window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_10684405": {
"type": "attachments",
"id": "arts_10684405",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10684405",
"found": true
},
"parent": 10684403,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/muraldancesposterimage-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/muraldancesposterimage-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/muraldancesposterimage-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/muraldancesposterimage-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/muraldancesposterimage.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/muraldancesposterimage-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/muraldancesposterimage-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/muraldancesposterimage-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/muraldancesposterimage-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/muraldancesposterimage-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/muraldancesposterimage-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/muraldancesposterimage-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/muraldancesposterimage-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1432316578,
"modified": 1432316578,
"caption": null,
"description": null,
"title": "muraldancesposterimage",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10303074": {
"type": "attachments",
"id": "arts_10303074",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10303074",
"found": true
},
"parent": 10303072,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/dirosa-e1432105148566-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/dirosa-e1432105148566-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/dirosa-e1432105148566.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/dirosa-e1432105148566-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/dirosa-e1432105148566-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/dirosa-e1432105148566-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/dirosa-e1432105148566-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/dirosa-e1432105148566-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/dirosa-e1432105148566-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1421274265,
"modified": 1432084471,
"caption": "An example of art installation at di Rosa (Courtesy of di Rosa)",
"description": "An example of art installation at di Rosa (Courtesy of di Rosa)",
"title": "dirosa",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10674883": {
"type": "attachments",
"id": "arts_10674883",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10674883",
"found": true
},
"parent": 10674882,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365.jpg",
"width": 3627,
"height": 2040
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/luz-hebdo_wide-a94f9cecbf37200b587f0b45b993088acd9c3365-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1432078710,
"modified": 1432078710,
"caption": null,
"description": "French cartoonist Luz, seen here in January, says he will leave the satirical magazine \u003cem>Charlie Hebdo\u003c/em> this fall.",
"title": "French cartoonist Luz, seen here in January, says he will leave the satirical magazine Charlie Hebdo this fall.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10685309": {
"type": "attachments",
"id": "arts_10685309",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10685309",
"found": true
},
"parent": 10670290,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/KQED_Arts-400x213.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 213
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/KQED_Arts-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/KQED_Arts.jpg",
"width": 800,
"height": 426
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/KQED_Arts-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/KQED_Arts-800x426.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 426
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/KQED_Arts-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/KQED_Arts-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/KQED_Arts-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/KQED_Arts-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1432337067,
"modified": 1432337076,
"caption": "KQED Arts logo",
"description": "KQED Arts logo",
"title": "KQED_Q_content_areas_system",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10656928": {
"type": "attachments",
"id": "arts_10656928",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10656928",
"found": true
},
"parent": 10654176,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Presidio-Learning-Center-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Presidio-Learning-Center-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Presidio-Learning-Center.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Presidio-Learning-Center-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Presidio-Learning-Center-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Presidio-Learning-Center-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Presidio-Learning-Center-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Presidio-Learning-Center-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Presidio-Learning-Center-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1431634303,
"modified": 1431634412,
"caption": "Image of the Presidio Parklands' proposed learning center (Courtesy of The Presidio Trust)",
"description": "Image of the Presidio Parklands' proposed learning center (Courtesy of The Presidio Trust)",
"title": "Presidio Learning Center",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10657249": {
"type": "attachments",
"id": "arts_10657249",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10657249",
"found": true
},
"parent": 10657240,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/garcia-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/garcia-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/garcia.jpg",
"width": 850,
"height": 478
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/garcia-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/garcia-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/garcia-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/garcia-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/garcia-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/garcia-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1431640161,
"modified": 1431640224,
"caption": "René Garcia Jr. in 2012. (Photo by Michael Cuffe)",
"description": null,
"title": "garcia",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10626489": {
"type": "attachments",
"id": "arts_10626489",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10626489",
"found": true
},
"parent": 10623723,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ArtMarketCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ArtMarketCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ArtMarketCover.jpg",
"width": 900,
"height": 506
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ArtMarketCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ArtMarketCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ArtMarketCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ArtMarketCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ArtMarketCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/ArtMarketCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1430869922,
"modified": 1430869925,
"caption": "Kathryn Arnold, \u003ci>Winter Wind\u003c/i>, 2012. (Courtesy of Sandra Lee Gallery)",
"description": null,
"title": "ArtMarketCover",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10630698": {
"type": "attachments",
"id": "arts_10630698",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10630698",
"found": true
},
"parent": 10628462,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TerraICover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TerraICover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TerraICover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TerraICover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TerraICover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TerraICover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TerraICover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TerraICover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TerraICover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TerraICover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TerraICover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TerraICover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/TerraICover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1430973892,
"modified": 1430974027,
"caption": "\u003ci>Terra Incognita\u003c/i>. (Photo by Frances Ancheta)",
"description": null,
"title": "TerraICover",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10606344": {
"type": "attachments",
"id": "arts_10606344",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10606344",
"found": true
},
"parent": 10605752,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/Antiprism-Residency-e1430354905463-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/Antiprism-Residency-e1430354905463-400x226.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 226
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/Antiprism-Residency-e1430354905463-960x543.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 543
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/Antiprism-Residency-e1430354905463-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/Antiprism-Residency-e1430354921222.jpg",
"width": 1920,
"height": 1085
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/Antiprism-Residency-e1430354905463-1180x667.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 667
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/Antiprism-Residency-e1430354905463-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/Antiprism-Residency-e1430354905463-800x452.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 452
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/Antiprism-Residency-e1430354905463-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/Antiprism-Residency-e1430354905463-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/Antiprism-Residency-e1430354905463-1180x667.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 667
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/Antiprism-Residency-e1430354905463-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/Antiprism-Residency-e1430354905463-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1430354853,
"modified": 1430355369,
"caption": "Image from \u003ci>Antiprism\u003c/i> installation, 2015. (Courtesy of Jon Bernson)",
"description": null,
"title": "de_young_flyer_temp",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10602557": {
"type": "attachments",
"id": "arts_10602557",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10602557",
"found": true
},
"parent": 10602269,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/br1-crop-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/br1-crop-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/br1-crop.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/br1-crop-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/br1-crop-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/br1-crop-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/br1-crop-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/br1-crop-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/br1-crop-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1430257142,
"modified": 1430257167,
"caption": "Image from \"Business Reply\" by Packard Jennings (Courtesy of the artist)",
"description": "Image from \"Business Reply\" by Packard Jennings (Courtesy of the artist)",
"title": "br1 crop",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10599409": {
"type": "attachments",
"id": "arts_10599409",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10599409",
"found": true
},
"parent": 10599408,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/BR2tall-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/BR2tall-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/BR2tall.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/BR2tall-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/BR2tall-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/BR2tall-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/BR2tall-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/BR2tall-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/04/BR2tall-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1430175983,
"modified": 1430176097,
"caption": "A page from Packard Jennings' \u003ci>Business Reply\u003c/i> pamphlet (Image used with permission from artist) ",
"description": "A page from Packard Jennings' \u003ci>Business Reply\u003c/i> pamphlet (Image used with permission from artist) ",
"title": "BR2tall",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10500417": {
"type": "attachments",
"id": "news_10500417",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10500417",
"found": true
},
"parent": 10500416,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-1915-mural-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-1915-mural-400x204.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 204
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-1915-mural-960x490.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 490
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-1915-mural-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-1915-mural.jpg",
"width": 1920,
"height": 980
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-1915-mural-1440x735.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 735
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-1915-mural-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-1915-mural-800x408.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 408
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-1915-mural-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-1915-mural-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-1915-mural-1180x602.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 602
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-1915-mural-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-1915-mural-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1429837917,
"modified": 1429891904,
"caption": "ArtViaArt’s mural in L.A.’s Little Armenia commemorating the 100th anniversary of the Armenian genocide. The woman depicted in the mural is the artist’s grandmother, whose parents narrowly survived the genocide. ",
"description": null,
"title": "AG 1915 mural",
"credit": "Steven Cuevas/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_10674882": {
"type": "authors",
"id": "byline_arts_10674882",
"meta": {
"override": true
},
"slug": "byline_arts_10674882",
"name": "Bill Chappell",
"isLoading": false
},
"cfrock": {
"type": "authors",
"id": "58",
"meta": {
"index": "authors_1716337520",
"id": "58",
"found": true
},
"name": "Christian L. Frock",
"firstName": "Christian L.",
"lastName": "Frock",
"slug": "cfrock",
"email": "christian@invisiblevenue.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/da93aa5c1bc6f6561a99d5073186102c?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Christian L. Frock | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/da93aa5c1bc6f6561a99d5073186102c?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/da93aa5c1bc6f6561a99d5073186102c?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cfrock"
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"ablaine": {
"type": "authors",
"id": "72",
"meta": {
"index": "authors_1716337520",
"id": "72",
"found": true
},
"name": "Adrienne Blaine",
"firstName": "Adrienne",
"lastName": "Blaine",
"slug": "ablaine",
"email": "adrienneblaine@hotmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Adrienne Blaine is a Millennial writer from the South Bay. She has a BA in Comparative Literary and Cultural Studies combined with Communications and Media Studies from Franklin University Switzerland. Living in Switzerland for four years and traveling from Morocco to Iceland introduced her to diverse art, culture and food. She currently lives in San Francisco and writes about these topics.",
"avatar": "https://secure.gravatar.com/avatar/10d0a10a2189067e5e3f6fc9fc4ebdf2?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
},
{
"site": "food",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Adrienne Blaine | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/10d0a10a2189067e5e3f6fc9fc4ebdf2?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/10d0a10a2189067e5e3f6fc9fc4ebdf2?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ablaine"
},
"kqedarts": {
"type": "authors",
"id": "92",
"meta": {
"index": "authors_1716337520",
"id": "92",
"found": true
},
"name": "KQED Arts",
"firstName": "KQED",
"lastName": "Arts",
"slug": "kqedarts",
"email": "arts@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Staff",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "https://www.instagram.com/kqed_arts/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "science",
"roles": [
"author"
]
},
{
"site": "food",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "KQED Arts | KQED",
"description": "KQED Staff",
"ogImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kqedarts"
},
"kjones": {
"type": "authors",
"id": "93",
"meta": {
"index": "authors_1716337520",
"id": "93",
"found": true
},
"name": "Kevin L. Jones",
"firstName": "Kevin",
"lastName": "Jones",
"slug": "kjones",
"email": "kjones@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "styleguide",
"roles": [
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kevin L. Jones | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kjones"
},
"aeghan": {
"type": "authors",
"id": "195",
"meta": {
"index": "authors_1716337520",
"id": "195",
"found": true
},
"name": "Adizah Eghan",
"firstName": "Adizah",
"lastName": "Eghan",
"slug": "aeghan",
"email": "adizah.e@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Adizah Eghan is a former reporter at KQED News and writer for KQED Arts. She caught the radio bug as an intern for PRI's The World and landed in KQED's newsroom after a stint teaching English in India. She covers culture, the arts, and global music in the Bay Area. This is where she tweets: \u003ca class=\"ProfileHeaderCard-screennameLink u-linkComplex js-nav\" style=\"color: #8899a6;\" href=\"https://twitter.com/Adizah_E\">@\u003cspan class=\"u-linkComplex-target\">Adizah_E\u003c/span>\u003c/a>",
"avatar": "https://secure.gravatar.com/avatar/d6e30ed9ca504243b4d8ee5d7ca32324?s=600&d=blank&r=g",
"twitter": "Adizah_E",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "stateofhealth",
"roles": [
"author"
]
}
],
"headData": {
"title": "Adizah Eghan | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d6e30ed9ca504243b4d8ee5d7ca32324?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d6e30ed9ca504243b4d8ee5d7ca32324?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/aeghan"
},
"scuevas": {
"type": "authors",
"id": "2600",
"meta": {
"index": "authors_1716337520",
"id": "2600",
"found": true
},
"name": "Steven Cuevas",
"firstName": "Steven",
"lastName": "Cuevas",
"slug": "scuevas",
"email": "scuevas@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Steven is a former Los Angeles bureau chief for The California Report.\r\n\r\nHe reports on an array of issues across the Southland, from immigration and regional politics to religion, the performing arts and pop culture.\r\n\r\nPrior to joining KQED in 2012, Steven covered Inland southern California for KPCC in Pasadena. He also helped establish the first newsroom at \u003ca href=\"http://kut.org/\">KUT\u003c/a> in Austin, Texas where he was a general assignment reporter.\r\n\r\nSteven has received numerous awards for his reporting including an RTNDA Edward R. Murrow Award for investigative reporting in addition to awards from the LA Press Club, the Associated Press and the Society for Professional Journalists.\r\n\r\nSteven grew up in and around San Francisco and now lives in Pasadena just a short jog from the foot of the San Gabriel Mountains.",
"avatar": "https://secure.gravatar.com/avatar/bbb0bb7b496f83ab350e23ad0dc7c81c?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "news",
