out to collaborate with some of the local clubs. But despite the project’s focus on queer culture, the lowrider clubs were happy to provide vehicles for photo shoots. Many of those cars will be on display at the Jun. 5 opening reception at Galería de la Raza.\u003c/p>\n\u003cfigure id=\"attachment_10706115\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10706115 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/QSidesVolume3-1180x879.jpg\" alt=\"Vero Majano, DJ Brown Amy and Kari Orvik, <i>The Q-Sides, Volume 3</i>, 2015. (Courtesy of the artists and Galería de la Raza)\" width=\"640\" height=\"477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/QSidesVolume3-1180x879.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/QSidesVolume3-400x298.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/QSidesVolume3-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/QSidesVolume3-960x715.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/QSidesVolume3.jpg 1200w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vero Majano, DJ Brown Amy and Kari Orvik, \u003ci>The Q-Sides, Volume 3\u003c/i>, 2015. (Courtesy of the artists and Galería de la Raza) \u003ccite>(Vero Majano, DJ Brown Amy and Kari Orvik for The Q-Sides)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“All of the folks in the car clubs have been so wonderful to work with and excited about what we are doing. This could not have happened without them,” says Martinez.\u003c/p>\n\u003cp>To balance against the fantasy aspect of the \u003cem>Q-Sides\u003c/em> images, Dino Dinco’s \u003cem>Homeboy\u003c/em>, a documentary about queer Latino gang life, screens at the opening as well.\u003c/p>\n\u003cp>More than wish fulfillment, \u003cem>The Q-Sides\u003c/em> is a celebration of a rich history Majano remembers well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ve kind of always been visualizing something like this in my mind,” she says. “When I used to go to ‘You and I’ dances in the Mission in the eighties, I was a wallflower — younger than most people there — and I would watch the homies and homegirls slow dancing to oldies like “I Love You For All Seasons” by The Fuzz, and imagine that I was the one dancing with the girl.”\u003c/p>\n\n",
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"excerpt": "Artists reimagine album covers as images of queer inclusion and celebration at Galería de la Raza.",
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"title": "'The Q-Sides' Merges Queer Culture with San Francisco's Lowrider Scene | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-q-sides/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>The Q-Sides\u003c/h2>\n\u003cdiv class=\"event-desc\">Exhibition challenges traditions of lowrider culture.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 23-Jul. 5, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Galería de la Raza\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-q-sides/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>San Francisco’s Mission District has a long legacy of lowrider culture, a rich history artist Vero Majano has documented and celebrated through film for almost two decades. Yet, as a queer woman living on the periphery of a traditionally male-hetero dominated community, Majano never quite saw herself represented in the scene. \u003cem>The Q-Sides\u003c/em>, a collaborative art project between Majano, photographer Kari Orvik and Hard French DJ Amy Martinez (aka DJ Brown Amy), brings imagined queer inclusion and celebration to recreated album covers of the \u003ca href=\"http://www.allmusic.com/album/east-side-story-vol-1-12-mw0000221873\" target=\"_blank\" rel=\"noopener\">\u003cem>East Side Story \u003c/em>anthologies\u003c/a>.\u003c/p>\n\u003cp>“Growing up in the eighties, every weekend was a parade of lowriders cruising up and down Mission Street, oldies serenading everyone on the streets,” says Majano. “It was a beautiful street culture. Groups would claim their corners with jackets that said Sir Locos, Slick Frisco Chicks, Santa Locas, and I would be standing on the curb, watching — not necessarily included — in my black Sir Jacket that had ‘La Shorty de San Fran’ embroidered in cursive letters on the back. Being queer is the only thing I’ve ever been sure about in my life, but I knew enough at the time that it wasn’t cool to let the Santa Locas homegirls know I thought they were fine.”\u003c/p>\n\u003cfigure id=\"attachment_10706114\" class=\"wp-caption alignright\" style=\"max-width: 616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10706114\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/QSides_Volume7-e1433119571308.jpg\" alt=\"Vero Majano, DJ Brown Amy and Kari Orvik, <i>The Q-Sides, Volume 3</i>, 2015. (Courtesy of the artists and Galería de la Raza)\" width=\"616\" height=\"640\">\u003cfigcaption class=\"wp-caption-text\">Vero Majano, DJ Brown Amy and Kari Orvik, \u003ci>The Q-Sides, Volume 3\u003c/i>, 2015. (Courtesy of the artists and Galería de la Raza)\u003c/figcaption>\u003c/figure>\n\u003cp>“What draws me to the culture more then anything else is the music, it’s what I’ve fallen in love to, what I go to when I feel heartbreak and what reminds me of my childhood,” adds Martinez. “I think it is important to celebrate lowrider culture in the context that \u003cem>Q-Sides\u003c/em> has because there is not a ton of queer representation within the culture. When I was a kid I desired to be that homeboy with the car and girl by his side and this project has made that desire a reality. It goes really deep for me.”\u003c/p>\n\u003cp>That feeling of longing saturates Kari Orvik’s photography. She, Majano and Martinez faithfully staged each image in canny mergers of queer and lowrider culture.\u003c/p>\n\u003cp>“\u003cem>The\u003c/em> \u003cem>Q-Sides\u003c/em> photographs are not necessarily any one person’s fantasy, but they open the door to the possibility of inserting your fantasy in place of a more traditional narrative,” says Orvik. “I think that growing up you can have a sense that you don’t see what you desire reflected in your environment. Even if you don’t know exactly who or what you are looking for, it can feel like there’s no place for your desire. We wanted to represent a spectrum of queer culture in these photographs that opens the door to those possibilities.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The three admit they hesitated slightly when setting out to collaborate with some of the local clubs. But despite the project’s focus on queer culture, the lowrider clubs were happy to provide vehicles for photo shoots. Many of those cars will be on display at the Jun. 5 opening reception at Galería de la Raza.\u003c/p>\n\u003cfigure id=\"attachment_10706115\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10706115 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/QSidesVolume3-1180x879.jpg\" alt=\"Vero Majano, DJ Brown Amy and Kari Orvik, <i>The Q-Sides, Volume 3</i>, 2015. (Courtesy of the artists and Galería de la Raza)\" width=\"640\" height=\"477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/QSidesVolume3-1180x879.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/QSidesVolume3-400x298.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/QSidesVolume3-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/QSidesVolume3-960x715.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/QSidesVolume3.jpg 1200w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vero Majano, DJ Brown Amy and Kari Orvik, \u003ci>The Q-Sides, Volume 3\u003c/i>, 2015. (Courtesy of the artists and Galería de la Raza) \u003ccite>(Vero Majano, DJ Brown Amy and Kari Orvik for The Q-Sides)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“All of the folks in the car clubs have been so wonderful to work with and excited about what we are doing. This could not have happened without them,” says Martinez.\u003c/p>\n\u003cp>To balance against the fantasy aspect of the \u003cem>Q-Sides\u003c/em> images, Dino Dinco’s \u003cem>Homeboy\u003c/em>, a documentary about queer Latino gang life, screens at the opening as well.\u003c/p>\n\u003cp>More than wish fulfillment, \u003cem>The Q-Sides\u003c/em> is a celebration of a rich history Majano remembers well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ve kind of always been visualizing something like this in my mind,” she says. “When I used to go to ‘You and I’ dances in the Mission in the eighties, I was a wallflower — younger than most people there — and I would watch the homies and homegirls slow dancing to oldies like “I Love You For All Seasons” by The Fuzz, and imagine that I was the one dancing with the girl.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "summer-events-in-san-jose-you-might-not-know-about-but-should",