"roles": [
"contributor"
]
},
{
"site": "stateofhealth",
"roles": [
"author"
]
}
],
"headData": {
"title": "Steven Cuevas | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bbb0bb7b496f83ab350e23ad0dc7c81c?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bbb0bb7b496f83ab350e23ad0dc7c81c?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/scuevas"
},
"kwhalen": {
"type": "authors",
"id": "3248",
"meta": {
"index": "authors_1716337520",
"id": "3248",
"found": true
},
"name": "Kelly Whalen",
"firstName": "Kelly",
"lastName": "Whalen",
"slug": "kwhalen",
"email": "kwhalen@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "Senior Video Producer",
"bio": "Kelly Whalen is a filmmaker and educator who directs and produces social justice documentaries and award-winning arts and culture web series. She is the creator of KQED Arts’ three-time Webby Award-winning YouTube series \u003cem>If Cities Could Dance\u003c/em>, featuring dancers across the country representing their cities’ signature moves, and the director of \u003cem>When the Waters Get Deep\u003c/em>, a documentary about Oakland-based artists SOL Development and their work toward healing their communities’ trauma from gun violence.",
"avatar": "https://secure.gravatar.com/avatar/1a2b57e8a13abdcfc3d4966d9c0e1512?s=600&d=blank&r=g",
"twitter": "kellyfilmmaker",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kelly Whalen | KQED",
"description": "Senior Video Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/1a2b57e8a13abdcfc3d4966d9c0e1512?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/1a2b57e8a13abdcfc3d4966d9c0e1512?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kwhalen"
}
},
"pagesReducer": {
"arts_category_visualarts": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"score": 14.40303
},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"title": "Visual Arts",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 154
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=visualarts",
"seeMore": false,
"paginated": true,
"page": 154
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_10684403": {
"type": "posts",
"id": "arts_10684403",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10684403",
"score": null,
"sort": [
1432321232000
]
},
"guestAuthors": [],
"slug": "dancing-in-the-streets-brings-mission-murals-to-life",
"title": "Dancing in the Streets Brings Mission Murals to Life",
"publishDate": 1432321232,
"format": "video",
"headTitle": "Dancing in the Streets Brings Mission Murals to Life | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>For decades, the hundreds of murals in San Francisco’s Mission District have served as a visual history of the neighborhood’s diverse Latin American roots.\u003c/p>\n\u003cp>But in recent years, the cultural landscape of the Mission has radically changed. According to the Mission Economic Development Association, 8,000 Latino residents were displaced from the Mission between 2000 and 2013.\u003c/p>\n\u003cp>When local Latino dancers and choreographers staged performances May 3, 2015, in front of several murals along 24th Street, the act of reclaiming the area’s rich cultural past was as much on display as the street choreography.\u003c/p>\n\u003cp>\u003ca href=\"http://calle24sf.org/cultural-arts-district/\" target=\"_blank\" rel=\"noopener\">Calle 24 Latino Cultural District’s Arts Consortium\u003c/a> presented \u003cem>Baile en la Calle\u003c/em>: \u003cem>The Mural Dances\u003c/em>.\u003c/p>\n\u003cp>“We started these mural dances to bring attention to losing the visibility to the culture that created the Mission,” says Susan Cervantes, founder of \u003ca href=\"http://www.precitaeyes.org\" target=\"_blank\" rel=\"noopener\">Precita Eyes Muralists\u003c/a> and a pioneer in the city’s community mural art movement. “So there’s better understanding and more respect.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Street performances represented Aztec, Mexican folk, and bomba dance traditions. They also drew attention to a collection of murals at the Florida and 24th Street intersection, including the treasured “500 Years Of Resistance” by El Salvadorean muralist Isaias Mata.\u003c/p>\n\u003cp>Event organizers also unveiled a recently restored mural in the 24th Street mini-park and re-dedicated the work to Ralph Maradiaga, a Chicano arts activist who co-founded \u003ca href=\"http://www.galeriadelaraza.org\" target=\"_blank\" rel=\"noopener\">Galería de la Raza\u003c/a> in 1970 as a place for Mexican American and other Latino artists to show their work.\u003c/p>\n\u003cp>“For new generations, it’s important to have cultural icons that speak to that legacy,” says Ani Rivera, director of Galería de la Raza.\u003c/p>\n\u003cp>Galería de la Raza, \u003ca href=\"http://www.missionculturalcenter.org\" target=\"_blank\" rel=\"noopener\">Mission Cultural Center for Latino Arts\u003c/a>, \u003ca href=\"http://www.brava.org\" target=\"_blank\" rel=\"noopener\">Brava Theater Center\u003c/a>, and \u003ca href=\"http://accionlatina.org\" target=\"_blank\" rel=\"noopener\">Accion Latina\u003c/a> are among several arts organizations located in the 14 blocks around 24th street. Last year, the San Francisco Board of Supervisors designated the area as the Calle 24 Latino Cultural District .\u003c/p>\n\u003cp>While \u003ca href=\"http://www.sfbos.org/ftp/uploadedfiles/bdsupvrs/committees/materials/LU051914_140421.pdf\" target=\"_blank\" rel=\"noopener\">the resolution\u003c/a> was largely symbolic, it’s a first step for the coalition of arts, business and community leaders working together to preserve the area’s long history of Latino arts and culture.\u003c/p>\n\u003cp>This summer, the Calle 24 Latino Cultural District leaders plan to seek special use status for the corridor which could help protect the neighborhood against rapid development.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more about the Mission’s street art scene and history, check out our recent \u003ca href=\"http://ww2.kqed.org/news/2015/05/19/why-dont-murals-get-covered-by-graffiti-in-the-mission\" target=\"_blank\" rel=\"noopener\">Bay Curious piece on murals in the Mission\u003c/a> and this KQED Arts \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=29274\">SPARK episode\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Dancers draw attention to the recent displacement of thousands of Latino residents in one of San Francisco's most street art-rich neighborhoods.",
"status": "publish",
"parent": 0,
"modified": 1726788446,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 449
},
"headData": {
"title": "Dancing in the Streets Brings Mission Murals to Life | KQED",
"description": "Dancers draw attention to the recent displacement of thousands of Latino residents in one of San Francisco's most street art-rich neighborhoods.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Dancing in the Streets Brings Mission Murals to Life",
"datePublished": "2015-05-22T12:00:32-07:00",
"dateModified": "2024-09-19T16:27:26-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"videoEmbed": "https://www.youtube.com/watch?v=NyBWFkdH1yw&feature=youtu.be",
"sticky": false,
"path": "/arts/10684403/dancing-in-the-streets-brings-mission-murals-to-life",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For decades, the hundreds of murals in San Francisco’s Mission District have served as a visual history of the neighborhood’s diverse Latin American roots.\u003c/p>\n\u003cp>But in recent years, the cultural landscape of the Mission has radically changed. According to the Mission Economic Development Association, 8,000 Latino residents were displaced from the Mission between 2000 and 2013.\u003c/p>\n\u003cp>When local Latino dancers and choreographers staged performances May 3, 2015, in front of several murals along 24th Street, the act of reclaiming the area’s rich cultural past was as much on display as the street choreography.\u003c/p>\n\u003cp>\u003ca href=\"http://calle24sf.org/cultural-arts-district/\" target=\"_blank\" rel=\"noopener\">Calle 24 Latino Cultural District’s Arts Consortium\u003c/a> presented \u003cem>Baile en la Calle\u003c/em>: \u003cem>The Mural Dances\u003c/em>.\u003c/p>\n\u003cp>“We started these mural dances to bring attention to losing the visibility to the culture that created the Mission,” says Susan Cervantes, founder of \u003ca href=\"http://www.precitaeyes.org\" target=\"_blank\" rel=\"noopener\">Precita Eyes Muralists\u003c/a> and a pioneer in the city’s community mural art movement. “So there’s better understanding and more respect.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Street performances represented Aztec, Mexican folk, and bomba dance traditions. They also drew attention to a collection of murals at the Florida and 24th Street intersection, including the treasured “500 Years Of Resistance” by El Salvadorean muralist Isaias Mata.\u003c/p>\n\u003cp>Event organizers also unveiled a recently restored mural in the 24th Street mini-park and re-dedicated the work to Ralph Maradiaga, a Chicano arts activist who co-founded \u003ca href=\"http://www.galeriadelaraza.org\" target=\"_blank\" rel=\"noopener\">Galería de la Raza\u003c/a> in 1970 as a place for Mexican American and other Latino artists to show their work.\u003c/p>\n\u003cp>“For new generations, it’s important to have cultural icons that speak to that legacy,” says Ani Rivera, director of Galería de la Raza.\u003c/p>\n\u003cp>Galería de la Raza, \u003ca href=\"http://www.missionculturalcenter.org\" target=\"_blank\" rel=\"noopener\">Mission Cultural Center for Latino Arts\u003c/a>, \u003ca href=\"http://www.brava.org\" target=\"_blank\" rel=\"noopener\">Brava Theater Center\u003c/a>, and \u003ca href=\"http://accionlatina.org\" target=\"_blank\" rel=\"noopener\">Accion Latina\u003c/a> are among several arts organizations located in the 14 blocks around 24th street. Last year, the San Francisco Board of Supervisors designated the area as the Calle 24 Latino Cultural District .\u003c/p>\n\u003cp>While \u003ca href=\"http://www.sfbos.org/ftp/uploadedfiles/bdsupvrs/committees/materials/LU051914_140421.pdf\" target=\"_blank\" rel=\"noopener\">the resolution\u003c/a> was largely symbolic, it’s a first step for the coalition of arts, business and community leaders working together to preserve the area’s long history of Latino arts and culture.\u003c/p>\n\u003cp>This summer, the Calle 24 Latino Cultural District leaders plan to seek special use status for the corridor which could help protect the neighborhood against rapid development.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more about the Mission’s street art scene and history, check out our recent \u003ca href=\"http://ww2.kqed.org/news/2015/05/19/why-dont-murals-get-covered-by-graffiti-in-the-mission\" target=\"_blank\" rel=\"noopener\">Bay Curious piece on murals in the Mission\u003c/a> and this KQED Arts \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=29274\">SPARK episode\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10684403/dancing-in-the-streets-brings-mission-murals-to-life",
"authors": [
"3248"
],
"categories": [
"arts_70"
],
"tags": [
"arts_596"
],
"featImg": "arts_10684405",
"label": "arts"
},
"arts_10656607": {
"type": "posts",
"id": "arts_10656607",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10656607",
"score": null,
"sort": [
1432159218000
]
},
"guestAuthors": [],
"slug": "day-trippin-summer-art-destinations-around-the-bay-area",
"title": "Day Trippin’: Summer Art Destinations Around the Bay Area",
"publishDate": 1432159218,
"format": "standard",
"headTitle": "Day Trippin’: Summer Art Destinations Around the Bay Area | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>“The coldest winter I ever spent was a summer in San Francisco,” Mark Twain once said, according to urban legend. Whether or not he said it hardly matters, so let’s not dwell on it — we all know the city can be miserable in the summer, so the timing is perfect for day trips elsewhere around the Bay Area to get your art fix and expand your horizons.\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>Each of these five spots promise a whole host of great things to see and do – and yes, eat (if you are from the Bay Area, I know where your priorities lie, don’t worry) – so plan to make it a sunny day of exploration. But before we start, a word to the wise if you actually live in the city: You’ll be heading to the best weather the region has to offer, so feel free to leave your fleece at home and prepare to have fun.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10675760\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Overfelt-bedford-e1432100191730-400x241.jpg\" alt='\"Untitled\" by Guy Overfelt, 1999. (Courtesy of Bedford Gallery)' width=\"400\" height=\"241\" class=\"size-thumbnail wp-image-10675760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Overfelt-bedford-e1432100191730-400x241.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Overfelt-bedford-e1432100191730.jpg 550w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Untitled” by Guy Overfelt, 1999. (Courtesy of Bedford Gallery)\u003c/figcaption>\u003c/figure>\n\u003ch3>Blow Up\u003c/h3>\n\u003ch5>Through June 21\u003cbr>\n\u003ca href=\"http://www.bedfordgallery.org\" target=\"_blank\">Bedford Gallery\u003c/a>\u003cbr>\n1601 Civic Drive, Walnut Creek\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Putting this one right up front as it closes at the end of June – so make it a priority because I think this might end up being one of the best shows of the summer. \u003cem>Plus\u003c/em> kids will love it, making it a great choice for families. This summer’s group exhibition, \u003cem>Blow Up\u003c/em>, organized by longtime Bedford curator Carrie Lederer, features large-scale inflatable sculptures by a wild range of artists. From Warhol’s silver balloons to Momoyo Torimitsu’s giant carnival bunnies to Guy Overfelt’s blow up hot rod, there is something for every kid ages 1 – 111 to marvel at in wonder. Just three blocks from BART, so take the train and keep it simple.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10675762\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Smoke_Screen-500x375-400x300.jpg\" alt='\"Smoke Screen\" by Tammy Rae Carland, 2013. (Courtesy of of the artist and Jessica Silverman Gallery)' width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10675762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Smoke_Screen-500x375-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Smoke_Screen-500x375.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Smoke Screen” by Tammy Rae Carland, 2013. (Courtesy of of the artist and Jessica Silverman Gallery)\u003c/figcaption>\u003c/figure>\n\u003ch3>Tongue-in-Cheek\u003c/h3>\n\u003ch5>Through July 19\u003cbr>\n\u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">di rosa\u003c/a>\u003cbr>\n5200 Sonoma Hwy, Napa\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Nestled amidst rolling green hills, grapevines and a picturesque lake, di Rosa is an extraordinary Northern California art destination. Founded by the late collectors extraordinaire Rene and Veronica di Rosa, di Rosa is widely considered the most significant collection of Bay Area artists in the world, featuring works by Robert Arneson, Enrique Chagoya, Raymond Saunders, Allan Rath and Mildred Howard, among some 800 artists. The Gatehouse Gallery features rotating exhibitions, including this summer’s group show, \u003cem>Tongue-in-Cheek\u003c/em>, which focuses on disarmingly funny — and dare I say quirky? — Bay Area artists including Tammy Rae Carland, Jonn Herschend and Kate Rhoades, among others. Explore Napa for the day \u003cem>and\u003c/em> see the work of great Bay Area artists? Win, win.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10675765\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Amy-Ho-400x177.jpg\" alt='\"Red Rooms\" by Amy M. Ho, 2014. (Courtesy of the Artist and Chandra Cerrito Contemporary)' width=\"400\" height=\"177\" class=\"size-thumbnail wp-image-10675765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amy-Ho-400x177.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amy-Ho-800x355.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amy-Ho.jpg 952w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Red Rooms” by Amy M. Ho, 2014. (Courtesy of the Artist and Chandra Cerrito Contemporary)\u003c/figcaption>\u003c/figure>\n\u003ch3>Amy M. Ho: Red Rooms\u003c/h3>\n\u003ch5>Through Sept. 12\u003cbr>\n\u003ca href=\"http://www.sjica.org\" target=\"_blank\" rel=\"noopener\">San Jose Institute of Contemporary Art\u003c/a>\u003cbr>\n560 South First Street, San Jose\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Okay, the cat’s outta the bag: San Jose has the best weather in the Bay Area. Plus it has the ICA, which presents some of the best exhibitions and programs around. (Yes, I went there.) This summer, the ICA presents an immersive light and video installation by the amazing Amy M. Ho, one of my personal favorites, alongside exhibitions of work by the excellent Rebecca Haseltine, Cassandra Staubing, Naomie Kremer, and Sophia Allison and Leanne Lee. If I was you, I would dovetail my visit with a trip to the Winchester Mystery House – because, mystery – and hit up Falafel Drive In on Stevens Creek along the way for a falafel and a banana milkshake, just sayin’.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10675905\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Screen-Shot-2015-05-19-at-11.14.57-PM-400x269.png\" alt=\"Pace Gallery's current exhibit (Courtesy of Pace Gallery)\" width=\"400\" height=\"269\" class=\"size-thumbnail wp-image-10675905\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Screen-Shot-2015-05-19-at-11.14.57-PM-400x269.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Screen-Shot-2015-05-19-at-11.14.57-PM.png 712w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Pace Gallery’s current exhibit (Courtesy of Pace Gallery)\u003c/figcaption>\u003c/figure>\n\u003ch3>Group Exhibition (By Appointment Only)\u003c/h3>\n\u003ch5>Through August 22\u003cbr>\n\u003ca href=\"http://www.pacegallery.com/menlopark\" target=\"_blank\" rel=\"noopener\">Pace Gallery\u003c/a>\u003cbr>\n300 El Camino Real, Menlo Park\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Last summer New York powerhouse gallery PACE “Manhattanized” the Peninsula with a cool West coast outpost in a former Tesla dealership on El Camino Real. This unusual pop-up was only supposed to last just through the end of last year, but the gallery has quietly stayed on. Presently it offers a spectacular group show featuring works by Chuck Close and other international art stars. The gallery and exhibition is available to view by appointment only, so remember to call ahead before you go.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10675908\" class=\"wp-caption alignleft\" style=\"max-width: 335px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/broken-wing.jpg\" alt='\"Broken Wing\" by David Middlebrook, 2004. (Photo by Donna Guldimann)' width=\"335\" height=\"310\" class=\"size-thumbnail wp-image-10675908\">\u003cfigcaption class=\"wp-caption-text\">“Broken Wing” by David Middlebrook, 2004. (Photo by Donna Guldimann)\u003c/figcaption>\u003c/figure>\n\u003ch3>Art on the Grounds\u003c/h3>\n\u003ch5>Permanent installations – ongoing\u003cbr>\n\u003ca href=\"http://www.montalvoarts.org\" target=\"_blank\" rel=\"noopener\">Montalvo Arts Center\u003c/a>\u003cbr>\n15400 Montalvo Road, Saratoga\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Tucked away in a quiet residential area filled with jaw-dropping historic homes and estates, the Montalvo Arts Center is an oasis away from the Bay Area’s noisy hustle and traffic. In addition to an annual series of three rotating-group exhibitions featuring the work of artists-in-residence, the grounds at Montalvo also host temporary outdoor installations, as well as a number of permanent installations throughout its 175-acre property. This summer sees the temporary installation of five bronze sculptures by Stephen De Staebler, as well as the permanent installation of \u003cem>A Healing Walk\u003c/em> by the late Susan O’Malley. O’Malley’s walk, true to the nature of healing, is no simple task and leads visitors straight up hill. Those who endure are rewarded with some of the most extraordinary vistas the Bay Area has to offer, so don’t miss it.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "San Francisco can be brutally cold in the summer, so why not get away for a day and enjoy some wonderful art at these five destinations?",
"status": "publish",
"parent": 0,
"modified": 1726702836,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 5,
"wordCount": 914
},
"headData": {
"title": "Day Trippin’: Summer Art Destinations Around the Bay Area | KQED",
"description": "San Francisco can be brutally cold in the summer, so why not get away for a day and enjoy some wonderful art at these five destinations?",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Day Trippin’: Summer Art Destinations Around the Bay Area",
"datePublished": "2015-05-20T15:00:18-07:00",
"dateModified": "2024-09-18T16:40:36-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/10656607/day-trippin-summer-art-destinations-around-the-bay-area",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The coldest winter I ever spent was a summer in San Francisco,” Mark Twain once said, according to urban legend. Whether or not he said it hardly matters, so let’s not dwell on it — we all know the city can be miserable in the summer, so the timing is perfect for day trips elsewhere around the Bay Area to get your art fix and expand your horizons.\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>Each of these five spots promise a whole host of great things to see and do – and yes, eat (if you are from the Bay Area, I know where your priorities lie, don’t worry) – so plan to make it a sunny day of exploration. But before we start, a word to the wise if you actually live in the city: You’ll be heading to the best weather the region has to offer, so feel free to leave your fleece at home and prepare to have fun.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10675760\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Overfelt-bedford-e1432100191730-400x241.jpg\" alt='\"Untitled\" by Guy Overfelt, 1999. (Courtesy of Bedford Gallery)' width=\"400\" height=\"241\" class=\"size-thumbnail wp-image-10675760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Overfelt-bedford-e1432100191730-400x241.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Overfelt-bedford-e1432100191730.jpg 550w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Untitled” by Guy Overfelt, 1999. (Courtesy of Bedford Gallery)\u003c/figcaption>\u003c/figure>\n\u003ch3>Blow Up\u003c/h3>\n\u003ch5>Through June 21\u003cbr>\n\u003ca href=\"http://www.bedfordgallery.org\" target=\"_blank\">Bedford Gallery\u003c/a>\u003cbr>\n1601 Civic Drive, Walnut Creek\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Putting this one right up front as it closes at the end of June – so make it a priority because I think this might end up being one of the best shows of the summer. \u003cem>Plus\u003c/em> kids will love it, making it a great choice for families. This summer’s group exhibition, \u003cem>Blow Up\u003c/em>, organized by longtime Bedford curator Carrie Lederer, features large-scale inflatable sculptures by a wild range of artists. From Warhol’s silver balloons to Momoyo Torimitsu’s giant carnival bunnies to Guy Overfelt’s blow up hot rod, there is something for every kid ages 1 – 111 to marvel at in wonder. Just three blocks from BART, so take the train and keep it simple.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10675762\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Smoke_Screen-500x375-400x300.jpg\" alt='\"Smoke Screen\" by Tammy Rae Carland, 2013. (Courtesy of of the artist and Jessica Silverman Gallery)' width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10675762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Smoke_Screen-500x375-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Smoke_Screen-500x375.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Smoke Screen” by Tammy Rae Carland, 2013. (Courtesy of of the artist and Jessica Silverman Gallery)\u003c/figcaption>\u003c/figure>\n\u003ch3>Tongue-in-Cheek\u003c/h3>\n\u003ch5>Through July 19\u003cbr>\n\u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">di rosa\u003c/a>\u003cbr>\n5200 Sonoma Hwy, Napa\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Nestled amidst rolling green hills, grapevines and a picturesque lake, di Rosa is an extraordinary Northern California art destination. Founded by the late collectors extraordinaire Rene and Veronica di Rosa, di Rosa is widely considered the most significant collection of Bay Area artists in the world, featuring works by Robert Arneson, Enrique Chagoya, Raymond Saunders, Allan Rath and Mildred Howard, among some 800 artists. The Gatehouse Gallery features rotating exhibitions, including this summer’s group show, \u003cem>Tongue-in-Cheek\u003c/em>, which focuses on disarmingly funny — and dare I say quirky? — Bay Area artists including Tammy Rae Carland, Jonn Herschend and Kate Rhoades, among others. Explore Napa for the day \u003cem>and\u003c/em> see the work of great Bay Area artists? Win, win.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10675765\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Amy-Ho-400x177.jpg\" alt='\"Red Rooms\" by Amy M. Ho, 2014. (Courtesy of the Artist and Chandra Cerrito Contemporary)' width=\"400\" height=\"177\" class=\"size-thumbnail wp-image-10675765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amy-Ho-400x177.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amy-Ho-800x355.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amy-Ho.jpg 952w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Red Rooms” by Amy M. Ho, 2014. (Courtesy of the Artist and Chandra Cerrito Contemporary)\u003c/figcaption>\u003c/figure>\n\u003ch3>Amy M. Ho: Red Rooms\u003c/h3>\n\u003ch5>Through Sept. 12\u003cbr>\n\u003ca href=\"http://www.sjica.org\" target=\"_blank\" rel=\"noopener\">San Jose Institute of Contemporary Art\u003c/a>\u003cbr>\n560 South First Street, San Jose\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Okay, the cat’s outta the bag: San Jose has the best weather in the Bay Area. Plus it has the ICA, which presents some of the best exhibitions and programs around. (Yes, I went there.) This summer, the ICA presents an immersive light and video installation by the amazing Amy M. Ho, one of my personal favorites, alongside exhibitions of work by the excellent Rebecca Haseltine, Cassandra Staubing, Naomie Kremer, and Sophia Allison and Leanne Lee. If I was you, I would dovetail my visit with a trip to the Winchester Mystery House – because, mystery – and hit up Falafel Drive In on Stevens Creek along the way for a falafel and a banana milkshake, just sayin’.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10675905\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Screen-Shot-2015-05-19-at-11.14.57-PM-400x269.png\" alt=\"Pace Gallery's current exhibit (Courtesy of Pace Gallery)\" width=\"400\" height=\"269\" class=\"size-thumbnail wp-image-10675905\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Screen-Shot-2015-05-19-at-11.14.57-PM-400x269.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Screen-Shot-2015-05-19-at-11.14.57-PM.png 712w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Pace Gallery’s current exhibit (Courtesy of Pace Gallery)\u003c/figcaption>\u003c/figure>\n\u003ch3>Group Exhibition (By Appointment Only)\u003c/h3>\n\u003ch5>Through August 22\u003cbr>\n\u003ca href=\"http://www.pacegallery.com/menlopark\" target=\"_blank\" rel=\"noopener\">Pace Gallery\u003c/a>\u003cbr>\n300 El Camino Real, Menlo Park\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Last summer New York powerhouse gallery PACE “Manhattanized” the Peninsula with a cool West coast outpost in a former Tesla dealership on El Camino Real. This unusual pop-up was only supposed to last just through the end of last year, but the gallery has quietly stayed on. Presently it offers a spectacular group show featuring works by Chuck Close and other international art stars. The gallery and exhibition is available to view by appointment only, so remember to call ahead before you go.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10675908\" class=\"wp-caption alignleft\" style=\"max-width: 335px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/broken-wing.jpg\" alt='\"Broken Wing\" by David Middlebrook, 2004. (Photo by Donna Guldimann)' width=\"335\" height=\"310\" class=\"size-thumbnail wp-image-10675908\">\u003cfigcaption class=\"wp-caption-text\">“Broken Wing” by David Middlebrook, 2004. (Photo by Donna Guldimann)\u003c/figcaption>\u003c/figure>\n\u003ch3>Art on the Grounds\u003c/h3>\n\u003ch5>Permanent installations – ongoing\u003cbr>\n\u003ca href=\"http://www.montalvoarts.org\" target=\"_blank\" rel=\"noopener\">Montalvo Arts Center\u003c/a>\u003cbr>\n15400 Montalvo Road, Saratoga\u003c/h5>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003cp class=\"p1\">Tucked away in a quiet residential area filled with jaw-dropping historic homes and estates, the Montalvo Arts Center is an oasis away from the Bay Area’s noisy hustle and traffic. In addition to an annual series of three rotating-group exhibitions featuring the work of artists-in-residence, the grounds at Montalvo also host temporary outdoor installations, as well as a number of permanent installations throughout its 175-acre property. This summer sees the temporary installation of five bronze sculptures by Stephen De Staebler, as well as the permanent installation of \u003cem>A Healing Walk\u003c/em> by the late Susan O’Malley. O’Malley’s walk, true to the nature of healing, is no simple task and leads visitors straight up hill. Those who endure are rewarded with some of the most extraordinary vistas the Bay Area has to offer, so don’t miss it.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10656607/day-trippin-summer-art-destinations-around-the-bay-area",
"authors": [
"58"
],
"categories": [
"arts_70"
],
"tags": [
"arts_596"
],
"featImg": "arts_10303074",
"label": "arts"
},
"arts_10674882": {
"type": "posts",
"id": "arts_10674882",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10674882",
"score": null,
"sort": [
1432078840000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1432078840,
"format": "standard",
"title": "Longtime 'Charlie Hebdo' Cartoonist Announces He's Quitting",
"headTitle": "Longtime ‘Charlie Hebdo’ Cartoonist Announces He’s Quitting | KQED",
"content": "\u003cp>The cartoonist who drew the image of the Prophet Muhammad that appeared on the comeback issue of \u003cem>Charlie Hebdo\u003c/em> is leaving the satirical magazine, citing stress and a lack of inspiration. The cartoonist, Luz, was one of the few artists who survived January’s attack on the magazine’s office in Paris.\u003c/p>\n\u003cp>“I will no longer be \u003cem>Charlie Hebdo\u003c/em>, but I will always be Charlie,” said Luz.\u003c/p>\n\u003cp>The cartoonist, whose name is Renald Luzier and who joined the weekly magazine in 1992, says he’ll leave in September. He made his departure official in an interview with the newspaper \u003cem>Liberation\u003c/em>.\u003c/p>\n\u003cp>“It’s a very personal choice,” Luz tells \u003ca href=\"http://ecrans.liberation.fr/ecrans/2015/05/18/luz-je-ne-serai-plus-charlie-hebdo-mais-je-serai-toujours-charlie_1311812\">Liberation\u003c/a>. He later added, “It became one of my obsessions after all this craziness to rebuild myself, to retake control of myself.”\u003c/p>\n\u003cp>Luz also said he has spent sleepless nights wondering about the work that his dead colleagues would have produced. Five cartoonists were among the 12 people \u003cem>\u003c/em>who died in the Jan. 7 attack on \u003cem>Charlie Hebdo\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One week after the assault, a new issue of \u003cem>Charlie Hebdo\u003c/em> became an international sensation, depicting the Prophet Muhammad shedding a tear and holding a sign reading: “Je Suis Charlie.” Above him, the headline announced: “Tout Est Pardonné” (All Is Forgiven).\u003c/p>\n\u003cp>Many people have urged him to keep working at the magazine, Luz told \u003cem>Liberation\u003c/em>, “but they forget that the worry is the inspiration.” Without it, he said, there can be no originality.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This week, the cartoonist is also releasing \u003ca href=\"http://www.futuropolis.fr/fiche_titre.php?id_article=790502\">Catharsis\u003c/a>, a “therapeutic book” that compiles his drawings and thoughts from the days and weeks after the attack. \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=Longtime+%27Charlie+Hebdo%27+Cartoonist+Announces+He%27s+Quitting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 296,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705047093,
"excerpt": "\"I will no longer be \u003cem>Charlie Hebdo\u003c/em>, but I will always be Charlie,\" says Renald Luzier, the cartoonist known as Luz.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": ""I will no longer be Charlie Hebdo, but I will always be Charlie," says Renald Luzier, the cartoonist known as Luz.",
"title": "Longtime 'Charlie Hebdo' Cartoonist Announces He's Quitting | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Longtime 'Charlie Hebdo' Cartoonist Announces He's Quitting",
"datePublished": "2015-05-19T16:40:40-07:00",
"dateModified": "2024-01-12T00:11:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "longtime-charlie-hebdo-cartoonist-announces-hes-quitting",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=407933746&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Bill Chappell",
"nprStoryDate": "Tue, 19 May 2015 09:33:00 -0400",
"nprLastModifiedDate": "Tue, 19 May 2015 10:49:16 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2015/05/19/407933746/longtime-charlie-hebdo-cartoonist-announces-he-s-quitting?ft=nprml&f=407933746",
"nprStoryId": "407933746",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 19 May 2015 10:49:00 -0400",
"path": "/arts/10674882/longtime-charlie-hebdo-cartoonist-announces-hes-quitting",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The cartoonist who drew the image of the Prophet Muhammad that appeared on the comeback issue of \u003cem>Charlie Hebdo\u003c/em> is leaving the satirical magazine, citing stress and a lack of inspiration. The cartoonist, Luz, was one of the few artists who survived January’s attack on the magazine’s office in Paris.\u003c/p>\n\u003cp>“I will no longer be \u003cem>Charlie Hebdo\u003c/em>, but I will always be Charlie,” said Luz.\u003c/p>\n\u003cp>The cartoonist, whose name is Renald Luzier and who joined the weekly magazine in 1992, says he’ll leave in September. He made his departure official in an interview with the newspaper \u003cem>Liberation\u003c/em>.\u003c/p>\n\u003cp>“It’s a very personal choice,” Luz tells \u003ca href=\"http://ecrans.liberation.fr/ecrans/2015/05/18/luz-je-ne-serai-plus-charlie-hebdo-mais-je-serai-toujours-charlie_1311812\">Liberation\u003c/a>. He later added, “It became one of my obsessions after all this craziness to rebuild myself, to retake control of myself.”\u003c/p>\n\u003cp>Luz also said he has spent sleepless nights wondering about the work that his dead colleagues would have produced. Five cartoonists were among the 12 people \u003cem>\u003c/em>who died in the Jan. 7 attack on \u003cem>Charlie Hebdo\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One week after the assault, a new issue of \u003cem>Charlie Hebdo\u003c/em> became an international sensation, depicting the Prophet Muhammad shedding a tear and holding a sign reading: “Je Suis Charlie.” Above him, the headline announced: “Tout Est Pardonné” (All Is Forgiven).\u003c/p>\n\u003cp>Many people have urged him to keep working at the magazine, Luz told \u003cem>Liberation\u003c/em>, “but they forget that the worry is the inspiration.” Without it, he said, there can be no originality.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This week, the cartoonist is also releasing \u003ca href=\"http://www.futuropolis.fr/fiche_titre.php?id_article=790502\">Catharsis\u003c/a>, a “therapeutic book” that compiles his drawings and thoughts from the days and weeks after the attack. \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=Longtime+%27Charlie+Hebdo%27+Cartoonist+Announces+He%27s+Quitting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10674882/longtime-charlie-hebdo-cartoonist-announces-hes-quitting",
"authors": [
"byline_arts_10674882"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10674883",
"label": "arts_137"
},
"arts_10670290": {
"type": "posts",
"id": "arts_10670290",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10670290",
"score": null,
"sort": [
1432047600000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1432047600,
"format": "standard",
"title": "RETRACTION: SFMOMA's 'Portraits' at MoAD",
"headTitle": "RETRACTION: SFMOMA’s ‘Portraits’ at MoAD | KQED",
"content": "\u003cp>\u003cstrong>May 22, 2015: \u003c/strong>The original article, “A Lost Opportunity: SFMOMA’S ‘Portraits’ at MoAD,” was removed from KQED’s website. After posting the article on May 19, we learned that certain assertions in the piece were either incomplete or inaccurate. These statements formed the basis for some of the article’s author Roula Seikaly’s conclusions about the exhibition. After investigating further, we concluded that Seikaly’s reporting did not accurately portray the partnership between the San Francisco Museum of Modern Art (SFMOMA) and the Museum of the African Diaspora (MoAD) leading up to the exhibition \u003cem>Portraits and Other Likenesses from SFMOMA\u003c/em>. It’s our job to make sure the information we publish is true. KQED Arts regrets posting an article that was not properly reported.\u003c/p>\n\u003cp>In the story, Seikaly criticized what she saw as an unequal working relationship between the curators at the two partner institutions. The writer’s opinions of that relationship were based on an interview with curator Lizzetta LeFalle-Collins, who was contracted as an independent curator at MoAD for the exhibition. LeFalle-Collins repeatedly asserted (in person and by email correspondence) that she was forbidden by both SFMOMA and MoAD employees to contact the artists included in the exhibition while she was trying to craft her exhibition texts.\u003c/p>\n\u003cp>SFMOMA curator Caitlin Haskell, \u003cem>On the Go\u003c/em> program director Janet Bishop and MoAD director Linda Harrison all directly contradicted LeFalle-Collins’ statements via emails to Seikaly. But in the story that ran, Seikaly chose to focus exclusively on LeFalle-Collins’ perspective, leading to an unbalanced critique.\u003c/p>\n\u003cp>Realizing the piece contained an incomplete version of events, KQED Arts removed the story from the KQED Arts site for two days to undergo further investigation into the claims of both parties.\u003c/p>\n\u003cp>SFMOMA provided us with three email headers dated from Nov. 4, 2014 through Apr. 1, 2015, so we know that LeFalle-Collins, SFMOMA employees and at least one artist exchanged correspondence at various points in the exhibition-making process. The actual content of those correspondences is confidential. As SFMOMA explains, “Out of respect for the privacy and confidential business practices of our artists, museum partners and curatorial staff, we do not share the contents of correspondence relating to their exhibitions with the media.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>KQED Arts takes full responsibility for the original publication and later retraction of the article.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 406,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705047097,
"excerpt": "The final \u003ci>On the Go\u003c/i> exhibition puts great work on display, but fails to fully realize potential of partnership.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The final On the Go exhibition puts great work on display, but fails to fully realize potential of partnership.",
"title": "RETRACTION: SFMOMA's 'Portraits' at MoAD | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "RETRACTION: SFMOMA's 'Portraits' at MoAD",
"datePublished": "2015-05-19T08:00:00-07:00",
"dateModified": "2024-01-12T00:11:37-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-lost-opportunity-sfmomas-portraits-at-moad",
"status": "publish",
"sticky": false,