"title": "Summer Events in San Jose You Might Not Know About (But Should)",
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"content": "\u003cp>San Jose has been all a buzz over the news from last week that the city’s population hit the one million mark. According to the \u003ca href=\"http://www.prnewswire.com/news-releases/ten-us-cities-now-have-1-million-people-or-more-california-and-texas-each-have-three-of-these-places-300087265.html\" target=\"_blank\" rel=\"noopener\">U.S. Census Bureau,\u003c/a> this means that the South Bay city is one of ten in this nation to have a population that size or more. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Like any city with a large population, San Jose has a wide variety of goings-on to keep the majority of our residents busy this summer. We have familiar events that you can count on that most metropolitan clusters have such as: \u003ca href=\"http://sjdowntown.com/musicinthepark/\" target=\"_blank\" rel=\"noopener\">Music in the Park\u003c/a>, Fourth of July Fireworks, free outdoor \u003ca href=\"http://www.symphonysiliconvalley.org/concerts.php?pagecontID=183\" target=\"_blank\" rel=\"noopener\">Symphony\u003c/a> concerts and a fantastic \u003ca href=\"http://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">Summer Jazz Fest.\u003c/a> And in addition to these well produced, well-marketed blockbusters, we also have things to do that are smaller, niche-ier, and a little harder to find but uniquely our own. Whether you’re a legacy resident that has lived in the area since it was dense with orchards or you’re (fairly) new to the area and want to experience a diverse range of events, a memorable summer awaits you in San Jose.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10705944\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SkateNight.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10705944\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SkateNight.jpg\" alt=\"Kyle Yandow and Amy Anderson at #SJSkateNight no. 2.\" width=\"469\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SkateNight.jpg 469w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SkateNight-400x614.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SkateNight-391x600.jpg 391w\" sizes=\"(max-width: 469px) 100vw, 469px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kyle Yandow and Amy Anderson at #SJSkateNight no. 2. \u003ccite>(PHoto by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>San Jose Skate Night\u003c/h3>\n\u003ch5>Monthly event – ongoing \u003cbr>\n\u003ca href=\"https://www.facebook.com/groups/1507830799471347/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>San Jose’s hot summer days almost always slip into cool comfortable nights which makes for perfect roller skating weather. The South Bay is now devoid of indoor skating rinks so in the typical Silicon Valley problem-solving style, three residents — Justin Triano, Amy Hewett and Liz Ruiz (both former \u003ca href=\"http://svrollergirls.com/\">SV Roller Derby Girls\u003c/a>) — got together to make one big roving roller rink that travels through our downtown. Accompanied by a mobile disco sound unit and laser light show, the event moves throughout the evening to open plazas that are begging for people to use them. The organizers plan for the event to continue monthly. Skate rentals are available prior to the event and the start point location varies (announced 24 hours beforehand).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703412\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Sparks_Mollica.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703412\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Sparks_Mollica.jpg\" alt='Peter Mollica, \"Fence,\" stained glass, 2013. ' width=\"492\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sparks_Mollica.jpg 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sparks_Mollica-400x585.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sparks_Mollica-410x600.jpg 410w\" sizes=\"(max-width: 492px) 100vw, 492px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peter Mollica, “Fence,” stained glass, 2013. \u003ccite>(Courtesy of the \"Sparks\" Exhibition at San Jose City College.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>44th Annual Glass Arts Conference\u003c/h3>\n\u003ch5>June 5–7\u003cbr>\n\u003ca href=\"http://www.glassart.org/_San_Jose.html\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>Seattle-based \u003ca href=\"http://www.glassart.org/\" target=\"_blank\" rel=\"noopener\">Glass Art Society\u003c/a> is hosting this year’s glass arts conference in downtown San Jose with the theme:\u003cem> Interface: Glass, Art, and Technology\u003c/em>. The host city was chosen because Silicon Valley is “where technology is king and new technological ideas are generated daily,” Roger MacPherson, GAS President said. The three day conference will engage glass artists and collectors in panel discussions, hands-on workshops, demos, a mobile hot shop, plus many free & open to the public events like the glass marketplace. In addition to the official GAS programming, \u003ca href=\"http://www.glassart.org/2015_Exhibitions_Gallery_Hop_.html\" target=\"_blank\" rel=\"noopener\">14 local galleries\u003c/a> are hosting concurrent glass exhibitions throughout the city center featuring themed shows as well as broad group displays of this fascinating material. A “Gallery Hop” is scheduled for Friday night June 5 with shuttle service departing every 30 minutes at key locations.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703409\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703409\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO.jpg\" alt=\"Cellist Freya Seeburger at SubZERO Festival 2014.\" width=\"465\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO.jpg 465w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO-400x619.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO-388x600.jpg 388w\" sizes=\"(max-width: 465px) 100vw, 465px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cellist Freya Seeburger at SubZERO Festival 2014. \u003ccite>(Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>SubZERO Festival\u003c/h3>\n\u003ch5>June 5 & 6\u003cbr>\n\u003ca href=\"http://subzerofestival.com/\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>The SubZERO Festival, held annually on the \u003ca href=\"http://www.southfirstfridays.com/\" target=\"_blank\" rel=\"noopener\">First Friday\u003c/a> & Saturday of June, is the art scene’s kick-off party to the summer season in the South Bay. Now in its 8th year, this subculture gathering of those that dwell in the underground will once again take over the arts & culture district of San Jose known as the \u003ca href=\"https://www.facebook.com/pages/SoFA-District/70353431135?ref=hl\" target=\"_blank\" rel=\"noopener\">SoFA District\u003c/a>. This seemingly small area (just 3 blocks) will be packed with over a hundred visual artists, performers and independent creative businesses. The 3 stages of live music feature 24 bands in the indie, alternative and experimental genres. “All Hail the Progenitors of Culture” is their battle cry with the intention to show San Jose artists do live and thrive here all year round.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10705940\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/AlchemyGarden.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10705940\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/AlchemyGarden.jpg\" alt=\"Alchemy Garden at Rosicrucian Park.\" width=\"640\" height=\"421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/AlchemyGarden.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/AlchemyGarden-400x263.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alchemy Garden at Rosicrucian Park. \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Alchemy Museum and Lab Exhibit at Rosicrucian Park\u003c/h3>\n\u003ch5>June 21\u003cbr>\n\u003ca href=\"http://www.rosicrucianpark.org/alchemy-museum\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">San Jose will soon be home to the world’s largest, and the nation’s only, Alchemy Museum and Lab. Curated and designed by practicing alchemist and author \u003ca href=\"http://dwhauck.com/\">Dennis William Hauck\u003c/a>, the museum will be located at Rosicrucian Park, the same grounds that houses the world famous \u003ca href=\"http://www.egyptianmuseum.org/\" target=\"_blank\" rel=\"noopener\">Rosicrucian Egyptian Museum\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_10717729\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/alchemy2.jpg\" alt=\"(Courtesy of Rosicrucian Park)\" width=\"382\" height=\"321\" class=\"size-thumbnail wp-image-10717729\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of Rosicrucian Park)\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">In anticipation of the Alchemy Museum’s opening — slated for June 2016 — the Egyptian Museum will be presenting an exhibition that features highlights from the Alchemy Museum’s collection. While you’re there, be sure to check out the grounds, which feature numerous sculptures of ancient Egyptian gods, a Pythagoras statue, a Senet game, and the new Alchemy Garden, which is beautifully arranged to symbolize the four elements of Earth, Air, Fire and Water.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703414\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Triton_Palmer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Triton_Palmer.jpg\" alt=\"Artist Avery Palmer at The Triton Museum of Art .\" width=\"640\" height=\"435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Triton_Palmer.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Triton_Palmer-400x272.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist Avery Palmer at The Triton Museum of Art . \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>50 and Looking Forward…\u003c/i> at The Triton Museum of Art\u003c/h3>\n\u003ch5>Through July 12 \u003cbr>\n\u003ca href=\"http://www.tritonmuseum.org/exhibitions_50_andForward.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">For 50 years The Triton has dedicated its beautiful exhibition spaces to contemporary artists from the greater Bay Area. This summer they celebrate their 50th anniversary with \u003ci>50 and Looking Forward…\u003c/i>, which opened May 16th. The exhibition focuses on the future rather than the past, with 19 local artists that the curators have deemed “the ones to watch.” The group exhibit is as diverse as the area The Triton aims to serve. A great day to visit the museum and check out the show would be on June 20th during their \u003ca href=\"http://www.tritonmuseum.org/SpecialEvents.php\" target=\"_blank\" rel=\"noopener\">Summer Solstice Art Festival\u003c/a> that’s held on their back lawn, among their outdoor sculpture collection.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703413\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/TDT_Festival.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703413\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/TDT_Festival.jpg\" alt=\"Think and Die Thinking Festival\" width=\"582\" height=\"477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TDT_Festival.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TDT_Festival-400x328.jpg 400w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Think and Die Thinking Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>Think and Die Thinking\u003c/h3>\n\u003ch5>July 9–12 \u003cbr>\n\u003ca href=\"http://thinkanddiethinking.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>Since 2011 the Think and Die Thinking collective has held an annual DIY punk & indie music festival that’s by and for LGBT, women, and people of color. Each year the list of bands gets longer and the event spills over into another day. This year the event is 4 days and will be hosted by 3 venues to accommodate all the participants. The main venue, and beneficiary of the proceeds, is the \u003ca href=\"http://www.defrankcenter.org/\" target=\"_blank\" rel=\"noopener\">Billy De Frank LGBT Community Center;\u003c/a> a well respected and important resource for the LGBT community since 1981.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703410\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/LunaParkChalk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703410\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/LunaParkChalk.jpg\" alt=\"Luna Park Chalk Art Festival\" width=\"539\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LunaParkChalk.jpg 539w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LunaParkChalk-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LunaParkChalk-449x600.jpg 449w\" sizes=\"(max-width: 539px) 100vw, 539px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Luna Park Chalk Art Festival \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>8th Annual Luna Park Chalk Art Festival\u003c/h3>\n\u003ch5>September 19\u003cbr>\n\u003ca href=\"http://lunaparkchalkart.org/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The Luna Park Chalk Art Festival is a favorite community event that features local artists putting their talents towards raising awareness and grant funds for art programs in local schools. The artists’ canvas is a 4 foot by 4 foot section of concrete sidewalk that winds through the center area of the 10-acre Backesto Park. The mini murals begin on the Friday morning before. The artists then work through the day, finishing their ephemeral drawings by the start of the main event on Saturday, which is must-go as it features live music, vendor booths and food trucks.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "San Jose now has over one million people in it and the entertainment being produced here is both unique and comparable to larger cities. ",
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"title": "Summer Events in San Jose You Might Not Know About (But Should) | KQED",
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"headline": "Summer Events in San Jose You Might Not Know About (But Should)",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Jose has been all a buzz over the news from last week that the city’s population hit the one million mark. According to the \u003ca href=\"http://www.prnewswire.com/news-releases/ten-us-cities-now-have-1-million-people-or-more-california-and-texas-each-have-three-of-these-places-300087265.html\" target=\"_blank\" rel=\"noopener\">U.S. Census Bureau,\u003c/a> this means that the South Bay city is one of ten in this nation to have a population that size or more. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Like any city with a large population, San Jose has a wide variety of goings-on to keep the majority of our residents busy this summer. We have familiar events that you can count on that most metropolitan clusters have such as: \u003ca href=\"http://sjdowntown.com/musicinthepark/\" target=\"_blank\" rel=\"noopener\">Music in the Park\u003c/a>, Fourth of July Fireworks, free outdoor \u003ca href=\"http://www.symphonysiliconvalley.org/concerts.php?pagecontID=183\" target=\"_blank\" rel=\"noopener\">Symphony\u003c/a> concerts and a fantastic \u003ca href=\"http://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">Summer Jazz Fest.\u003c/a> And in addition to these well produced, well-marketed blockbusters, we also have things to do that are smaller, niche-ier, and a little harder to find but uniquely our own. Whether you’re a legacy resident that has lived in the area since it was dense with orchards or you’re (fairly) new to the area and want to experience a diverse range of events, a memorable summer awaits you in San Jose.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10705944\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SkateNight.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10705944\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SkateNight.jpg\" alt=\"Kyle Yandow and Amy Anderson at #SJSkateNight no. 2.\" width=\"469\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SkateNight.jpg 469w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SkateNight-400x614.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SkateNight-391x600.jpg 391w\" sizes=\"(max-width: 469px) 100vw, 469px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kyle Yandow and Amy Anderson at #SJSkateNight no. 2. \u003ccite>(PHoto by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>San Jose Skate Night\u003c/h3>\n\u003ch5>Monthly event – ongoing \u003cbr>\n\u003ca href=\"https://www.facebook.com/groups/1507830799471347/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>San Jose’s hot summer days almost always slip into cool comfortable nights which makes for perfect roller skating weather. The South Bay is now devoid of indoor skating rinks so in the typical Silicon Valley problem-solving style, three residents — Justin Triano, Amy Hewett and Liz Ruiz (both former \u003ca href=\"http://svrollergirls.com/\">SV Roller Derby Girls\u003c/a>) — got together to make one big roving roller rink that travels through our downtown. Accompanied by a mobile disco sound unit and laser light show, the event moves throughout the evening to open plazas that are begging for people to use them. The organizers plan for the event to continue monthly. Skate rentals are available prior to the event and the start point location varies (announced 24 hours beforehand).