"path": "/arts/10670290/a-lost-opportunity-sfmomas-portraits-at-moad",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>May 22, 2015: \u003c/strong>The original article, “A Lost Opportunity: SFMOMA’S ‘Portraits’ at MoAD,” was removed from KQED’s website. After posting the article on May 19, we learned that certain assertions in the piece were either incomplete or inaccurate. These statements formed the basis for some of the article’s author Roula Seikaly’s conclusions about the exhibition. After investigating further, we concluded that Seikaly’s reporting did not accurately portray the partnership between the San Francisco Museum of Modern Art (SFMOMA) and the Museum of the African Diaspora (MoAD) leading up to the exhibition \u003cem>Portraits and Other Likenesses from SFMOMA\u003c/em>. It’s our job to make sure the information we publish is true. KQED Arts regrets posting an article that was not properly reported.\u003c/p>\n\u003cp>In the story, Seikaly criticized what she saw as an unequal working relationship between the curators at the two partner institutions. The writer’s opinions of that relationship were based on an interview with curator Lizzetta LeFalle-Collins, who was contracted as an independent curator at MoAD for the exhibition. LeFalle-Collins repeatedly asserted (in person and by email correspondence) that she was forbidden by both SFMOMA and MoAD employees to contact the artists included in the exhibition while she was trying to craft her exhibition texts.\u003c/p>\n\u003cp>SFMOMA curator Caitlin Haskell, \u003cem>On the Go\u003c/em> program director Janet Bishop and MoAD director Linda Harrison all directly contradicted LeFalle-Collins’ statements via emails to Seikaly. But in the story that ran, Seikaly chose to focus exclusively on LeFalle-Collins’ perspective, leading to an unbalanced critique.\u003c/p>\n\u003cp>Realizing the piece contained an incomplete version of events, KQED Arts removed the story from the KQED Arts site for two days to undergo further investigation into the claims of both parties.\u003c/p>\n\u003cp>SFMOMA provided us with three email headers dated from Nov. 4, 2014 through Apr. 1, 2015, so we know that LeFalle-Collins, SFMOMA employees and at least one artist exchanged correspondence at various points in the exhibition-making process. The actual content of those correspondences is confidential. As SFMOMA explains, “Out of respect for the privacy and confidential business practices of our artists, museum partners and curatorial staff, we do not share the contents of correspondence relating to their exhibitions with the media.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>KQED Arts takes full responsibility for the original publication and later retraction of the article.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10670290/a-lost-opportunity-sfmomas-portraits-at-moad",
"authors": [
"92"
],
"categories": [
"arts_70"
],
"tags": [
"arts_596"
],
"featImg": "arts_10685309",
"label": "arts"
},
"arts_10654176": {
"type": "posts",
"id": "arts_10654176",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10654176",
"score": null,
"sort": [
1431647945000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1431647945,
"format": "standard",
"title": "New Plan for Presidio Park Includes Ideal Spot for Star-Gazing",
"headTitle": "New Plan for Presidio Park Includes Ideal Spot for Star-Gazing | KQED",
"content": "\u003cp>The Presidio Trust, the federal corporation in charge of San Francisco’s Presidio, released its latest plan for a major waterfront park project Wednesday, taking one more step towards a 2018 completion date.\u003c/p>\n\u003cp>The new \u003ca href=\"http://newpresidioparklands.org/wp-content/uploads/2015/03/11x17-pdfs-REDUCED.pdf\" target=\"_blank\" rel=\"noopener\">proposed conceptual design\u003c/a> for the Presidio Parklands Project shows where all the paths through the park will run and the panoramic views to which visitors will be treated when the project is finished.\u003c/p>\n\u003cp>One of the key features of the latest round of plans is a reworking of the design for the site’s communal meeting place, known as a “Zocalo.” The reworked design now includes a fire pit for such activities as late night talks by park employees and star-gazing. With its 360-degree view that will include the San Francisco Bay, the city and the redeveloped Presidio park, Trust representatives predict the Zocalo will be popular with the public.\u003c/p>\n\u003cp>“We’ve created a place for the community where they would want to hang out,” Michael Boland, chief of planning, projects and programming for the Presidio Trust, says.\u003c/p>\n\u003cfigure id=\"attachment_10656929\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10656929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image.jpg\" alt=\"A drawing of the Presidio's Zocalo (Courtesy of the Presidio Trust)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A drawing of the Presidio’s Zocalo (Courtesy of the Presidio Trust)\u003c/figcaption>\u003c/figure>\n\u003cp>The Zocalo looks like it might be an ideal spot for weddings and parties, but Boland says the space will not be made available for private events.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“So many people are going to be at the park, we don’t feel like we can really close off pieces of it from the public,” Boland says.\u003c/p>\n\u003cp>The release of the conceptual design comes the day before the project’s third public feedback meeting, which takes place Thursday evening at the Presidio Observation Post. The project has scheduled through the end of July a total of five meetings for residents to provide their input.\u003c/p>\n\u003cp>Boland says that this project is generating more public feedback than any project he has ever witnessed to date.\u003c/p>\n\u003cp>“We wanted to have the public deeply involved in the project because we wanted it to be relevant to a broad cross-section of people in our community,” Boland says. “The only way you can make that happen is to actually talk to them.”\u003c/p>\n\u003cfigure id=\"attachment_10656927\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10656927\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2.jpg\" alt=\"Another view of the Presidio's proposed Learning Center (Courtesy of the Presidio Trust)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Another view of the Presidio’s proposed Learning Center (Courtesy of the Presidio Trust)\u003c/figcaption>\u003c/figure>\n\u003cp>All this input has been beneficial for the design, Boland says.\u003c/p>\n\u003cp>The Presidio project architect firm, \u003ca href=\"http://newpresidioparklands.org/the-teams/james-corner-field-operations/\" target=\"_blank\" rel=\"noopener\">James Corner Field Operations,\u003c/a> incorporated an extensive public feedback process when the firm worked on New York City’s beloved High Line park, which was built on an elevated, disused section of the New York Central Railroad system.\u003c/p>\n\u003cp>And the firm is taking feedback on the Presidio development equally seriously. So far, notes from the Bay Area community have lead to such changes to park plans as reducing the amount of grass and incorporating an installation honoring the Presidio’s military past.\u003c/p>\n\u003cp>After Thursday night’s \u003ca href=\"http://www.presidio.gov/Calendar/Pages/Public-Board-Meeting-and-Presentation---Conceptual-Design-May-14.aspx\" target=\"_blank\" rel=\"noopener\">public board meeting\u003c/a>, The Presidio’s field operations team will start to explore the design in more depth. They will work out such details as the exact measurements of pathways and structures, and estimated total construction costs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though Boland was unable to provide a potential price tag for the project Thursday, the Trust has given itself a fundraising goal of $49 million, $35 million of which has already been raised.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 578,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705047113,
"excerpt": "The Presidio Trust has released its latest plans for a massive waterfront beautification project near the Golden Gate Bridge.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Presidio Trust has released its latest plans for a massive waterfront beautification project near the Golden Gate Bridge.",
"title": "New Plan for Presidio Park Includes Ideal Spot for Star-Gazing | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New Plan for Presidio Park Includes Ideal Spot for Star-Gazing",
"datePublished": "2015-05-14T16:59:05-07:00",
"dateModified": "2024-01-12T00:11:53-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "new-plans-for-presidio-park-includes-reworked-meeting-space",
"status": "publish",
"sticky": false,
"path": "/arts/10654176/new-plans-for-presidio-park-includes-reworked-meeting-space",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Presidio Trust, the federal corporation in charge of San Francisco’s Presidio, released its latest plan for a major waterfront park project Wednesday, taking one more step towards a 2018 completion date.\u003c/p>\n\u003cp>The new \u003ca href=\"http://newpresidioparklands.org/wp-content/uploads/2015/03/11x17-pdfs-REDUCED.pdf\" target=\"_blank\" rel=\"noopener\">proposed conceptual design\u003c/a> for the Presidio Parklands Project shows where all the paths through the park will run and the panoramic views to which visitors will be treated when the project is finished.\u003c/p>\n\u003cp>One of the key features of the latest round of plans is a reworking of the design for the site’s communal meeting place, known as a “Zocalo.” The reworked design now includes a fire pit for such activities as late night talks by park employees and star-gazing. With its 360-degree view that will include the San Francisco Bay, the city and the redeveloped Presidio park, Trust representatives predict the Zocalo will be popular with the public.\u003c/p>\n\u003cp>“We’ve created a place for the community where they would want to hang out,” Michael Boland, chief of planning, projects and programming for the Presidio Trust, says.\u003c/p>\n\u003cfigure id=\"attachment_10656929\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10656929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image.jpg\" alt=\"A drawing of the Presidio's Zocalo (Courtesy of the Presidio Trust)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Zocalo-Presidio-image-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A drawing of the Presidio’s Zocalo (Courtesy of the Presidio Trust)\u003c/figcaption>\u003c/figure>\n\u003cp>The Zocalo looks like it might be an ideal spot for weddings and parties, but Boland says the space will not be made available for private events.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“So many people are going to be at the park, we don’t feel like we can really close off pieces of it from the public,” Boland says.\u003c/p>\n\u003cp>The release of the conceptual design comes the day before the project’s third public feedback meeting, which takes place Thursday evening at the Presidio Observation Post. The project has scheduled through the end of July a total of five meetings for residents to provide their input.\u003c/p>\n\u003cp>Boland says that this project is generating more public feedback than any project he has ever witnessed to date.\u003c/p>\n\u003cp>“We wanted to have the public deeply involved in the project because we wanted it to be relevant to a broad cross-section of people in our community,” Boland says. “The only way you can make that happen is to actually talk to them.”\u003c/p>\n\u003cfigure id=\"attachment_10656927\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10656927\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2.jpg\" alt=\"Another view of the Presidio's proposed Learning Center (Courtesy of the Presidio Trust)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Presidio-Learning-Center2-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Another view of the Presidio’s proposed Learning Center (Courtesy of the Presidio Trust)\u003c/figcaption>\u003c/figure>\n\u003cp>All this input has been beneficial for the design, Boland says.\u003c/p>\n\u003cp>The Presidio project architect firm, \u003ca href=\"http://newpresidioparklands.org/the-teams/james-corner-field-operations/\" target=\"_blank\" rel=\"noopener\">James Corner Field Operations,\u003c/a> incorporated an extensive public feedback process when the firm worked on New York City’s beloved High Line park, which was built on an elevated, disused section of the New York Central Railroad system.\u003c/p>\n\u003cp>And the firm is taking feedback on the Presidio development equally seriously. So far, notes from the Bay Area community have lead to such changes to park plans as reducing the amount of grass and incorporating an installation honoring the Presidio’s military past.\u003c/p>\n\u003cp>After Thursday night’s \u003ca href=\"http://www.presidio.gov/Calendar/Pages/Public-Board-Meeting-and-Presentation---Conceptual-Design-May-14.aspx\" target=\"_blank\" rel=\"noopener\">public board meeting\u003c/a>, The Presidio’s field operations team will start to explore the design in more depth. They will work out such details as the exact measurements of pathways and structures, and estimated total construction costs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though Boland was unable to provide a potential price tag for the project Thursday, the Trust has given itself a fundraising goal of $49 million, $35 million of which has already been raised.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10654176/new-plans-for-presidio-park-includes-reworked-meeting-space",
"authors": [
"93"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_596"
],
"featImg": "arts_10656928",
"label": "arts"
},
"arts_10657240": {
"type": "posts",
"id": "arts_10657240",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10657240",
"score": null,
"sort": [
1431641567000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1431641567,
"format": "standard",
"title": "Bay Area Glitter Artist René Garcia Jr. Dies at 41 (1973–2015)",
"headTitle": "Bay Area Glitter Artist René Garcia Jr. Dies at 41 (1973–2015) | KQED",
"content": "\u003cp>\u003ca href=\"http://www.renegarciajr.com/\" target=\"_blank\" rel=\"noopener\">René Garcia Jr.\u003c/a>, local artist known for his dazzling glitter paintings of pop culture iconography, died of natural causes on May 8 while vacationing in Orlando, Fla. He was 41.\u003c/p>\n\u003cfigure id=\"attachment_10657242\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10657242\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/beachpicnic-e1431639722801.jpg\" alt=\"René Garcia Jr., <i>Beach Picnic</i>, 2011. (Courtesy of the artist's website)\" width=\"640\" height=\"432\">\u003cfigcaption class=\"wp-caption-text\">René Garcia Jr., \u003ci>Beach Picnic\u003c/i>, 2011. (Courtesy of the artist’s website)\u003c/figcaption>\u003c/figure>\n\u003cp>A talented artist who worked across media — including painting, photography, illustration and installation — Garcia’s work was included in exhibitions across the U.S. He received regular commissions from individuals and organizations, most often for his large-scale glitter paintings, featuring everything from motorcycle-riding babes to big cats on beaches.\u003c/p>\n\u003cp>These paintings, constructed with simple “kindergarten” tools of Elmer’s glue and glitter shakers, are both decadent and optimistic.\u003c/p>\n\u003cp>In a \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=14701\" target=\"_blank\" rel=\"noopener\">2007 interview for KQED’s Spark\u003c/a>, Garcia admitted cheerfully, “I’ve been saying I’ll be done with glitter almost since I started, but the thing is people like it and I like it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cc_90t2LGzs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to those who knew him, Garcia’s high spirits were contagious. Artist Ryan de la Hoz, who worked at Project One, where Garcia showed on multiple occasions, says, “The joy felt by all on opening nights was palpable. His work exuded an energy that is increasingly rare in today’s creative sphere. You didn’t just glance at his work, you were captivated by it.”\u003c/p>\n\u003cfigure id=\"attachment_10657252\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10657252\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/dragster-e1431640374764.jpg\" alt=\"René Garcia Jr. Dragster, 2012. (Courtesy of the artist's website)\" width=\"640\" height=\"319\">\u003cfigcaption class=\"wp-caption-text\">René Garcia Jr. \u003ci>Dragster\u003c/i>, 2012. (Courtesy of the artist’s website)\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to his studio practice, Garcia volunteered at the San Francisco Friends School and Pacific Primary and as an art teacher at San Quentin State Prison as part of the \u003ca href=\"http://williamjamesassociation.org/prison_arts/\" target=\"_blank\" rel=\"noopener\">Prison Arts Project\u003c/a>. He grew up outside of Riverside, Calif., where he practiced his drawing skills on his bedroom walls and began a lifelong infatuation with the pop culture that would fill his artwork: Star Wars, science fiction, pop music, Amazonian ladies, demolition derbies and racing of all kinds. He studied film and literature at the University of California, Santa Cruz before moving to San Francisco in the mid-1990s, where his art career began in animation at the children’s video company Wild Brain.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Garcia is survived by his wife, Holly Rhodes, his children, Renecito and Della, his mother, Julie Garcia, and his sisters, Kristina Draper and Catalina Patton. The family is accepting donations the René Garcia Jr. Memorial Fund at \u003ca href=\"http://www.youcaring.com/memorial-fundraiser/ren-garcia-jr-memorial-fund-for-holly-renecito-della/352359\" target=\"_blank\" rel=\"noopener\">youcaring.com\u003c/a>. A retrospective exhibition of his works is planned for late summer in San Francisco.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 437,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705047115,
"excerpt": "René Garcia Jr., Bay Area artist known for his dazzling glitter paintings of pop culture iconography, died of natural causes on May 8, 2015 at age 41 while vacationing in Orlando, Fla.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "René Garcia Jr., Bay Area artist known for his dazzling glitter paintings of pop culture iconography, died of natural causes on May 8, 2015 at age 41 while vacationing in Orlando, Fla.",
"title": "Bay Area Glitter Artist René Garcia Jr. Dies at 41 (1973–2015) | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bay Area Glitter Artist René Garcia Jr. Dies at 41 (1973–2015)",
"datePublished": "2015-05-14T15:12:47-07:00",
"dateModified": "2024-01-12T00:11:55-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bay-area-glitter-artist-rene-garcia-jr-dies-at-41-1973-2015",
"status": "publish",
"sticky": false,
"source": "Remembrance",