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703412\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Sparks_Mollica.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703412\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Sparks_Mollica.jpg\" alt='Peter Mollica, \"Fence,\" stained glass, 2013. ' width=\"492\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sparks_Mollica.jpg 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sparks_Mollica-400x585.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Sparks_Mollica-410x600.jpg 410w\" sizes=\"(max-width: 492px) 100vw, 492px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peter Mollica, “Fence,” stained glass, 2013. \u003ccite>(Courtesy of the \"Sparks\" Exhibition at San Jose City College.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>44th Annual Glass Arts Conference\u003c/h3>\n\u003ch5>June 5–7\u003cbr>\n\u003ca href=\"http://www.glassart.org/_San_Jose.html\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>Seattle-based \u003ca href=\"http://www.glassart.org/\" target=\"_blank\" rel=\"noopener\">Glass Art Society\u003c/a> is hosting this year’s glass arts conference in downtown San Jose with the theme:\u003cem> Interface: Glass, Art, and Technology\u003c/em>. The host city was chosen because Silicon Valley is “where technology is king and new technological ideas are generated daily,” Roger MacPherson, GAS President said. The three day conference will engage glass artists and collectors in panel discussions, hands-on workshops, demos, a mobile hot shop, plus many free & open to the public events like the glass marketplace. In addition to the official GAS programming, \u003ca href=\"http://www.glassart.org/2015_Exhibitions_Gallery_Hop_.html\" target=\"_blank\" rel=\"noopener\">14 local galleries\u003c/a> are hosting concurrent glass exhibitions throughout the city center featuring themed shows as well as broad group displays of this fascinating material. A “Gallery Hop” is scheduled for Friday night June 5 with shuttle service departing every 30 minutes at key locations.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703409\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703409\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO.jpg\" alt=\"Cellist Freya Seeburger at SubZERO Festival 2014.\" width=\"465\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO.jpg 465w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO-400x619.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Cellista_SubZERO-388x600.jpg 388w\" sizes=\"(max-width: 465px) 100vw, 465px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cellist Freya Seeburger at SubZERO Festival 2014. \u003ccite>(Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>SubZERO Festival\u003c/h3>\n\u003ch5>June 5 & 6\u003cbr>\n\u003ca href=\"http://subzerofestival.com/\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>The SubZERO Festival, held annually on the \u003ca href=\"http://www.southfirstfridays.com/\" target=\"_blank\" rel=\"noopener\">First Friday\u003c/a> & Saturday of June, is the art scene’s kick-off party to the summer season in the South Bay. Now in its 8th year, this subculture gathering of those that dwell in the underground will once again take over the arts & culture district of San Jose known as the \u003ca href=\"https://www.facebook.com/pages/SoFA-District/70353431135?ref=hl\" target=\"_blank\" rel=\"noopener\">SoFA District\u003c/a>. This seemingly small area (just 3 blocks) will be packed with over a hundred visual artists, performers and independent creative businesses. The 3 stages of live music feature 24 bands in the indie, alternative and experimental genres. “All Hail the Progenitors of Culture” is their battle cry with the intention to show San Jose artists do live and thrive here all year round.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10705940\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/AlchemyGarden.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10705940\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/AlchemyGarden.jpg\" alt=\"Alchemy Garden at Rosicrucian Park.\" width=\"640\" height=\"421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/AlchemyGarden.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/AlchemyGarden-400x263.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alchemy Garden at Rosicrucian Park. \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Alchemy Museum and Lab Exhibit at Rosicrucian Park\u003c/h3>\n\u003ch5>June 21\u003cbr>\n\u003ca href=\"http://www.rosicrucianpark.org/alchemy-museum\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">San Jose will soon be home to the world’s largest, and the nation’s only, Alchemy Museum and Lab. Curated and designed by practicing alchemist and author \u003ca href=\"http://dwhauck.com/\">Dennis William Hauck\u003c/a>, the museum will be located at Rosicrucian Park, the same grounds that houses the world famous \u003ca href=\"http://www.egyptianmuseum.org/\" target=\"_blank\" rel=\"noopener\">Rosicrucian Egyptian Museum\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_10717729\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/alchemy2.jpg\" alt=\"(Courtesy of Rosicrucian Park)\" width=\"382\" height=\"321\" class=\"size-thumbnail wp-image-10717729\">\u003cfigcaption class=\"wp-caption-text\">(Courtesy of Rosicrucian Park)\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">In anticipation of the Alchemy Museum’s opening — slated for June 2016 — the Egyptian Museum will be presenting an exhibition that features highlights from the Alchemy Museum’s collection. While you’re there, be sure to check out the grounds, which feature numerous sculptures of ancient Egyptian gods, a Pythagoras statue, a Senet game, and the new Alchemy Garden, which is beautifully arranged to symbolize the four elements of Earth, Air, Fire and Water.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703414\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Triton_Palmer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Triton_Palmer.jpg\" alt=\"Artist Avery Palmer at The Triton Museum of Art .\" width=\"640\" height=\"435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Triton_Palmer.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Triton_Palmer-400x272.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist Avery Palmer at The Triton Museum of Art . \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>50 and Looking Forward…\u003c/i> at The Triton Museum of Art\u003c/h3>\n\u003ch5>Through July 12 \u003cbr>\n\u003ca href=\"http://www.tritonmuseum.org/exhibitions_50_andForward.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 600px;float: left\">\n\u003cp class=\"p1\">For 50 years The Triton has dedicated its beautiful exhibition spaces to contemporary artists from the greater Bay Area. This summer they celebrate their 50th anniversary with \u003ci>50 and Looking Forward…\u003c/i>, which opened May 16th. The exhibition focuses on the future rather than the past, with 19 local artists that the curators have deemed “the ones to watch.” The group exhibit is as diverse as the area The Triton aims to serve. A great day to visit the museum and check out the show would be on June 20th during their \u003ca href=\"http://www.tritonmuseum.org/SpecialEvents.php\" target=\"_blank\" rel=\"noopener\">Summer Solstice Art Festival\u003c/a> that’s held on their back lawn, among their outdoor sculpture collection.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703413\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/TDT_Festival.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703413\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/TDT_Festival.jpg\" alt=\"Think and Die Thinking Festival\" width=\"582\" height=\"477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TDT_Festival.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/TDT_Festival-400x328.jpg 400w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Think and Die Thinking Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>Think and Die Thinking\u003c/h3>\n\u003ch5>July 9–12 \u003cbr>\n\u003ca href=\"http://thinkanddiethinking.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Schedule and Details\u003c/a>\u003c/h5>\n\u003cp>Since 2011 the Think and Die Thinking collective has held an annual DIY punk & indie music festival that’s by and for LGBT, women, and people of color. Each year the list of bands gets longer and the event spills over into another day. This year the event is 4 days and will be hosted by 3 venues to accommodate all the participants. The main venue, and beneficiary of the proceeds, is the \u003ca href=\"http://www.defrankcenter.org/\" target=\"_blank\" rel=\"noopener\">Billy De Frank LGBT Community Center;\u003c/a> a well respected and important resource for the LGBT community since 1981.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10703410\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/LunaParkChalk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10703410\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/LunaParkChalk.jpg\" alt=\"Luna Park Chalk Art Festival\" width=\"539\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LunaParkChalk.jpg 539w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LunaParkChalk-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/LunaParkChalk-449x600.jpg 449w\" sizes=\"(max-width: 539px) 100vw, 539px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Luna Park Chalk Art Festival \u003ccite>(Photo by Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>8th Annual Luna Park Chalk Art Festival\u003c/h3>\n\u003ch5>September 19\u003cbr>\n\u003ca href=\"http://lunaparkchalkart.org/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The Luna Park Chalk Art Festival is a favorite community event that features local artists putting their talents towards raising awareness and grant funds for art programs in local schools. The artists’ canvas is a 4 foot by 4 foot section of concrete sidewalk that winds through the center area of the 10-acre Backesto Park. The mini murals begin on the Friday morning before. The artists then work through the day, finishing their ephemeral drawings by the start of the main event on Saturday, which is must-go as it features live music, vendor booths and food trucks.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>At the western end of San Francisco’s California Street, a splendidly refurbished staircase designed by tile artist \u003ca href=\"http://www.aileenbarrtile.com/\" target=\"_blank\" rel=\"noopener\">Aileen Barr\u003c/a> now marks the entryway to 100 acres of public park. On May 28, neighbors, city representatives and more than a few plaid-clad girls from next-door’s Katherine Delmar Burke School celebrated a ribbon-cutting ceremony for the new \u003ca href=\"http://www.lincolnparksteps.org/\" target=\"_blank\" rel=\"noopener\">Lincoln Park Steps\u003c/a>.\u003c/p>\n\u003cp>The event marked the culmination of eight years of planning, organizing and fundraising by Friends of Lincoln Park, led by Anna Yatroussis and Meg Autry.\u003c/p>\n\u003cp>“I would walk to school down these steps when I was a child,” Yatroussis said at the ceremony, “and much later I would walk my children down these steps. But by then, unfortunately, we were stepping over broken glass and broken steps, graffiti and garbage.”\u003c/p>\n\u003cp>[gallery type=\"square\" link=\"none\" ids=\"10708584,10708585,10708582,10708583,10708581,10706847\"]\u003c/p>\n\u003cp>Today the steps are covered in sparkling new tile, with a cascading design of jewel-toned botanical and beaux-arts motifs on the step risers, benches and short pillars.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The first thing that came to my mind was faded grandeur,” Barr told the crowd. “My vision was to capture a sense of splendor.” (Barr’s colorful tile work graces a number of locations around San Francisco, including the Sunset’s \u003ca href=\"http://www.tiledsteps.org/\" target=\"_blank\" rel=\"noopener\">16th Avenue steps\u003c/a>.)\u003c/p>\n\u003cp>The tiles, stamped periodically with the names of the project’s donors and sponsors, came from Fireclay Tile in San Jose and San Francisco’s Heath Ceramics.\u003c/p>\n\u003cp>“This is a lot of tile!” said Steve Schweigerdt of the San Francisco Parks Alliance, as he gestured to the 52 very wide steps. “How many of you have done a tile project in your house?”\u003c/p>\n\u003cp>Friends of Lincoln Park led the project through city approvals, grant applications, private fundraising, contract negotiations and construction delays before the prototypically gray and windy day of the ribbon cutting.\u003c/p>\n\u003cp>“It’s such a great blend of art with community,” said Supervisor Eric Mar, likening the steps to San Francisco’s WPA murals as the crowd murmured in agreement.\u003c/p>\n\u003cp>San Francisco Recreation and Parks General Manager Phil Ginsberg applauded the steps as a gateway to Lincoln Park’s precious open space. “We are welcoming more and more and more people to this city, which is a wonderful thing,” he said, “but our parks really matter now.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the ceremony’s close, a pair of novelty-sized golden scissors emerged from behind a Recreation and Parks banner. Turns out those aren’t truly functional. A small army of Burke’s students wielding more conventionally-sized scissors counted down from ten to one and quickly snipped the ceremonial ribbon to bits. The stairs are open!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The first thing that came to my mind was faded grandeur,” Barr told the crowd. “My vision was to capture a sense of splendor.” (Barr’s colorful tile work graces a number of locations around San Francisco, including the Sunset’s \u003ca href=\"http://www.tiledsteps.org/\" target=\"_blank\" rel=\"noopener\">16th Avenue steps\u003c/a>.)\u003c/p>\n\u003cp>The tiles, stamped periodically with the names of the project’s donors and sponsors, came from Fireclay Tile in San Jose and San Francisco’s Heath Ceramics.\u003c/p>\n\u003cp>“This is a lot of tile!” said Steve Schweigerdt of the San Francisco Parks Alliance, as he gestured to the 52 very wide steps. “How many of you have done a tile project in your house?”\u003c/p>\n\u003cp>Friends of Lincoln Park led the project through city approvals, grant applications, private fundraising, contract negotiations and construction delays before the prototypically gray and windy day of the ribbon cutting.\u003c/p>\n\u003cp>“It’s such a great blend of art with community,” said Supervisor Eric Mar, likening the steps to San Francisco’s WPA murals as the crowd murmured in agreement.\u003c/p>\n\u003cp>San Francisco Recreation and Parks General Manager Phil Ginsberg applauded the steps as a gateway to Lincoln Park’s precious open space. “We are welcoming more and more and more people to this city, which is a wonderful thing,” he said, “but our parks really matter now.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the ceremony’s close, a pair of novelty-sized golden scissors emerged from behind a Recreation and Parks banner. Turns out those aren’t truly functional. A small army of Burke’s students wielding more conventionally-sized scissors counted down from ten to one and quickly snipped the ceremonial ribbon to bits. The stairs are open!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Oakland visual arts nonprofit Pro Arts announced Wednesday Executive Director Margo Dunlap is stepping down after eleven years at the organization. This news comes just two weeks after Executive Director Lex Leifheit announced her departure from San Francisco’s SOMArts and two months after di Rosa Executive Director Kathryn Reasoner announced the end of her ten-year tenure at the Napa institution.\u003c/p>\n\u003cp>In an email announcement, the Pro Arts Board of Directors thanked Dunlap “for her tenacious work serving the arts community.” According to the email, Pro Arts nearly doubled its annual budget, expanded its educational youth arts programs in the Oakland Unified School District and initiated the \u003cem>2 x 2 Solos\u003c/em> exhibition series, a coveted showcase for emerging Bay Area artists and curators, during Dunlap’s tenure.\u003c/p>\n\u003cp>Despite these accomplishments, Dunlap’s departure is sudden — her name is already absent from the Pro Arts website and her LinkedIn profile now identifies her as an “Independent Management Contractor.” Board member Helene Fried declined to comment on why Dunlap stepped down, citing the former executive director’s privacy in what Fried termed a “personnel matter.”\u003c/p>\n\u003cp>The details of these three recent departures are very different. But together they point to gaps in nonprofit leadership at a time when many Bay Area arts organizations are struggling to remain afloat.