"path": "/arts/10657240/bay-area-glitter-artist-rene-garcia-jr-dies-at-41-1973-2015",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.renegarciajr.com/\" target=\"_blank\" rel=\"noopener\">René Garcia Jr.\u003c/a>, local artist known for his dazzling glitter paintings of pop culture iconography, died of natural causes on May 8 while vacationing in Orlando, Fla. He was 41.\u003c/p>\n\u003cfigure id=\"attachment_10657242\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10657242\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/beachpicnic-e1431639722801.jpg\" alt=\"René Garcia Jr., <i>Beach Picnic</i>, 2011. (Courtesy of the artist's website)\" width=\"640\" height=\"432\">\u003cfigcaption class=\"wp-caption-text\">René Garcia Jr., \u003ci>Beach Picnic\u003c/i>, 2011. (Courtesy of the artist’s website)\u003c/figcaption>\u003c/figure>\n\u003cp>A talented artist who worked across media — including painting, photography, illustration and installation — Garcia’s work was included in exhibitions across the U.S. He received regular commissions from individuals and organizations, most often for his large-scale glitter paintings, featuring everything from motorcycle-riding babes to big cats on beaches.\u003c/p>\n\u003cp>These paintings, constructed with simple “kindergarten” tools of Elmer’s glue and glitter shakers, are both decadent and optimistic.\u003c/p>\n\u003cp>In a \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=14701\" target=\"_blank\" rel=\"noopener\">2007 interview for KQED’s Spark\u003c/a>, Garcia admitted cheerfully, “I’ve been saying I’ll be done with glitter almost since I started, but the thing is people like it and I like it.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cc_90t2LGzs'\n title='//www.youtube.com/embed/cc_90t2LGzs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to those who knew him, Garcia’s high spirits were contagious. Artist Ryan de la Hoz, who worked at Project One, where Garcia showed on multiple occasions, says, “The joy felt by all on opening nights was palpable. His work exuded an energy that is increasingly rare in today’s creative sphere. You didn’t just glance at his work, you were captivated by it.”\u003c/p>\n\u003cfigure id=\"attachment_10657252\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10657252\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/dragster-e1431640374764.jpg\" alt=\"René Garcia Jr. Dragster, 2012. (Courtesy of the artist's website)\" width=\"640\" height=\"319\">\u003cfigcaption class=\"wp-caption-text\">René Garcia Jr. \u003ci>Dragster\u003c/i>, 2012. (Courtesy of the artist’s website)\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to his studio practice, Garcia volunteered at the San Francisco Friends School and Pacific Primary and as an art teacher at San Quentin State Prison as part of the \u003ca href=\"http://williamjamesassociation.org/prison_arts/\" target=\"_blank\" rel=\"noopener\">Prison Arts Project\u003c/a>. He grew up outside of Riverside, Calif., where he practiced his drawing skills on his bedroom walls and began a lifelong infatuation with the pop culture that would fill his artwork: Star Wars, science fiction, pop music, Amazonian ladies, demolition derbies and racing of all kinds. He studied film and literature at the University of California, Santa Cruz before moving to San Francisco in the mid-1990s, where his art career began in animation at the children’s video company Wild Brain.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Garcia is survived by his wife, Holly Rhodes, his children, Renecito and Della, his mother, Julie Garcia, and his sisters, Kristina Draper and Catalina Patton. The family is accepting donations the René Garcia Jr. Memorial Fund at \u003ca href=\"http://www.youcaring.com/memorial-fundraiser/ren-garcia-jr-memorial-fund-for-holly-renecito-della/352359\" target=\"_blank\" rel=\"noopener\">youcaring.com\u003c/a>. A retrospective exhibition of his works is planned for late summer in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10657240/bay-area-glitter-artist-rene-garcia-jr-dies-at-41-1973-2015",
"authors": [
"61"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_596"
],
"featImg": "arts_10657249",
"label": "source_arts_10657240"
},
"arts_10623723": {
"type": "posts",
"id": "arts_10623723",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10623723",
"score": null,
"sort": [
1431036009000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1431036009,
"format": "standard",
"title": "Art Fairs of All Kinds: Art Market and Parking Lots",
"headTitle": "Art Fairs of All Kinds: Art Market and Parking Lots | KQED",
"content": "\u003cp>The San Francisco art world is banding together to preserve what’s left of its community in a city that seems to increasingly seek to push the arts away: rents are sky high, evictions and displacement are common, but gallery owners and artists persevere. \u003c/p>\n\u003cp>Last week marked the fifth year of \u003ca href=\"http://artmarketsf.com/\" target=\"_blank\" rel=\"noopener\">Art Market San Francisco\u003c/a>, held at Fort Mason Center. With 25,000 people in attendance, Kelly Freeman of Art Market says it was a strong year, “Bay Area collectors have grown accustomed to art fairs and the galleries keep coming back.” The contemporary and modern art fair is the last still standing of the trio that once marked this season (ArtPadSF and the San Francisco Fine Art Fair are no more), but it was joined by two brand new fairs (\u003ca href=\"http://www.startupartfair.com/\" target=\"_blank\" rel=\"noopener\">stARTup Art Fair \u003c/a> and the rogue \u003ca href=\"http://parkinglotartfair.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Parking Lot Art Fair\u003c/a>) in their place.\u003c/p>\n\u003cp>Though often over-stimulating and overwhelming for the viewer, art fairs continue to grow in popularity. Galleries pay tens of thousands of dollars to pack and ship works, fly their staff around the world and set up shop at fairs — in addition to paying rent at their brick and mortar locations. In a city like San Francisco where real estate is already costly, it’s not the best combination of expenses, but a necessary move. \u003c/p>\n\u003cp>Mark Pinsukanjana, co-owner of \u003ca href=\"http://themesandprojects.com/\" target=\"_blank\" rel=\"noopener\">Themes + Projects\u003c/a> gallery, says it’s difficult to survive solely off an exhibition space like he could ten years ago, “Times have changed… When you don’t have a brick and mortar, the art fair organizer won’t take you seriously.” Visitors pay the price, too. Admission into Art Market was $25.\u003c/p>\n\u003cfigure id=\"attachment_10625570\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10625570 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Amory-Hashimoto-Contemporary.jpg\" alt=\"Brett Armory Waiting #230\" width=\"500\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amory-Hashimoto-Contemporary.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amory-Hashimoto-Contemporary-400x399.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amory-Hashimoto-Contemporary-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amory-Hashimoto-Contemporary-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amory-Hashimoto-Contemporary-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amory-Hashimoto-Contemporary-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amory-Hashimoto-Contemporary-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Brett Armory, \u003ci>Waiting #230\u003c/i>. (Courtesy of Hashimoto Contemporary)\u003c/figcaption>\u003c/figure>\n\u003cp>Ken Harman is the owner of \u003ca href=\"http://www.hashimotocontemporary.com/\" target=\"”_blank”\" rel=\"noopener\">Hashimoto Contemporary\u003c/a> and \u003ca href=\"http://www.spoke-art.com/\" target=\"”_blank”\" rel=\"noopener\">Spoke Art\u003c/a>, two San Francisco galleries. Artists on display in the Hashimoto booth included GATS, John Wentz, Joel Daniel Phillips and Brett Amory. It’s Harman’s fourth year at Art Market and he says it’s absolutely worth the booth cost, “The galleries are on Sutter Street and while they get a fair amount of foot traffic, this type of event really is where you get to meet collectors from all over the city and in some instances, from all over the state.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The same is true for galleries from across the Bay. Dasha Matsuura of Oakland’s \u003ca href=\"http://www.chandracerritocontemporary.com/\" target=\"_blank\" rel=\"noopener\">Chandra Cerrito Contemporary\u003c/a> says, “A lot of times San Francisco folks might not be as aware of Oakland galleries.” She admits that finding a good space is difficult in the Bay Area but she also adds, “I’ve never seen the amount of community, within galleries, that I’ve seen in Oakland.”\u003c/p>\n\u003cp>Maintaining a physical location with the right community is a struggle. Themes + Projects, a photography-based gallery and publisher, opened in 1999 as a bookstore in Palo Alto and was, until recently, among the tenants at 49 Geary. They are now slated to join a roster of galleries in the \u003ca href=\"http://www.minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a>, opening in 2016 in San Francisco’s Dogpatch neighborhood. Until then, Themes + Projects is an appointment-only operation.\u003c/p>\n\u003cp>For Pinsukanjana this move is about more than rent prices, “We truly believe in what they are doing at Minnesota.” The complex, led by art-world patrons Deborah and Andy Rappaport, is committed to maintaining San Francisco’s arts scene by providing affordable spaces for galleries and education programs for art lovers.\u003c/p>\n\u003cp>It’s an exciting development for a few lucky tenants, but for most galleries, it’s unclear what the future holds. Ken Harman says time will tell, “A lot of my artists, especially in the last three years, have begun to relocate from San Francisco, some are moving to L.A., some are moving to Oakland or the East Bay. It’s definitely affecting us personally.”\u003c/p>\n\u003cfigure id=\"attachment_10629819\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/PLAF_Davies.jpg\" alt=\"Davies' "booth" at the Parking Lot Art Fair. (Courtesy of the artist)\" width=\"640\" height=\"640\" class=\"size-full wp-image-10629819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/PLAF_Davies.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/PLAF_Davies-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/PLAF_Davies-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/PLAF_Davies-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/PLAF_Davies-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/PLAF_Davies-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/PLAF_Davies-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/PLAF_Davies-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Davies’ “booth” at the Parking Lot Art Fair. (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://dictiondavies.com/home.html\" target=\"_blank\" rel=\"noopener\">Christian Davies\u003c/a>, artist and co-director of \u003ca href=\"http://www.adobebackroomgallery.com/\">Adobe Books Backroom Gallery\u003c/a>, relocated to Oakland to find affordable live/work space after 12 years in San Francisco. “I don’t think I want to get on the whole ‘it sucks’ bandwagon because it is what it is,” he says. “Artists are going to find their way. We’re going to do things like show up in a parking lot and have an art fair in response to art fair fees.”\u003c/p>\n\u003cp>Which is exactly what they did.\u003c/p>\n\u003cp>Davies filled his station wagon with paintings and showed up outside Fort Mason at 6:30am on Saturday morning for the Parking Lot Art Fair, a DIY event organized by Emily Reynolds and Jenny Sharaf. “It was kind of like a company picnic, if that company was art,” Davies reports. The participating artists gathered to share and appreciate one another’s work — free of charge — in direct response to the weekend’s ‘official’ art fairs. “It cost me a quarter tank of gas and a sandwich and some beer,” Davies boasted.\u003c/p>\n\u003cp>Davies was accompanied by friend \u003ca href=\"http://www.seramac.net/\" target=\"_blank\" rel=\"noopener\">Sera Mac\u003c/a>, a San Francisco artist and \u003ca href=\"http://seramac.blogspot.com\" target=\"_blank\" rel=\"noopener\">writer\u003c/a>. Compared to the slick, pristine scene inside Art Market, Mac says, “[The Parking Lot Art Fair] was a little irreverent, and more messy and raw.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The whimsical experience of the Parking Lot Art Fair was far from Art Market’s smart and polished environment, where price tags started in the low thousands and went upwards of six figures. The two represent very different arts economies — one based on trade and mutual support, the other on the commercial art market — yet both are necessary to a healthy art scene in the Bay Area, and, perhaps hopefully, both were well attended, often by the same crowds of art appreciators and supporters.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1004,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705047153,
"excerpt": "Galleries return to a traditional art fair while artists strike out on their own.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Galleries return to a traditional art fair while artists strike out on their own.",
"title": "Art Fairs of All Kinds: Art Market and Parking Lots | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Art Fairs of All Kinds: Art Market and Parking Lots",
"datePublished": "2015-05-07T15:00:09-07:00",
"dateModified": "2024-01-12T00:12:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "art-fairs-of-all-kinds-art-market-and-parking-lots",
"status": "publish",
"sticky": false,
"path": "/arts/10623723/art-fairs-of-all-kinds-art-market-and-parking-lots",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco art world is banding together to preserve what’s left of its community in a city that seems to increasingly seek to push the arts away: rents are sky high, evictions and displacement are common, but gallery owners and artists persevere. \u003c/p>\n\u003cp>Last week marked the fifth year of \u003ca href=\"http://artmarketsf.com/\" target=\"_blank\" rel=\"noopener\">Art Market San Francisco\u003c/a>, held at Fort Mason Center. With 25,000 people in attendance, Kelly Freeman of Art Market says it was a strong year, “Bay Area collectors have grown accustomed to art fairs and the galleries keep coming back.” The contemporary and modern art fair is the last still standing of the trio that once marked this season (ArtPadSF and the San Francisco Fine Art Fair are no more), but it was joined by two brand new fairs (\u003ca href=\"http://www.startupartfair.com/\" target=\"_blank\" rel=\"noopener\">stARTup Art Fair \u003c/a> and the rogue \u003ca href=\"http://parkinglotartfair.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Parking Lot Art Fair\u003c/a>) in their place.\u003c/p>\n\u003cp>Though often over-stimulating and overwhelming for the viewer, art fairs continue to grow in popularity. Galleries pay tens of thousands of dollars to pack and ship works, fly their staff around the world and set up shop at fairs — in addition to paying rent at their brick and mortar locations. In a city like San Francisco where real estate is already costly, it’s not the best combination of expenses, but a necessary move. \u003c/p>\n\u003cp>Mark Pinsukanjana, co-owner of \u003ca href=\"http://themesandprojects.com/\" target=\"_blank\" rel=\"noopener\">Themes + Projects\u003c/a> gallery, says it’s difficult to survive solely off an exhibition space like he could ten years ago, “Times have changed… When you don’t have a brick and mortar, the art fair organizer won’t take you seriously.” Visitors pay the price, too. Admission into Art Market was $25.\u003c/p>\n\u003cfigure id=\"attachment_10625570\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10625570 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Amory-Hashimoto-Contemporary.jpg\" alt=\"Brett Armory Waiting #230\" width=\"500\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amory-Hashimoto-Contemporary.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amory-Hashimoto-Contemporary-400x399.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amory-Hashimoto-Contemporary-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amory-Hashimoto-Contemporary-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amory-Hashimoto-Contemporary-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amory-Hashimoto-Contemporary-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Amory-Hashimoto-Contemporary-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Brett Armory, \u003ci>Waiting #230\u003c/i>. (Courtesy of Hashimoto Contemporary)\u003c/figcaption>\u003c/figure>\n\u003cp>Ken Harman is the owner of \u003ca href=\"http://www.hashimotocontemporary.com/\" target=\"”_blank”\" rel=\"noopener\">Hashimoto Contemporary\u003c/a> and \u003ca href=\"http://www.spoke-art.com/\" target=\"”_blank”\" rel=\"noopener\">Spoke Art\u003c/a>, two San Francisco galleries. Artists on display in the Hashimoto booth included GATS, John Wentz, Joel Daniel Phillips and Brett Amory. It’s Harman’s fourth year at Art Market and he says it’s absolutely worth the booth cost, “The galleries are on Sutter Street and while they get a fair amount of foot traffic, this type of event really is where you get to meet collectors from all over the city and in some instances, from all over the state.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The same is true for galleries from across the Bay. Dasha Matsuura of Oakland’s \u003ca href=\"http://www.chandracerritocontemporary.com/\" target=\"_blank\" rel=\"noopener\">Chandra Cerrito Contemporary\u003c/a> says, “A lot of times San Francisco folks might not be as aware of Oakland galleries.” She admits that finding a good space is difficult in the Bay Area but she also adds, “I’ve never seen the amount of community, within galleries, that I’ve seen in Oakland.”\u003c/p>\n\u003cp>Maintaining a physical location with the right community is a struggle. Themes + Projects, a photography-based gallery and publisher, opened in 1999 as a bookstore in Palo Alto and was, until recently, among the tenants at 49 Geary. They are now slated to join a roster of galleries in the \u003ca href=\"http://www.minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a>, opening in 2016 in San Francisco’s Dogpatch neighborhood. Until then, Themes + Projects is an appointment-only operation.\u003c/p>\n\u003cp>For Pinsukanjana this move is about more than rent prices, “We truly believe in what they are doing at Minnesota.” The complex, led by art-world patrons Deborah and Andy Rappaport, is committed to maintaining San Francisco’s arts scene by providing affordable spaces for galleries and education programs for art lovers.\u003c/p>\n\u003cp>It’s an exciting development for a few lucky tenants, but for most galleries, it’s unclear what the future holds. Ken Harman says time will tell, “A lot of my artists, especially in the last three years, have begun to relocate from San Francisco, some are moving to L.A., some are moving to Oakland or the East Bay. It’s definitely affecting us personally.”\u003c/p>\n\u003cfigure id=\"attachment_10629819\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/PLAF_Davies.jpg\" alt=\"Davies' "booth" at the Parking Lot Art Fair. (Courtesy of the artist)\" width=\"640\" height=\"640\" class=\"size-full wp-image-10629819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/PLAF_Davies.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/PLAF_Davies-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/PLAF_Davies-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/PLAF_Davies-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/PLAF_Davies-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/PLAF_Davies-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/PLAF_Davies-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/PLAF_Davies-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Davies’ “booth” at the Parking Lot Art Fair. (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://dictiondavies.com/home.html\" target=\"_blank\" rel=\"noopener\">Christian Davies\u003c/a>, artist and co-director of \u003ca href=\"http://www.adobebackroomgallery.com/\">Adobe Books Backroom Gallery\u003c/a>, relocated to Oakland to find affordable live/work space after 12 years in San Francisco. “I don’t think I want to get on the whole ‘it sucks’ bandwagon because it is what it is,” he says. “Artists are going to find their way. We’re going to do things like show up in a parking lot and have an art fair in response to art fair fees.”\u003c/p>\n\u003cp>Which is exactly what they did.\u003c/p>\n\u003cp>Davies filled his station wagon with paintings and showed up outside Fort Mason at 6:30am on Saturday morning for the Parking Lot Art Fair, a DIY event organized by Emily Reynolds and Jenny Sharaf. “It was kind of like a company picnic, if that company was art,” Davies reports. The participating artists gathered to share and appreciate one another’s work — free of charge — in direct response to the weekend’s ‘official’ art fairs. “It cost me a quarter tank of gas and a sandwich and some beer,” Davies boasted.\u003c/p>\n\u003cp>Davies was accompanied by friend \u003ca href=\"http://www.seramac.net/\" target=\"_blank\" rel=\"noopener\">Sera Mac\u003c/a>, a San Francisco artist and \u003ca href=\"http://seramac.blogspot.com\" target=\"_blank\" rel=\"noopener\">writer\u003c/a>. Compared to the slick, pristine scene inside Art Market, Mac says, “[The Parking Lot Art Fair] was a little irreverent, and more messy and raw.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The whimsical experience of the Parking Lot Art Fair was far from Art Market’s smart and polished environment, where price tags started in the low thousands and went upwards of six figures. The two represent very different arts economies — one based on trade and mutual support, the other on the commercial art market — yet both are necessary to a healthy art scene in the Bay Area, and, perhaps hopefully, both were well attended, often by the same crowds of art appreciators and supporters.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10623723/art-fairs-of-all-kinds-art-market-and-parking-lots",