\u003c/p>\n\u003cp>Leifheit, who joined SOMArts as executive director in 2008, leaves her position for a newly-created role in the Mayor’s Office Of Economic and Workforce Development. Reasoner departs to “pursue independent projects,” according to a Feb. 18 press release from di Rosa. Both Leifheit and Reasoner remain in their positions through the end of May. SOMArts and di Rosa have not yet announced their searches for new executive directors.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile at Pro Arts, Nancy Gonchar, board member and former Deputy Director of the San Francisco Arts Commission, will serve as Interim Executive Director while the board begins a search for Dunlap’s replacement.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Oakland visual arts nonprofit Pro Arts announced Wednesday Executive Director Margo Dunlap is stepping down after eleven years at the organization. This news comes just two weeks after Executive Director Lex Leifheit announced her departure from San Francisco’s SOMArts and two months after di Rosa Executive Director Kathryn Reasoner announced the end of her ten-year tenure at the Napa institution.\u003c/p>\n\u003cp>In an email announcement, the Pro Arts Board of Directors thanked Dunlap “for her tenacious work serving the arts community.” According to the email, Pro Arts nearly doubled its annual budget, expanded its educational youth arts programs in the Oakland Unified School District and initiated the \u003cem>2 x 2 Solos\u003c/em> exhibition series, a coveted showcase for emerging Bay Area artists and curators, during Dunlap’s tenure.\u003c/p>\n\u003cp>Despite these accomplishments, Dunlap’s departure is sudden — her name is already absent from the Pro Arts website and her LinkedIn profile now identifies her as an “Independent Management Contractor.” Board member Helene Fried declined to comment on why Dunlap stepped down, citing the former executive director’s privacy in what Fried termed a “personnel matter.”\u003c/p>\n\u003cp>The details of these three recent departures are very different. But together they point to gaps in nonprofit leadership at a time when many Bay Area arts organizations are struggling to remain afloat.\u003c/p>\n\u003cp>Leifheit, who joined SOMArts as executive director in 2008, leaves her position for a newly-created role in the Mayor’s Office Of Economic and Workforce Development. Reasoner departs to “pursue independent projects,” according to a Feb. 18 press release from di Rosa. Both Leifheit and Reasoner remain in their positions through the end of May. SOMArts and di Rosa have not yet announced their searches for new executive directors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>How do you make it as an artist? After \u003ca href=\"http://www.artactivistnia.com/\" target=\"_blank\" rel=\"noopener\">Nia King\u003c/a> left a full-time job to be an artist, she wanted to hear other people’s success stories, particularly those with the most marginalized voices — queer and trans people of color.\u003c/p>\n\u003cfigure id=\"attachment_10696301\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10696301\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/King640.jpg\" alt=\"Nia King. (Photo by Myles L.)\" width=\"480\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/King640.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/King640-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/King640-450x600.jpg 450w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Nia King. (Photo by Myles L.)\u003c/figcaption>\u003c/figure>\n\u003cp>King produces the podcast \u003cem>\u003ca href=\"http://www.artactivistnia.com/podcast.html\" target=\"_blank\" rel=\"noopener\">We Want the Airwaves\u003c/a>\u003c/em>, in which she interviews artists of all disciplines in her ongoing search for the key to “making it” as an artist. In 2014 King self-published a collection of the podcast interviews in the book \u003cem>Queer and Trans Artists of Color: Some of Our Stories\u003c/em>. The transcribed interviews, much like the podcast, relay the artists’ experiences with refreshing honesty and surprising amounts of humor. The artists share candid and vulnerable tales of life, many about using art as tool against oppression.\u003c/p>\n\u003cp>King’s interviews serve not only to document the existence of marginalized cultural creators, but assert the power and vibrancy of queer and trans artists working today. Only one year later, King is self-publishing a second volume of \u003cem>Queer and Trans Artists of Color\u003c/em>. I sat down with her to ask how the podcast got started, what she learned about making it as an artist, and why this work remains important to her.\u003c/p>\n\u003cp>\u003cstrong>How did the idea for your podcast come about?\u003c/strong>\u003c/p>\n\u003cp>It stemmed partially from growing up in punk rock and activist communities, having the DIY ethic to go make something on your own. Before the podcast, I made zines. Most of my early zines were about race and my experiences being mixed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After I graduated from Mills College, my focus changed from personal stories to what it meant to make a living as an artist. I knew I wanted to create a platform for other artists who were not getting the attention they deserved, like queer and trans people of color.\u003c/p>\n\u003cp>\u003cstrong>How did you go from zines to the podcast?\u003c/strong>\u003c/p>\n\u003cp>I went through the \u003ca href=\"http://www.qwocmap.org/\" target=\"_blank\" rel=\"noopener\">Queer Women of Color Media Arts Project\u003c/a> and learned how to edit video. I had the idea to do a podcast, but wasn’t sure what it would be about yet. After interning at \u003ca href=\"http://www.colorlines.com/\" target=\"_blank\" rel=\"noopener\">Colorlines\u003c/a>, I realized I wanted to talk to artists I saw as successful — to find out how they did it. Specifically, I wanted to talk to artists who were queer and trans people of color (QTPOC), because the advice my white male mentor at the time gave me didn’t feel applicable to my life as a queer woman of color.\u003c/p>\n\u003cp>\u003cstrong>Where did you get the title, \u003cem>We Want the Airwaves\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>It’s from a Ramones song, which goes back to my punk rock roots. It’s also a demand for access to the media and an insistence on the right for marginalized people to take up space.\u003c/p>\n\u003cfigure id=\"attachment_10696300\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10696300\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Book640.jpg\" alt=\"<i>Queer and Trans Artists of Color</i>. (Photo by Penn Harshaw)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Book640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Book640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Queer and Trans Artists of Color\u003c/i>. (Photo by Penn Harshaw)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was the process of self-publishing like?\u003c/strong>\u003c/p>\n\u003cp>The few presses I approached either rejected it or didn’t get back to me. I didn’t want to wait around for someone to say that it was good enough to be published. It comes back to punk and DIY. I just wanted to go do it. I’ve never received a grant for any of my work. It’s all been self-funded or crowd-funded.\u003c/p>\n\u003cp>\u003cstrong>What does “making it” as an artist mean?\u003c/strong>\u003c/p>\n\u003cp>I wanted to ask, “What’s the secret?” to unlock the code to making it as an artist. But I learned that there’s no single “trick” to making it. Art school is supposed to help, but I work with a lot of art school grads at my minimum wage day job.\u003c/p>\n\u003cp>The formula for success is some combination of hard work, talent, hustle, privilege and luck. The ratios are different for everyone.\u003c/p>\n\u003cp>\u003cstrong>What are the common threads throughout the interviews?\u003c/strong>\u003c/p>\n\u003cp>Many queer and trans artists of color have day jobs, many do low-wage labor, or sex work. Sometimes a combination of both.\u003c/p>\n\u003cp>People love to say that if you work hard and put your nose down on the grindstone and make good work, eventually you’ll get discovered. But first of all, what does “getting discovered” even mean anymore? I used to think that you only hustle until you get your big break, but now I realize you hustle until you die.\u003c/p>\n\u003cp>\u003cstrong>How do you select the artists for your podcast?