"authors": [
"195"
],
"categories": [
"arts_70"
],
"tags": [
"arts_596"
],
"featImg": "arts_10626489",
"label": "arts"
},
"arts_10628462": {
"type": "posts",
"id": "arts_10628462",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10628462",
"score": null,
"sort": [
1431010846000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1431010846,
"format": "standard",
"title": "Discover Art, Music, Food (and a Forest) in the Tenderloin",
"headTitle": "Discover Art, Music, Food (and a Forest) in the Tenderloin | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/terra-incognita/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Terra Incognita\u003c/h2>\n\u003cdiv class=\"event-desc\">An outdoor event of art, music and food.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 9, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Tenderloin National Forest\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/terra-incognita/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>“Terra incognita” is a term used by cartographers to describe uncharted territory. On Saturday, May 9, art, music and food converge on the Tenderloin National Forest for visitors with a sense of adventure in the Luggage Store’s free one-night event, \u003ci>Terra Incognita.\u003c/i>\u003c/p>\n\u003cp>The Tenderloin may seem like an unlikely place for a forest, but for the past 15 years the small glade dubbed the \u003ca href=\"http://www.luggagestoregallery.org/tnf/\" target=\"_blank\" rel=\"noopener\">Tenderloin National Forest\u003c/a> has flourished in Cohen Alley at 509 Ellis Street in San Francisco. Created by a team of artists, volunteers and members of the \u003ca href=\"http://www.luggagestoregallery.org/\" target=\"_blank\" rel=\"noopener\">Luggage Store\u003c/a> to celebrate the diversity and beauty of the neighborhood, the space represents a vital and active community effort to transform an unused alley into a communal gathering place.\u003c/p>\n\u003cfigure id=\"attachment_10630697\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10630697 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/TERRA-GIF-LOOP1.gif\" alt=\"TERRA-GIF-LOOP\" width=\"640\" height=\"359\">\u003cfigcaption class=\"wp-caption-text\">The artists behind \u003ci>Terra Incognita\u003c/i>. (Photo by Frances Ancheta)\u003c/figcaption>\u003c/figure>\n\u003cp>While the Tenderloin National Forest is usually open to the public 11am to 3pm, Wednesday through Saturday, the alley will keep its gates open 7-10pm on May 9 for \u003ca href=\"http://www.luggagestoregallery.org/2015/04/terra-incocnita/\" target=\"_blank\" rel=\"noopener\">\u003ci>Terra Incognita\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Combining the varied talents of visual artists \u003ca href=\"http://robinbirdd.com/\" target=\"_blank\" rel=\"noopener\">Robin Birdd\u003c/a> and \u003ca href=\"https://blabberbytes.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Jeffrey Yip\u003c/a>, musicians \u003ca href=\"http://trillionsmusic.com/\" target=\"_blank\" rel=\"noopener\">The Trillions\u003c/a> and \u003ca href=\"https://soundcloud.com/plzpassthepie\" target=\"_blank\" rel=\"noopener\">Salty Sherilyn\u003c/a> and food by Chef Eman G, visitors can expect treats for all of their senses. As the sun sets, projections and installations will illuminate paper animals nestled among the foliage, a bit of wildlife in a forest bounded by bricks and concrete. The night’s custom menu is inspired by the notion of terra incognita: flavors waiting to be discovered.\u003c/p>\n\u003cp>\u003cem>For a preview of the night’s musical performances, download \u003ca href=\"https://soundcloud.com/joogmac/joog-x-saltysherilyn-sounds-of-terra-incognita\" target=\"_blank\" rel=\"noopener\">a mix\u003c/a> made by Joog Mac of the Trillions and Salty Sherilyn:\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/203812075″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 350,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705047157,
"excerpt": "The Luggage Store hosts \u003ci>Terra Incognita\u003c/i>, a night of art, food and music in the Tenderloin's own National Forest.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Luggage Store hosts Terra Incognita, a night of art, food and music in the Tenderloin's own National Forest.",
"title": "Discover Art, Music, Food (and a Forest) in the Tenderloin | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Discover Art, Music, Food (and a Forest) in the Tenderloin",
"datePublished": "2015-05-07T08:00:46-07:00",
"dateModified": "2024-01-12T00:12:37-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-night-of-art-food-and-music-in-the-tenderloin",
"status": "publish",
"sticky": false,
"path": "/arts/10628462/a-night-of-art-food-and-music-in-the-tenderloin",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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/terra-incognita/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Terra Incognita\u003c/h2>\n\u003cdiv class=\"event-desc\">An outdoor event of art, music and food.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 9, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Tenderloin National Forest\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/terra-incognita/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>“Terra incognita” is a term used by cartographers to describe uncharted territory. On Saturday, May 9, art, music and food converge on the Tenderloin National Forest for visitors with a sense of adventure in the Luggage Store’s free one-night event, \u003ci>Terra Incognita.\u003c/i>\u003c/p>\n\u003cp>The Tenderloin may seem like an unlikely place for a forest, but for the past 15 years the small glade dubbed the \u003ca href=\"http://www.luggagestoregallery.org/tnf/\" target=\"_blank\" rel=\"noopener\">Tenderloin National Forest\u003c/a> has flourished in Cohen Alley at 509 Ellis Street in San Francisco. Created by a team of artists, volunteers and members of the \u003ca href=\"http://www.luggagestoregallery.org/\" target=\"_blank\" rel=\"noopener\">Luggage Store\u003c/a> to celebrate the diversity and beauty of the neighborhood, the space represents a vital and active community effort to transform an unused alley into a communal gathering place.\u003c/p>\n\u003cfigure id=\"attachment_10630697\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10630697 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/TERRA-GIF-LOOP1.gif\" alt=\"TERRA-GIF-LOOP\" width=\"640\" height=\"359\">\u003cfigcaption class=\"wp-caption-text\">The artists behind \u003ci>Terra Incognita\u003c/i>. (Photo by Frances Ancheta)\u003c/figcaption>\u003c/figure>\n\u003cp>While the Tenderloin National Forest is usually open to the public 11am to 3pm, Wednesday through Saturday, the alley will keep its gates open 7-10pm on May 9 for \u003ca href=\"http://www.luggagestoregallery.org/2015/04/terra-incocnita/\" target=\"_blank\" rel=\"noopener\">\u003ci>Terra Incognita\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Combining the varied talents of visual artists \u003ca href=\"http://robinbirdd.com/\" target=\"_blank\" rel=\"noopener\">Robin Birdd\u003c/a> and \u003ca href=\"https://blabberbytes.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Jeffrey Yip\u003c/a>, musicians \u003ca href=\"http://trillionsmusic.com/\" target=\"_blank\" rel=\"noopener\">The Trillions\u003c/a> and \u003ca href=\"https://soundcloud.com/plzpassthepie\" target=\"_blank\" rel=\"noopener\">Salty Sherilyn\u003c/a> and food by Chef Eman G, visitors can expect treats for all of their senses. As the sun sets, projections and installations will illuminate paper animals nestled among the foliage, a bit of wildlife in a forest bounded by bricks and concrete. The night’s custom menu is inspired by the notion of terra incognita: flavors waiting to be discovered.\u003c/p>\n\u003cp>\u003cem>For a preview of the night’s musical performances, download \u003ca href=\"https://soundcloud.com/joogmac/joog-x-saltysherilyn-sounds-of-terra-incognita\" target=\"_blank\" rel=\"noopener\">a mix\u003c/a> made by Joog Mac of the Trillions and Salty Sherilyn:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/203812075″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/203812075″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10628462/a-night-of-art-food-and-music-in-the-tenderloin",
"authors": [
"72"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69",
"arts_70"
],
"tags": [
"arts_596"
],
"featImg": "arts_10630698",
"label": "arts_140"
},
"arts_10605752": {
"type": "posts",
"id": "arts_10605752",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10605752",
"score": null,
"sort": [
1430445633000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1430445633,
"format": "image",
"title": "The Vessel XII Controversy: An Otherworldly Tale",
"headTitle": "The Vessel XII Controversy: An Otherworldly Tale | KQED",
"content": "\u003cp>In the de Young Museum’s Kimball Education Gallery, an investigation of intergalactic proportions is underway. During a month-long residency at the museum, artist, playwright and musician Jon Bernson and collaborators have explored the \u003ci>Vessel XII\u003c/i> controversy, described as a series of 12 unexplained broadcasts that interrupted television sets around the world over a period of 23 years. The transmissions mysteriously end in 2009, the year digital conversion rendered our old cathode ray tube sets obsolete.\u003c/p>\n\u003cp>\u003ci>Antiprism\u003c/i>, as the residency is titled, inhabits a strange and nebulous place on the space–time continuum. Antiquated technology like VHS tapes and turtlenecks sit alongside talk of time travel. Playing with sound, image, object and narrative, Bernson and co. craft an otherworldly tale of distant journeys, complete with words of advice from a wiser, post-Earthly future.\u003c/p>\n\u003cfigure id=\"attachment_10606345\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10606345 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Theoretical-Physicist-Carol-C.-Sydney-1180x857.jpg\" alt='Image from Antiprism of \"Theoretical Physicist - Carol C. Sydney,\" 2015. Courtesy of ' width=\"640\" height=\"465\">\u003cfigcaption class=\"wp-caption-text\">Image from \u003ci>Antiprism\u003c/i> of “Theoretical Physicist – Carol C. Sydney,” 2015. (Courtesy of Jon Bernson)\u003c/figcaption>\u003c/figure>\n\u003cp>According to Bernson and project co-creator Michael Falsetto-Mapp, expert (and amateur) opinions on the source of the \u003ci>Vessel XII\u003c/i> broadcasts differ widely. Are they from a distant spacecraft? An alternate dimension? The future? Or can they be explained away as \u003ca href=\"http://en.wikipedia.org/wiki/Broadcast_signal_intrusion#Max_Headroom_incident\" target=\"_blank\" rel=\"noopener\">sophisticated signal hacks\u003c/a>?\u003c/p>\n\u003cp>In the Kimball Gallery, research into these competing claims takes an aesthetic turn. Video projections of the colorful broadcasts fit well on the gallery’s spacey floor-to-ceiling glass panels. On two opposite walls, a map of the vessel’s path through the universe matches perfectly with a view of the broadcasts’ appearances around an inverted globe. Irregular geometric shapes scattered around the room are sculptural approximations of the “vessel” itself. And in one corner, a mirrored sculpture by Andy Diaz Hope replicates the \u003ci>Antiprism\u003c/i>, a mystical navigational device discovered and used by \u003ci>Vessel XII\u003c/i> on its travels.\u003c/p>\n\u003cp>https://vimeo.com/109508608\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Friday, May 1, 6-8pm marks the \u003ca href=\"http://deyoung.famsf.org/calendar/antiprism-artist-residence-jon-bernson-1\" target=\"_blank\" rel=\"noopener\">third and final live performance\u003c/a> of \u003ci>Antiprism\u003c/i> at the de Young, an event that melds documentary film, theater, live music and academic conference into a disorienting and imaginative production. The night includes a reenactment of the Distant Future Symposium (directed by Jennifer Welch), a chance for the minds behind the \u003ci>Vessel XII\u003c/i> theories to make and stake various claims of authenticity, attacks and counterattacks. Their drama is often contentious.\u003c/p>\n\u003cp>Again, the high- and lo-fi binary is wonderfully blurred. Panelists make allusions to string theory while an assistant offers visual aids in the form of black-and-white images on letter-sized paper. In the background, the musical group Exray’s (Bernson, Michael Falsetto-Mapp and Jason Kick) provide a live soundtrack of deadpan electronic tunes and spoken passages from the vessel’s logbook. An EP inspired by their investigations into \u003ci>Vessel XII\u003c/i> is available as a \u003ca href=\"http://exrays.bandcamp.com/album/the-dome\" target=\"_blank\" rel=\"noopener\">limited edition cassette or digital download\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Only one of \u003ci>Vessel XII\u003c/i>’s broadcasts interrupted U.S. airwaves, landing in Reno, Nev. in 1994. In a short documentary, resident witnesses describe the experience as sounding “like a very very slow nature program.” In this surreal vein, Bernson’s project creates an alternate dimension of its own. Delving into the tropes of fringe science, New Age mysticism and conspiracy theory, Bernson renders a living theater of spooky uncertainty, inviting Kimball Gallery visitors to open their minds to the inexplicable — and all the creative possibilities therein.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 565,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705047192,
"excerpt": "A residency at the de Young investigates mysterious broadcasts through video, performance and sound.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A residency at the de Young investigates mysterious broadcasts through video, performance and sound.",
"title": "The Vessel XII Controversy: An Otherworldly Tale | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Vessel XII Controversy: An Otherworldly Tale",
"datePublished": "2015-04-30T19:00:33-07:00",
"dateModified": "2024-01-12T00:13:12-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-vessel-xii-controversy-an-otherworldly-tale",
"status": "publish",
"sticky": false,
"path": "/arts/10605752/the-vessel-xii-controversy-an-otherworldly-tale",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the de Young Museum’s Kimball Education Gallery, an investigation of intergalactic proportions is underway. During a month-long residency at the museum, artist, playwright and musician Jon Bernson and collaborators have explored the \u003ci>Vessel XII\u003c/i> controversy, described as a series of 12 unexplained broadcasts that interrupted television sets around the world over a period of 23 years. The transmissions mysteriously end in 2009, the year digital conversion rendered our old cathode ray tube sets obsolete.\u003c/p>\n\u003cp>\u003ci>Antiprism\u003c/i>, as the residency is titled, inhabits a strange and nebulous place on the space–time continuum. Antiquated technology like VHS tapes and turtlenecks sit alongside talk of time travel. Playing with sound, image, object and narrative, Bernson and co. craft an otherworldly tale of distant journeys, complete with words of advice from a wiser, post-Earthly future.\u003c/p>\n\u003cfigure id=\"attachment_10606345\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10606345 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Theoretical-Physicist-Carol-C.-Sydney-1180x857.jpg\" alt='Image from Antiprism of \"Theoretical Physicist - Carol C. Sydney,\" 2015. Courtesy of ' width=\"640\" height=\"465\">\u003cfigcaption class=\"wp-caption-text\">Image from \u003ci>Antiprism\u003c/i> of “Theoretical Physicist – Carol C. Sydney,” 2015. (Courtesy of Jon Bernson)\u003c/figcaption>\u003c/figure>\n\u003cp>According to Bernson and project co-creator Michael Falsetto-Mapp, expert (and amateur) opinions on the source of the \u003ci>Vessel XII\u003c/i> broadcasts differ widely. Are they from a distant spacecraft? An alternate dimension? The future? Or can they be explained away as \u003ca href=\"http://en.wikipedia.org/wiki/Broadcast_signal_intrusion#Max_Headroom_incident\" target=\"_blank\" rel=\"noopener\">sophisticated signal hacks\u003c/a>?\u003c/p>\n\u003cp>In the Kimball Gallery, research into these competing claims takes an aesthetic turn. Video projections of the colorful broadcasts fit well on the gallery’s spacey floor-to-ceiling glass panels. On two opposite walls, a map of the vessel’s path through the universe matches perfectly with a view of the broadcasts’ appearances around an inverted globe. Irregular geometric shapes scattered around the room are sculptural approximations of the “vessel” itself. And in one corner, a mirrored sculpture by Andy Diaz Hope replicates the \u003ci>Antiprism\u003c/i>, a mystical navigational device discovered and used by \u003ci>Vessel XII\u003c/i> on its travels.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "vimeoLink",
"attributes": {
"named": {
"vimeoId": "109508608"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Friday, May 1, 6-8pm marks the \u003ca href=\"http://deyoung.famsf.org/calendar/antiprism-artist-residence-jon-bernson-1\" target=\"_blank\" rel=\"noopener\">third and final live performance\u003c/a> of \u003ci>Antiprism\u003c/i> at the de Young, an event that melds documentary film, theater, live music and academic conference into a disorienting and imaginative production. The night includes a reenactment of the Distant Future Symposium (directed by Jennifer Welch), a chance for the minds behind the \u003ci>Vessel XII\u003c/i> theories to make and stake various claims of authenticity, attacks and counterattacks. Their drama is often contentious.\u003c/p>\n\u003cp>Again, the high- and lo-fi binary is wonderfully blurred. Panelists make allusions to string theory while an assistant offers visual aids in the form of black-and-white images on letter-sized paper. In the background, the musical group Exray’s (Bernson, Michael Falsetto-Mapp and Jason Kick) provide a live soundtrack of deadpan electronic tunes and spoken passages from the vessel’s logbook. An EP inspired by their investigations into \u003ci>Vessel XII\u003c/i> is available as a \u003ca href=\"http://exrays.bandcamp.com/album/the-dome\" target=\"_blank\" rel=\"noopener\">limited edition cassette or digital download\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Only one of \u003ci>Vessel XII\u003c/i>’s broadcasts interrupted U.S. airwaves, landing in Reno, Nev. in 1994. In a short documentary, resident witnesses describe the experience as sounding “like a very very slow nature program.” In this surreal vein, Bernson’s project creates an alternate dimension of its own. Delving into the tropes of fringe science, New Age mysticism and conspiracy theory, Bernson renders a living theater of spooky uncertainty, inviting Kimball Gallery visitors to open their minds to the inexplicable — and all the creative possibilities therein.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10605752/the-vessel-xii-controversy-an-otherworldly-tale",
"authors": [
"61"
],
"categories": [
"arts_70"
],
"tags": [
"arts_596"
],
"featImg": "arts_10606344",
"label": "arts"
},
"arts_10602269": {
"type": "posts",
"id": "arts_10602269",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10602269",
"score": null,
"sort": [
1430258786000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1430258786,
"format": "standard",
"title": "Oakland Artist Talks About his Battle with Tech Exec Over Image",
"headTitle": "Oakland Artist Talks About his Battle with Tech Exec Over Image | KQED",
"content": "\u003cp>Oakland artist \u003ca href=\"http://packardjennings.com/\" target=\"_blank\" rel=\"noopener\">Packard Jennings\u003c/a> is no stranger to the press. His politically-conscious artwork has been covered by the \u003cem>New York Times\u003c/em>, the \u003cem>Washington Post\u003c/em>, A\u003cem>rtforum\u003c/em>, and many other publications. But he’s currently receiving media attention for a Craigslist post he had nothing to do with — \u003ca href=\"http://ww2.kqed.org/arts/2015/04/27/oakland-artist-smacks-down-tech-exec-for-using-image-in-viral-job-ad/\" target=\"_blank\" rel=\"noopener\">a San Diego tech executive used an image of Jennings’ without permission\u003c/a> for a “developers wanted” ad, which went viral. Now, instead of concentrating solely on his next work, Jennings is having to get “medieval” on Chatmeter CTO Paul Koch for the exec’s copyright infringement.\u003c/p>\n\u003cp>Jennings took a few minutes to answer some questions from KQED Arts about the situation and what he plans to do next. \u003c/p>\n\u003cp>\u003cstrong>How did you learn about your pic being used in the ad?\u003c/strong>\u003cbr>\nThis Craigslist post went viral. Beyond the attention on news sites, it blew up on social media. Several people recognized my work when it was posted on both Facebook and on the \u003cem>San Francisco Chronicle\u003c/em>’s site. I was contacted about it by three separate people.\u003c/p>\n\u003cfigure id=\"attachment_10602567\" class=\"wp-caption alignright\" style=\"max-width: 604px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland.jpg\" alt=\"Jennings in Switzerland back in 2006. (Courtesy of Jennings)\" width=\"604\" height=\"453\" class=\"size-full wp-image-10602567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland-400x300.jpg 400w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennings in Switzerland back in 2006. (Courtesy of Jennings)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How far are you willing to take this?\u003c/strong>\u003cbr>\nI’m willing take this as far as it needs to go. I’d rather it didn’t get to the point of needing to go to court, but I have been consulting several copyright lawyers and the California Lawyers for the Arts, in case it goes there. If it goes to court, it goes to court. It is a pretty cut-and-dry case of copyright infringement. They don’t have a leg to stand on, really.\u003c/p>\n\u003cp>\u003cstrong>What would be proper compensation?\u003c/strong>\u003cbr>\nIf he comes to me with a sincere offer that seems adequate I will consider it, but that could be a question for lawyers. The standard ranges of fines for copyright infringement are laid out in my first letter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Has this happened to you before?\u003c/strong>\u003cbr>\nI had someone selling a copy of my Bible Sticker, which I give away for free. It is based on stickers in Georgia biology school textbooks in 2005, which warned: “Evolution is a theory, not a fact, regarding the origin of living things. It should be read with an open mind and critically considered.” The Bible Sticker is given away for free with the instructions: “Keep this sticker in your wallet. When you stay in a motel, adhere your sticker to the inside jacket of the Bible.” Someone directed me to a person selling it on some site that custom prints T-shirts and stickers to order for vendors who have “stores” on the site. I contacted them and they took it down. It was made to be given away, not sold.\u003c/p>\n\u003cfigure id=\"attachment_10602568\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-912x1180.jpg\" alt=\"Jennings' second letter to Paul Koch\" width=\"640\" height=\"828\" class=\"size-large wp-image-10602568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-912x1180.jpg 912w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-463x600.jpg 463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-1180x1528.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-960x1243.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2.jpg 1582w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennings’ second letter to Paul Koch\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Does it matter if what he did was just a mistake?\u003c/strong>\u003cbr>\nI understand that people slip up and show a lapse in judgement. If he were just some guy trying to sell a bike, I wouldn’t sweat it. Everyone knows when they are using copyrighted artwork. In this case, he used it for an advertisement to gain publicity and recruit employees. In his own words (see the \u003ca href=\"http://nextshark.com/paul-koch-craigslist-job-ad-great-developers-startup/\" target=\"_blank\" rel=\"noopener\">Netshark interview\u003c/a>) he set out to create a viral campaign. He very purposely constructed the ad to cause a stir. He chose to ignore copyright because my image somehow resonated with him for this; I suppose the idea is that his tech company is somehow a radical place to work. In this, he was very purposefully using my image to help brand his company. Top this off with his casual dismissal of my grievance and you may see why this is not a simple mistake. \u003c/p>\n\u003cp>\u003cstrong>Do you think his apology was genuine?\u003c/strong>\u003cbr>\nI really can’t say. I didn’t speak to him in person and tone is impossible in text form.\u003c/p>\n\u003cp>\u003cstrong>Do you think if he knew what the picture was from or anything about you, that he would still use it?\u003c/strong>\u003cbr>\nI’m obviously speculating, but he still seems cavalier about his breach of copyright law. He offered $500, not for past usage or restitution, but to be able to use it legally for the ad going forward. After I told him why that was not OK (see my 2nd letter), he sent a response: \u003c/p>\n\u003cp>“Thank you for taking the time to give me your full perspective on the situation. In case you missed my earlier communications I would like to make sure you’re aware that I’ve already removed the image from the ad. Again I apologize for the oversight, as you can see I responded immediately to your request and did my best to rectify the situation.”\u003c/p>\n\u003cp>So offering to pay for it going forward is his “best” at rectifying the situation. This casual disregard of artist’s rights is not uncommon. I imagine if I was Lars from Metallica he would be a bit more responsive. With the current steamrolling of the Bay Area’s cultural heritage, I caught myself wondering if this is just an attitude that is endemic within tech culture, then realized that it is simply corporate culture. Tech companies have done a pretty good job selling us on the idea that they are different from regular corporate culture. Maybe they even believe it themselves.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Is this kind of image appropriation a growing problem? Do you know of other artists that have had similar struggles?\u003c/strong>\u003cbr>\nI’m not sure about current appropriation cases. A copyright lawyer or California Lawyers for the Arts would be able to tell you about current cases. I can tell you that artists being taken advantage of is continuing problem. Whether it is low paying commercial work where you are “lucky to have a job in your chosen field,” or art organizations that offer shows that don’t pay for shipping or provide a stipend for a “great opportunity,” or the troubles surrounding wages and retention for adjunct art teachers, or the rising cost of tuition for an arts education. Students are coming out of schools today with an undergrad degree in painting and $80,000 of debt. Sometimes you want to take that opportunity or you can afford to pay that tuition, but at times you feel like you just have to do it. There is tremendous competition in the arts. I don’t know about students today, but I didn’t have any idea how hard it is to pay back even $10,000 as an artist. A lot of American society thinks being an artist is a way to be a slacker, it’s the opposite. Being an artist is a tough road filled with low wages and a lot of struggle. We could use a break once in a while.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1166,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705047206,
"excerpt": "Packard Jennings is really angry at a San Diego tech executive for using an image of his without permission. After sending two expletive-filled letters to the tech exec admonishing him for his actions, Jennings explains why he's so ticked off. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Packard Jennings is really angry at a San Diego tech executive for using an image of his without permission. After sending two expletive-filled letters to the tech exec admonishing him for his actions, Jennings explains why he's so ticked off. ",
"title": "Oakland Artist Talks About his Battle with Tech Exec Over Image | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Oakland Artist Talks About his Battle with Tech Exec Over Image",
"datePublished": "2015-04-28T15:06:26-07:00",
"dateModified": "2024-01-12T00:13:26-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "oakland-artist-talks-about-his-battle-with-tech-exec-over-image",
"status": "publish",
"sticky": false,
"path": "/arts/10602269/oakland-artist-talks-about-his-battle-with-tech-exec-over-image",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland artist \u003ca href=\"http://packardjennings.com/\" target=\"_blank\" rel=\"noopener\">Packard Jennings\u003c/a> is no stranger to the press. His politically-conscious artwork has been covered by the \u003cem>New York Times\u003c/em>, the \u003cem>Washington Post\u003c/em>, A\u003cem>rtforum\u003c/em>, and many other publications. But he’s currently receiving media attention for a Craigslist post he had nothing to do with — \u003ca href=\"http://ww2.kqed.org/arts/2015/04/27/oakland-artist-smacks-down-tech-exec-for-using-image-in-viral-job-ad/\" target=\"_blank\" rel=\"noopener\">a San Diego tech executive used an image of Jennings’ without permission\u003c/a> for a “developers wanted” ad, which went viral. Now, instead of concentrating solely on his next work, Jennings is having to get “medieval” on Chatmeter CTO Paul Koch for the exec’s copyright infringement.\u003c/p>\n\u003cp>Jennings took a few minutes to answer some questions from KQED Arts about the situation and what he plans to do next. \u003c/p>\n\u003cp>\u003cstrong>How did you learn about your pic being used in the ad?\u003c/strong>\u003cbr>\nThis Craigslist post went viral. Beyond the attention on news sites, it blew up on social media. Several people recognized my work when it was posted on both Facebook and on the \u003cem>San Francisco Chronicle\u003c/em>’s site. I was contacted about it by three separate people.\u003c/p>\n\u003cfigure id=\"attachment_10602567\" class=\"wp-caption alignright\" style=\"max-width: 604px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland.jpg\" alt=\"Jennings in Switzerland back in 2006. (Courtesy of Jennings)\" width=\"604\" height=\"453\" class=\"size-full wp-image-10602567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland.jpg 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/PAckard-Switzerland-400x300.jpg 400w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennings in Switzerland back in 2006. (Courtesy of Jennings)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How far are you willing to take this?\u003c/strong>\u003cbr>\nI’m willing take this as far as it needs to go. I’d rather it didn’t get to the point of needing to go to court, but I have been consulting several copyright lawyers and the California Lawyers for the Arts, in case it goes there. If it goes to court, it goes to court. It is a pretty cut-and-dry case of copyright infringement. They don’t have a leg to stand on, really.\u003c/p>\n\u003cp>\u003cstrong>What would be proper compensation?\u003c/strong>\u003cbr>\nIf he comes to me with a sincere offer that seems adequate I will consider it, but that could be a question for lawyers. The standard ranges of fines for copyright infringement are laid out in my first letter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Has this happened to you before?\u003c/strong>\u003cbr>\nI had someone selling a copy of my Bible Sticker, which I give away for free. It is based on stickers in Georgia biology school textbooks in 2005, which warned: “Evolution is a theory, not a fact, regarding the origin of living things. It should be read with an open mind and critically considered.” The Bible Sticker is given away for free with the instructions: “Keep this sticker in your wallet. When you stay in a motel, adhere your sticker to the inside jacket of the Bible.” Someone directed me to a person selling it on some site that custom prints T-shirts and stickers to order for vendors who have “stores” on the site. I contacted them and they took it down. It was made to be given away, not sold.\u003c/p>\n\u003cfigure id=\"attachment_10602568\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-912x1180.jpg\" alt=\"Jennings' second letter to Paul Koch\" width=\"640\" height=\"828\" class=\"size-large wp-image-10602568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-912x1180.jpg 912w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-463x600.jpg 463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-1180x1528.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2-960x1243.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-2.jpg 1582w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennings’ second letter to Paul Koch\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Does it matter if what he did was just a mistake?\u003c/strong>\u003cbr>\nI understand that people slip up and show a lapse in judgement. If he were just some guy trying to sell a bike, I wouldn’t sweat it. Everyone knows when they are using copyrighted artwork. In this case, he used it for an advertisement to gain publicity and recruit employees. In his own words (see the \u003ca href=\"http://nextshark.com/paul-koch-craigslist-job-ad-great-developers-startup/\" target=\"_blank\" rel=\"noopener\">Netshark interview\u003c/a>) he set out to create a viral campaign. He very purposely constructed the ad to cause a stir. He chose to ignore copyright because my image somehow resonated with him for this; I suppose the idea is that his tech company is somehow a radical place to work. In this, he was very purposefully using my image to help brand his company. Top this off with his casual dismissal of my grievance and you may see why this is not a simple mistake. \u003c/p>\n\u003cp>\u003cstrong>Do you think his apology was genuine?\u003c/strong>\u003cbr>\nI really can’t say. I didn’t speak to him in person and tone is impossible in text form.\u003c/p>\n\u003cp>\u003cstrong>Do you think if he knew what the picture was from or anything about you, that he would still use it?\u003c/strong>\u003cbr>\nI’m obviously speculating, but he still seems cavalier about his breach of copyright law. He offered $500, not for past usage or restitution, but to be able to use it legally for the ad going forward. After I told him why that was not OK (see my 2nd letter), he sent a response: \u003c/p>\n\u003cp>“Thank you for taking the time to give me your full perspective on the situation. In case you missed my earlier communications I would like to make sure you’re aware that I’ve already removed the image from the ad. Again I apologize for the oversight, as you can see I responded immediately to your request and did my best to rectify the situation.”\u003c/p>\n\u003cp>So offering to pay for it going forward is his “best” at rectifying the situation. This casual disregard of artist’s rights is not uncommon. I imagine if I was Lars from Metallica he would be a bit more responsive. With the current steamrolling of the Bay Area’s cultural heritage, I caught myself wondering if this is just an attitude that is endemic within tech culture, then realized that it is simply corporate culture. Tech companies have done a pretty good job selling us on the idea that they are different from regular corporate culture. Maybe they even believe it themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Is this kind of image appropriation a growing problem? Do you know of other artists that have had similar struggles?\u003c/strong>\u003cbr>\nI’m not sure about current appropriation cases. A copyright lawyer or California Lawyers for the Arts would be able to tell you about current cases. I can tell you that artists being taken advantage of is continuing problem. Whether it is low paying commercial work where you are “lucky to have a job in your chosen field,” or art organizations that offer shows that don’t pay for shipping or provide a stipend for a “great opportunity,” or the troubles surrounding wages and retention for adjunct art teachers, or the rising cost of tuition for an arts education. Students are coming out of schools today with an undergrad degree in painting and $80,000 of debt. Sometimes you want to take that opportunity or you can afford to pay that tuition, but at times you feel like you just have to do it. There is tremendous competition in the arts. I don’t know about students today, but I didn’t have any idea how hard it is to pay back even $10,000 as an artist. A lot of American society thinks being an artist is a way to be a slacker, it’s the opposite. Being an artist is a tough road filled with low wages and a lot of struggle. We could use a break once in a while.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10602269/oakland-artist-talks-about-his-battle-with-tech-exec-over-image",
"authors": [
"93"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_596"
],
"featImg": "arts_10602557",
"label": "arts"
},
"arts_10599408": {
"type": "posts",
"id": "arts_10599408",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10599408",
"score": null,
"sort": [
1430185112000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1430185112,
"format": "standard",
"title": "Oakland Artist Smacks Down Tech Exec for Using Image in Viral Job Ad",
"headTitle": "Oakland Artist Smacks Down Tech Exec for Using Image in Viral Job Ad | KQED",
"content": "\u003cp>An Oakland artist smacked down an executive at a San Diego tech company in a “Cease and F**king Desist” letter after the exec used one of the artist’s images without providing payment or even asking if it was okay to use in a Craigslist ad.\u003c/p>\n\u003cp>Paul Koch, CTO of Chatmeter, received major kudos last week for his job ad titled “\u003ca href=\"http://sfbay.craigslist.org/sfc/sof/4982493312.html\" target=\"_blank\" rel=\"noopener\">Searching for 2 F**king Great Developers,\u003c/a>” which included expletives and a funny picture of a man pushing over his desk. News outlets such as \u003cem>\u003ca href=\"http://nextshark.com/paul-koch-craigslist-job-ad-great-developers-startup/\" target=\"_blank\" rel=\"noopener\">Nextshark\u003c/a>\u003c/em> and \u003ca href=\"http://www.10news.com/news/local-startups-use-of-f-word-in-job-ad-goes-viral-turns-into-recruiting-gold\" target=\"_blank\" rel=\"noopener\">ABC 10 in San Diego\u003c/a> published articles on the ad, praising it for its unique take on a job listing.\u003c/p>\n\u003cfigure id=\"attachment_10599680\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-ad.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-ad.jpg\" alt=\"Snippet of Paul Koch's Craigslist ad (Courtesy of Packard Jennings)\" width=\"640\" height=\"360\" class=\"size-full wp-image-10599680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-ad.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-ad-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Snippet of Paul Koch’s Craigslist ad (Courtesy of Packard Jennings)\u003c/figcaption>\u003c/figure>\n\u003cp>But Oakland artist Packard Jennings did not find Koch’s ad funny at all. The picture Koch used was from Jennings’ “Business Reply,” a 16-page pamphlet containing a series of images portraying an office during worker upheaval. Koch not only didn’t pay Jennings for use of the image, which the artist claims is his most recognizable work; he didn’t even ask permission to post it.\u003c/p>\n\u003cp>As a matter of fact, if Koch knew the purpose of the work beforehand, he might not have used it. Jennings described the pamphlet \u003ca href=\"http://packardjennings.com/?page_id=2\" target=\"_blank\" rel=\"noopener\">on his website\u003c/a> as being for putting “inside the postage-paid, business-reply envelopes that come with junk mail offers and mailed back to the company of origin.”\u003c/p>\n\u003cp>Jennings’ most notable works are political by nature, including his “Anarchist Action Figure,” which he placed \u003ca href=\"http://www.nytimes.com/2007/12/24/us/24shopdrop.html\" target=\"_blank\" rel=\"noopener\">inside box stores in 2007 \u003c/a>and then filmed customers as they tried to purchase the toy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Late Sunday night, Jennings fired off a cease and desist letter to Koch, stating that if the exec did not remove the picture from the ad within 10 days, it would be taken as “willful infringement,” which could lead up to $150,000 in fines if Koch was found guilty in court.\u003c/p>\n\u003cfigure id=\"attachment_10599815\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-1.jpg\" alt=\"Packard Jennings' Cease and Desist letter (Courtesy of Jennings)\" width=\"640\" height=\"829\" class=\"size-full wp-image-10599815\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-1-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-1-463x600.jpg 463w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Packard Jennings’ Cease and Desist letter (Courtesy of Jennings)\u003c/figcaption>\u003c/figure>\n\u003cp>“As a f**king tech company, I would think that you could stop playing Mortal Kombat for one f**king minute to do an on-line search and discover the artwork,” wrote Jennings in his letter. “Your bulls**t corporate image is now associated with my artwork, which is in essence anti-corporate. Can you see how we have a f**king problem here?”\u003c/p>\n\u003cp>According to Jennings, Koch responded to the cease and desist letter with an email Monday morning. In it, Koch apologized to the artist for not reaching out, stating that he didn’t think anyone would want to have their names associated with such a profane ad. He also promised to pull the image from the ad and offered Jennings a one-time use fee of $500 for his troubles.\u003c/p>\n\u003cp>The image was removed from the ad before noon Monday.\u003c/p>\n\u003cp>Despite Koch’s offer, Jennings isn’t done going after the tech exec. In his response to Koch’s apology, Jennings made it clear that he never wants Koch to use his work again and that $500 is not enough to “rectify the situation.” \u003c/p>\n\u003cp>“If you look at my artwork, much of its content has an anti-corporate sentiment. I would never license my artwork for commercial purposes,” wrote Jennings in his response. “When you used my artwork in affiliation with your business, you altered the narrative about that work.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>We will continue to follow this story and update it when we learn new details.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 617,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705047213,