\u003c/strong>\u003c/p>\n\u003cp>It began with who I knew. My first interview was with \u003ca href=\"http://www.virgietovar.com/\" target=\"_blank\" rel=\"noopener\">Virgie Tovar\u003c/a>, who I met back in 2013 when we both performed in Berkeley for Michelle Tea’s \u003ca href=\"http://www.radarproductions.org/\" target=\"_blank\" rel=\"noopener\">RADAR Productions\u003c/a>. I was impressed with Virgie’s work and asked, “Hey, can I interview you for this podcast that doesn’t exist yet?” After that, whenever I saw work that impressed me, I reached out to the artist.\u003c/p>\n\u003cp>I want the podcast to represent the full diversity of the QTPOC community. Sometimes I notice a specific demographic is underrepresented in my podcast… I use social media to ask my friends involved in queer and trans artists of color communities, “Who is making good work right now?”\u003c/p>\n\u003cp>\u003cstrong>Is there anything you’ll do differently for the second volume of \u003cem>Queer and Trans Artists of Color\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>Last time, I gave the artists three chances to approve their interviews before the book went to press. This time they will sign off only at the final stage to reduce the workload.\u003c/p>\n\u003cp>I do the same with every interview for the podcast. The artists get a chance to listen to their own interview before it airs. If they want me to change anything, I will. I think about how this content is going to be out there forever. It’s about protecting my community. When traditional media turns an eye on marginalized communities, it tends to be exploitive. My goal is to not reproduce that kind of hurtful stuff.\u003c/p>\n\u003cp>\u003cstrong>What’s at stake for you in producing the podcast and books?\u003c/strong>\u003c/p>\n\u003cp>This past year put everything in perspective for me, with all the anti-Black police violence and so many murders of trans women of color. With QTPOC, there is a high risk of violence, murder and suicide. There are also the things that kill us slowly, like not having access to safe housing, jobs and health care.\u003c/p>\n\u003cp>In my book introduction, I wrote that this archive was important because I was worried about folks going broke and not making work anymore. But it’s also because their lives might end. I feel lucky that all of the artists in the first book are still alive today.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Art is a political necessity for marginalized people. We have an urgent message to get across, which is that we were here and that our lives matter.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How do you make it as an artist? After \u003ca href=\"http://www.artactivistnia.com/\" target=\"_blank\" rel=\"noopener\">Nia King\u003c/a> left a full-time job to be an artist, she wanted to hear other people’s success stories, particularly those with the most marginalized voices — queer and trans people of color.\u003c/p>\n\u003cfigure id=\"attachment_10696301\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10696301\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/King640.jpg\" alt=\"Nia King. (Photo by Myles L.)\" width=\"480\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/King640.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/King640-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/King640-450x600.jpg 450w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Nia King. (Photo by Myles L.)\u003c/figcaption>\u003c/figure>\n\u003cp>King produces the podcast \u003cem>\u003ca href=\"http://www.artactivistnia.com/podcast.html\" target=\"_blank\" rel=\"noopener\">We Want the Airwaves\u003c/a>\u003c/em>, in which she interviews artists of all disciplines in her ongoing search for the key to “making it” as an artist. In 2014 King self-published a collection of the podcast interviews in the book \u003cem>Queer and Trans Artists of Color: Some of Our Stories\u003c/em>. The transcribed interviews, much like the podcast, relay the artists’ experiences with refreshing honesty and surprising amounts of humor. The artists share candid and vulnerable tales of life, many about using art as tool against oppression.\u003c/p>\n\u003cp>King’s interviews serve not only to document the existence of marginalized cultural creators, but assert the power and vibrancy of queer and trans artists working today. Only one year later, King is self-publishing a second volume of \u003cem>Queer and Trans Artists of Color\u003c/em>. I sat down with her to ask how the podcast got started, what she learned about making it as an artist, and why this work remains important to her.\u003c/p>\n\u003cp>\u003cstrong>How did the idea for your podcast come about?\u003c/strong>\u003c/p>\n\u003cp>It stemmed partially from growing up in punk rock and activist communities, having the DIY ethic to go make something on your own. Before the podcast, I made zines. Most of my early zines were about race and my experiences being mixed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After I graduated from Mills College, my focus changed from personal stories to what it meant to make a living as an artist. I knew I wanted to create a platform for other artists who were not getting the attention they deserved, like queer and trans people of color.\u003c/p>\n\u003cp>\u003cstrong>How did you go from zines to the podcast?\u003c/strong>\u003c/p>\n\u003cp>I went through the \u003ca href=\"http://www.qwocmap.org/\" target=\"_blank\" rel=\"noopener\">Queer Women of Color Media Arts Project\u003c/a> and learned how to edit video. I had the idea to do a podcast, but wasn’t sure what it would be about yet. After interning at \u003ca href=\"http://www.colorlines.com/\" target=\"_blank\" rel=\"noopener\">Colorlines\u003c/a>, I realized I wanted to talk to artists I saw as successful — to find out how they did it. Specifically, I wanted to talk to artists who were queer and trans people of color (QTPOC), because the advice my white male mentor at the time gave me didn’t feel applicable to my life as a queer woman of color.\u003c/p>\n\u003cp>\u003cstrong>Where did you get the title, \u003cem>We Want the Airwaves\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>It’s from a Ramones song, which goes back to my punk rock roots. It’s also a demand for access to the media and an insistence on the right for marginalized people to take up space.\u003c/p>\n\u003cfigure id=\"attachment_10696300\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10696300\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Book640.jpg\" alt=\"<i>Queer and Trans Artists of Color</i>. (Photo by Penn Harshaw)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Book640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Book640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Queer and Trans Artists of Color\u003c/i>. (Photo by Penn Harshaw)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was the process of self-publishing like?\u003c/strong>\u003c/p>\n\u003cp>The few presses I approached either rejected it or didn’t get back to me. I didn’t want to wait around for someone to say that it was good enough to be published. It comes back to punk and DIY. I just wanted to go do it. I’ve never received a grant for any of my work. It’s all been self-funded or crowd-funded.\u003c/p>\n\u003cp>\u003cstrong>What does “making it” as an artist mean?\u003c/strong>\u003c/p>\n\u003cp>I wanted to ask, “What’s the secret?” to unlock the code to making it as an artist. But I learned that there’s no single “trick” to making it. Art school is supposed to help, but I work with a lot of art school grads at my minimum wage day job.\u003c/p>\n\u003cp>The formula for success is some combination of hard work, talent, hustle, privilege and luck. The ratios are different for everyone.\u003c/p>\n\u003cp>\u003cstrong>What are the common threads throughout the interviews?\u003c/strong>\u003c/p>\n\u003cp>Many queer and trans artists of color have day jobs, many do low-wage labor, or sex work. Sometimes a combination of both.\u003c/p>\n\u003cp>People love to say that if you work hard and put your nose down on the grindstone and make good work, eventually you’ll get discovered. But first of all, what does “getting discovered” even mean anymore? I used to think that you only hustle until you get your big break, but now I realize you hustle until you die.\u003c/p>\n\u003cp>\u003cstrong>How do you select the artists for your podcast?\u003c/strong>\u003c/p>\n\u003cp>It began with who I knew. My first interview was with \u003ca href=\"http://www.virgietovar.com/\" target=\"_blank\" rel=\"noopener\">Virgie Tovar\u003c/a>, who I met back in 2013 when we both performed in Berkeley for Michelle Tea’s \u003ca href=\"http://www.radarproductions.org/\" target=\"_blank\" rel=\"noopener\">RADAR Productions\u003c/a>. I was impressed with Virgie’s work and asked, “Hey, can I interview you for this podcast that doesn’t exist yet?” After that, whenever I saw work that impressed me, I reached out to the artist.\u003c/p>\n\u003cp>I want the podcast to represent the full diversity of the QTPOC community. Sometimes I notice a specific demographic is underrepresented in my podcast… I use social media to ask my friends involved in queer and trans artists of color communities, “Who is making good work right now?”\u003c/p>\n\u003cp>\u003cstrong>Is there anything you’ll do differently for the second volume of \u003cem>Queer and Trans Artists of Color\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>Last time, I gave the artists three chances to approve their interviews before the book went to press. This time they will sign off only at the final stage to reduce the workload.\u003c/p>\n\u003cp>I do the same with every interview for the podcast. The artists get a chance to listen to their own interview before it airs. If they want me to change anything, I will. I think about how this content is going to be out there forever. It’s about protecting my community. When traditional media turns an eye on marginalized communities, it tends to be exploitive. 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"content": "\u003cp>Mary Ellen Mark, the influential photographer known mostly for her humanist work, has died. She was 75.\u003c/p>\n\u003cp>Mark died Monday, a representative said Tuesday. The \u003cem>Philadelphia Inquirer\u003c/em> reported that she died in New York.\u003c/p>\n\u003cp>Mark’s work appeared in \u003cem>Life\u003c/em>, \u003cem>New York Times Magazine\u003c/em>, \u003cem>Rolling Stone\u003c/em> and \u003cem>Vanity Fair\u003c/em>. Her photo essay on runaway children in Seattle became the basis of \u003cem>Streetwise,\u003c/em> an Academy Award-nominated film that was directed by her husband, Martin Bell.\u003c/p>\n\u003cp>In a 1988 interview with the \u003ca href=\"http://www.philly.com/philly/blogs/entertainment/fine_arts/Legendary-Philadelphia-photographer-Mary-Ellen-Mark-dies-75.html\" target=\"_blank\" rel=\"noopener\">Philadelphia Inquirer\u003c/a>, Mark said she got her break while working for a Penn alumni magazine. On assignment, she met Pat Carbine, who then was managing editor of \u003cem>Look. \u003c/em>Carbine\u003cem> \u003c/em>later took Mark’s pitch to photograph London drug clinics.\u003c/p>\n\u003cp>“From the very first moment I took pictures [on the streets of Philadelphia], I loved it,” \u003ca href=\"http://articles.philly.com/1988-06-14/news/26266003_1_magazine-loft-photography\" target=\"_blank\" rel=\"noopener\">she told the\u003c/a> \u003cem>Inquirer\u003c/em>. “The thrill was the idea of just being on a street, turning a corner and looking for something to see. It was just an amazing feeling. … Photography became my obsession. … In a way it’s not so different when I go out to work now. It’s just that now I have years of experience in knowing how to use that little machine in front of me — at least better than I used it then. When it’s good and interesting it’s still that feeling of being on the street and wondering — God, I love this! — what’s going to happen next?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>NPR, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=5020651\" target=\"_blank\" rel=\"noopener\">in a 2005 review of her work\u003c/a>, called her “a brilliant and fearless artist,” adding: “Mark’s highly celebrated work is sad, spectacular, desperate, disturbing and so much who we are.”\u003c/p>\n\u003cp>In 2012, Mark spoke to NPR about her book \u003cem>Prom\u003c/em>, a collection of 127 portraits from 13 schools across the country, shot between 2006 and 2009. You can listen to that interview \u003ca href=\"http://www.npr.org/sections/pictureshow/2012/04/06/150057877/not-your-average-prom-portraits\" target=\"_blank\" rel=\"noopener\">here\u003c/a>:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/150057877/150149088\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>See more of Mark’s work in this \u003ca href=\"http://www.pbs.org/newshour/rundown/mary-ellen-mark/\" target=\"_blank\" rel=\"noopener\">PBS Newshour article\u003c/a> about her career.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NPR’s Neda Ulaby is reporting on Mark’s legacy on Wednesday’s \u003ca href=\"../programs/morning-edition/\" target=\"_blank\" rel=\"noopener\">Morning Edition\u003c/a>. Please tune in to your local public radio station to listen. \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=Photographer+Mary+Ellen+Mark+Dies+At+75&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mary Ellen Mark, the influential photographer known mostly for her humanist work, has died. She was 75.\u003c/p>\n\u003cp>Mark died Monday, a representative said Tuesday. The \u003cem>Philadelphia Inquirer\u003c/em> reported that she died in New York.\u003c/p>\n\u003cp>Mark’s work appeared in \u003cem>Life\u003c/em>, \u003cem>New York Times Magazine\u003c/em>, \u003cem>Rolling Stone\u003c/em> and \u003cem>Vanity Fair\u003c/em>. Her photo essay on runaway children in Seattle became the basis of \u003cem>Streetwise,\u003c/em> an Academy Award-nominated film that was directed by her husband, Martin Bell.\u003c/p>\n\u003cp>In a 1988 interview with the \u003ca href=\"http://www.philly.com/philly/blogs/entertainment/fine_arts/Legendary-Philadelphia-photographer-Mary-Ellen-Mark-dies-75.html\" target=\"_blank\" rel=\"noopener\">Philadelphia Inquirer\u003c/a>, Mark said she got her break while working for a Penn alumni magazine. On assignment, she met Pat Carbine, who then was managing editor of \u003cem>Look. \u003c/em>Carbine\u003cem> \u003c/em>later took Mark’s pitch to photograph London drug clinics.\u003c/p>\n\u003cp>“From the very first moment I took pictures [on the streets of Philadelphia], I loved it,” \u003ca href=\"http://articles.philly.com/1988-06-14/news/26266003_1_magazine-loft-photography\" target=\"_blank\" rel=\"noopener\">she told the\u003c/a> \u003cem>Inquirer\u003c/em>. “The thrill was the idea of just being on a street, turning a corner and looking for something to see. It was just an amazing feeling. … Photography became my obsession. … In a way it’s not so different when I go out to work now. It’s just that now I have years of experience in knowing how to use that little machine in front of me — at least better than I used it then. When it’s good and interesting it’s still that feeling of being on the street and wondering — God, I love this! — what’s going to happen next?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>NPR, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=5020651\" target=\"_blank\" rel=\"noopener\">in a 2005 review of her work\u003c/a>, called her “a brilliant and fearless artist,” adding: “Mark’s highly celebrated work is sad, spectacular, desperate, disturbing and so much who we are.”\u003c/p>\n\u003cp>In 2012, Mark spoke to NPR about her book \u003cem>Prom\u003c/em>, a collection of 127 portraits from 13 schools across the country, shot between 2006 and 2009. You can listen to that interview \u003ca href=\"http://www.npr.org/sections/pictureshow/2012/04/06/150057877/not-your-average-prom-portraits\" target=\"_blank\" rel=\"noopener\">here\u003c/a>:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/150057877/150149088\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>See more of Mark’s work in this \u003ca href=\"http://www.pbs.org/newshour/rundown/mary-ellen-mark/\" target=\"_blank\" rel=\"noopener\">PBS Newshour article\u003c/a> about her career.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NPR’s Neda Ulaby is reporting on Mark’s legacy on Wednesday’s \u003ca href=\"../programs/morning-edition/\" target=\"_blank\" rel=\"noopener\">Morning Edition\u003c/a>. Please tune in to your local public radio station to listen. \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=Photographer+Mary+Ellen+Mark+Dies+At+75&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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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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"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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"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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"radiolab": {
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},
"rightnowish": {
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"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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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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