"excerpt": "An Oakland artist smacked down an executive at a San Diego tech company in a \"Cease and F**king Desist\" letter after the exec used one of the artist's images without providing payment or even asking if it was okay to use in a Craigslist ad.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "An Oakland artist smacked down an executive at a San Diego tech company in a "Cease and F**king Desist" letter after the exec used one of the artist's images without providing payment or even asking if it was okay to use in a Craigslist ad.",
"title": "Oakland Artist Smacks Down Tech Exec for Using Image in Viral Job Ad | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Oakland Artist Smacks Down Tech Exec for Using Image in Viral Job Ad",
"datePublished": "2015-04-27T18:38:32-07:00",
"dateModified": "2024-01-12T00:13:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "oakland-artist-smacks-down-tech-exec-for-using-image-in-viral-job-ad",
"status": "publish",
"sticky": false,
"path": "/arts/10599408/oakland-artist-smacks-down-tech-exec-for-using-image-in-viral-job-ad",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An Oakland artist smacked down an executive at a San Diego tech company in a “Cease and F**king Desist” letter after the exec used one of the artist’s images without providing payment or even asking if it was okay to use in a Craigslist ad.\u003c/p>\n\u003cp>Paul Koch, CTO of Chatmeter, received major kudos last week for his job ad titled “\u003ca href=\"http://sfbay.craigslist.org/sfc/sof/4982493312.html\" target=\"_blank\" rel=\"noopener\">Searching for 2 F**king Great Developers,\u003c/a>” which included expletives and a funny picture of a man pushing over his desk. News outlets such as \u003cem>\u003ca href=\"http://nextshark.com/paul-koch-craigslist-job-ad-great-developers-startup/\" target=\"_blank\" rel=\"noopener\">Nextshark\u003c/a>\u003c/em> and \u003ca href=\"http://www.10news.com/news/local-startups-use-of-f-word-in-job-ad-goes-viral-turns-into-recruiting-gold\" target=\"_blank\" rel=\"noopener\">ABC 10 in San Diego\u003c/a> published articles on the ad, praising it for its unique take on a job listing.\u003c/p>\n\u003cfigure id=\"attachment_10599680\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-ad.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-ad.jpg\" alt=\"Snippet of Paul Koch's Craigslist ad (Courtesy of Packard Jennings)\" width=\"640\" height=\"360\" class=\"size-full wp-image-10599680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-ad.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-ad-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Snippet of Paul Koch’s Craigslist ad (Courtesy of Packard Jennings)\u003c/figcaption>\u003c/figure>\n\u003cp>But Oakland artist Packard Jennings did not find Koch’s ad funny at all. The picture Koch used was from Jennings’ “Business Reply,” a 16-page pamphlet containing a series of images portraying an office during worker upheaval. Koch not only didn’t pay Jennings for use of the image, which the artist claims is his most recognizable work; he didn’t even ask permission to post it.\u003c/p>\n\u003cp>As a matter of fact, if Koch knew the purpose of the work beforehand, he might not have used it. Jennings described the pamphlet \u003ca href=\"http://packardjennings.com/?page_id=2\" target=\"_blank\" rel=\"noopener\">on his website\u003c/a> as being for putting “inside the postage-paid, business-reply envelopes that come with junk mail offers and mailed back to the company of origin.”\u003c/p>\n\u003cp>Jennings’ most notable works are political by nature, including his “Anarchist Action Figure,” which he placed \u003ca href=\"http://www.nytimes.com/2007/12/24/us/24shopdrop.html\" target=\"_blank\" rel=\"noopener\">inside box stores in 2007 \u003c/a>and then filmed customers as they tried to purchase the toy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Late Sunday night, Jennings fired off a cease and desist letter to Koch, stating that if the exec did not remove the picture from the ad within 10 days, it would be taken as “willful infringement,” which could lead up to $150,000 in fines if Koch was found guilty in court.\u003c/p>\n\u003cfigure id=\"attachment_10599815\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Jennings-Round-1.jpg\" alt=\"Packard Jennings' Cease and Desist letter (Courtesy of Jennings)\" width=\"640\" height=\"829\" class=\"size-full wp-image-10599815\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-1-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Jennings-Round-1-463x600.jpg 463w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Packard Jennings’ Cease and Desist letter (Courtesy of Jennings)\u003c/figcaption>\u003c/figure>\n\u003cp>“As a f**king tech company, I would think that you could stop playing Mortal Kombat for one f**king minute to do an on-line search and discover the artwork,” wrote Jennings in his letter. “Your bulls**t corporate image is now associated with my artwork, which is in essence anti-corporate. Can you see how we have a f**king problem here?”\u003c/p>\n\u003cp>According to Jennings, Koch responded to the cease and desist letter with an email Monday morning. In it, Koch apologized to the artist for not reaching out, stating that he didn’t think anyone would want to have their names associated with such a profane ad. He also promised to pull the image from the ad and offered Jennings a one-time use fee of $500 for his troubles.\u003c/p>\n\u003cp>The image was removed from the ad before noon Monday.\u003c/p>\n\u003cp>Despite Koch’s offer, Jennings isn’t done going after the tech exec. In his response to Koch’s apology, Jennings made it clear that he never wants Koch to use his work again and that $500 is not enough to “rectify the situation.” \u003c/p>\n\u003cp>“If you look at my artwork, much of its content has an anti-corporate sentiment. I would never license my artwork for commercial purposes,” wrote Jennings in his response. “When you used my artwork in affiliation with your business, you altered the narrative about that work.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>We will continue to follow this story and update it when we learn new details.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10599408/oakland-artist-smacks-down-tech-exec-for-using-image-in-viral-job-ad",
"authors": [
"93"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_596"
],
"featImg": "arts_10599409",
"label": "arts"
},
"news_10500416": {
"type": "posts",
"id": "news_10500416",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10500416",
"score": null,
"sort": [
1429899897000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 72
},
"blocks": [],
"publishDate": 1429899897,
"format": "standard",
"disqusTitle": "Armenian Genocide Anniversary Sparks Fiery Art in Los Angeles",
"title": "Armenian Genocide Anniversary Sparks Fiery Art in Los Angeles",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>A lot of Armenian-Americans of a certain age can relate to L.A. actress and comedienne Lory Tatoulian.\u003c/p>\n\u003cp>“I remember when my grandfather would come and visit us, he would share a room with me and he would wake up in the middle of the night screaming,” recalls Tatoulian, sitting beside her mother, Araxy Tatoulian, in the kitchen of Lory's home in downtown Pasadena.\u003c/p>\n\u003cp>“And I remember getting scared and running to my mom’s bedroom, and I didn’t understand what was happening,” she says.\u003c/p>\n\u003cp>Lory's mother would try to calm her down.\u003c/p>\n\u003cp>“And I would say, 'Lory, he has a pain, and later on when you grow up I’m going to tell you the story,' ” Araxy Tatoulian says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Araxy Tatoulian's parents survived the Armenian genocide, barely.\u003c/p>\n\u003cp>Her mother was wounded by Ottoman soldiers while she fought alongside men in the Armenian resistance.\u003c/p>\n\u003cp>She lived with the bullet until her death 30 years ago. The bullet is now part of a museum collection of genocide-related material in Armenia.\u003c/p>\n\u003cp>Araxy’s father, at the age of 8, was taken in by Arab Bedouins after his family was butchered. He was later reunited with surviving family in Lebanon.\u003c/p>\n\u003cfigure id=\"attachment_10500418\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-Tatoulians.jpg\">\u003cimg class=\"wp-image-10500418 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-Tatoulians.jpg\" alt=\" Araxy Tataloulian (L) and her daughter Lory with pictures of Araxy’s mother and father, survivors of the Armenian genocide. \" width=\"1920\" height=\"1544\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-400x322.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-1440x1158.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-1180x949.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-960x772.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\"> Araxy Tataloulian (L) and her daughter, Lory, with pictures of Araxy’s mother and father, survivors of the Armenian genocide. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lory Tatoulian says her grandparents rarely spoke of their experiences.\u003c/p>\n\u003cp>“But you just felt it in their eyes. It was manifest in the way they raised us with this underlying anxiety that something horrible could always happen,” Lory Tatoulian says. “That was an energy that was always present.”\u003c/p>\n\u003cp>But family life was also filled with a great deal of laughter and creativity. Her grandmother was also a stage actress and writer. Her mother, Araxy, is a teacher and poet.\u003c/p>\n\u003cp>“This is my story. This is a burden I also carry, and what am I to do with this pain?” Lory Tatoulian asks. “What am I to do with those stories, with those nightmares?”\u003c/p>\n\u003cp>Around 200 people crowded into \u003ca title=\"Abril Books\" href=\"http://www.abrilbooks.com/\">Abril Bookstore \u003c/a>in Glendale recently to hear Araxy and Lory Tatoulian sing traditional Armenian songs and share stories and photos of their family’s survival.\u003c/p>\n\u003cp>Araxy Tatoulian says her generation also kept stories of the genocide alive through art. But it’s younger generations who have really thrust it into the pop culture mainstream.\u003c/p>\n\u003cp>“This new generation, second and third generation, they feel like there’s a still a pain,\" says Araxy Tatoulian. \"So that’s why this year is very special. It’s a sacred centennial.\"\u003c/p>\n\u003cp>Hundreds of people also attended last week’s L.A. premiere of \u003ca title=\"1915: THE MOVIE\" href=\"http://www.1915themovie.com/\">\"1915: The Movie,\"\u003c/a> the first American feature film to explore how the anguish of the Armenian genocide continues to ripple across the generations.\u003c/p>\n\u003cp>“One hundred years after the Armenian genocide, this rather obsessed and haunted theater director is staging a play, which he believes will bring the ghosts of this forgotten crime back to life,” co-director and screenwriter Alec Mouhibian explains.\u003c/p>\n\u003cp>“And it turns out that personal confrontations with the truth need to be made before the historic confrontations can be made on the stage for the play to work,” Mouhibian says.\u003c/p>\n\u003cp>Both historic and contemporary confrontations must deal with the executions, death marches and land seizures of 100 years ago. Turkey concedes atrocities were committed against Christian Armenians under Ottoman rule during World War I. But it insists they occurred during wartime, when many Turks also perished.\u003c/p>\n\u003cp>To this day Turkey denies there was ever a systematic plan to wipe out Armenians, or that as many as 1.5 million Armenian men, woman and children perished.\u003c/p>\n\u003cp>“1915” co-director Garin Hovannisian, whose father, Raffi Hovannisian, is the first foreign minister of \u003ca href=\"http://en.wikipedia.org/wiki/Armenia\">Armenia\u003c/a>, says that as long as the denial persists, so, too, will the protests.\u003c/p>\n\u003cp>“If you’re aware as an Armenian, you’re also aware of the fact that Turkey’s denial is just not passive denial. It’s aggressive denial,” Hovannisian says. “So the battle is ongoing, and that’s why I think we have no opportunity to back down.”\u003c/p>\n\u003cp>One of the loudest voices in the call for genocide recognition is the Grammy Award-winning L.A. metal band \u003ca title=\"System of a Down\" href=\"http://www.systemofadown.com/\">System of a Down\u003c/a>.\u003c/p>\n\u003cp>All four members are also descendants of Armenian genocide survivors. This week System of a Down wrapped up an international tour commemorating the genocide’s centennial with its first-ever performance in Armenia, in a massive \u003ca title=\"System of a Down in Armenia\" href=\"https://www.youtube.com/watch?v=NYblpyVo_cc\">outdoor concert in the capital city, Yerevan. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10500460\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg\">\u003cimg class=\"wp-image-10500460 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg\" alt=\"Screen shot from the web simulcast of System of a Down’s April 23 outdoor performance in Yerevan, Armenia’s capital. It was the band’s first ever performance in Armenia. \" width=\"1920\" height=\"1220\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-400x254.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-800x508.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-1440x915.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-1180x750.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-960x610.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot from the web simulcast of System of a Down’s April 23 outdoor performance in Yerevan, Armenia’s capital. It was the band’s first-ever performance in Armenia. \u003ccite>(System of a Down)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The important thing is justice,” said vocalist Serj Tankian, speaking about the band’s 20-year crusade in a video statement at the start of its \"Wake up the Souls\" tour.\u003c/p>\n\u003cp>“If someone killed my family and burned my house down and I’m running after them for 100 years, you have to have incrimination, you have to courts involved, etc,” Tankian says.\u003c/p>\n\u003cp>An online campaign launched this year by Glendale rapper R-Mean to raise awareness of the genocide sums it up in its slogan: \"\u003ca title=\"R-Mean Open Wounds video\" href=\"https://www.youtube.com/watch?v=0qDVkXKfm1M\">Our Wounds Are Still Open\u003c/a>.\"\u003c/p>\n\u003cp>Open wounds is also the theme of a street mural painted last year in L.A.’s Little Armenia neighborhood by artist Arutyun Gozukuchikyan, who goes by the name \u003ca title=\"ArtViaArt\" href=\"http://www.artviaart.com/\">ArtViaArt\u003c/a>.\u003c/p>\n\u003cp>The mural shows a forearm sliced open by a dagger, the year 1915 exposed beneath the skin. \"Our Wounds are Still Open\" is painted in letters that look as if they were carved into the concrete.\u003c/p>\n\u003cp>\"As for why and what difference this will make, it’s just documenting,” Gozukuchikyan says. “I don’t know what the next generation will do, but you’re kind of just painting history.”\u003c/p>\n\u003cfigure id=\"attachment_10500461\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-ArtG.jpg\">\u003cimg class=\"wp-image-10500461 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-ArtG.jpg\" alt=\"Arutyun Gozukuchikyan otherwise known as ArtViaArt and his recent street mural in L.A.’s Little Armenia commemorating the Armenian genocide. \" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arutyun Gozukuchikyan, otherwise known as ArtViaArt, and his recent street mural in L.A.’s Little Armenia commemorating the Armenian genocide. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A second mural completed a few months ago shows an elderly Armenian woman, Gozukuchikyan’s grandmother, her mouth bound with a cloth that's again inscribed with the year 1915.\u003c/p>\n\u003cp>Gozukuchikyan says a lot of older Armenians were hesitant to ever talk about the genocide, let alone to protest.\u003c/p>\n\u003cp>“This generation’s different, this generation’s stepping up,” Gozukuchikyan says. “This is our way of saying: No one wants to recognize this? We’ll recognize it ourselves.\"\u003c/p>\n\u003cp>Gozukuchikyan says he’s done with the genocide as a subject, for now anyway. All he could say is right up there on the walls.\u003c/p>\n\u003cp>It’s a sentiment that “1915” co-director Garvin Hovannissian can relate to.\u003c/p>\n\u003cp>“When we were making this film I’d always been thinking of April 24 as our last chance of telling the world what happened to us,” Hovannissian says.\u003c/p>\n\u003cp>“But it’s really the first time that many people are going to hear about (the genocide). And that’s another way of saying our work and struggle are still ahead of us.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And maybe through a film, song or street mural, the Armenian genocide will remain burnished in people’s memories for another hundred years.\u003c/p>\n\n",
"disqusIdentifier": "10500416 http://ww2.kqed.org/news/?p=10500416",
"disqusUrl": "https://ww2.kqed.org/news/2015/04/24/armenian-genocide-anniversary-sparks-fiery-art-in-los-angeles/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1292,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 41
},
"modified": 1430155803,
"excerpt": "Turkey still denies there was a systematic plan to wipe out Armenians or that 1.5 million died.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Turkey still denies there was a systematic plan to wipe out Armenians or that 1.5 million died.",
"title": "Armenian Genocide Anniversary Sparks Fiery Art in Los Angeles | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Armenian Genocide Anniversary Sparks Fiery Art in Los Angeles",
"datePublished": "2015-04-24T11:24:57-07:00",
"dateModified": "2015-04-27T10:30:03-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"guestAuthors": [],
"slug": "armenian-genocide-anniversary-sparks-fiery-art-in-los-angeles",
"status": "publish",
"path": "/news/10500416/armenian-genocide-anniversary-sparks-fiery-art-in-los-angeles",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of Armenian-Americans of a certain age can relate to L.A. actress and comedienne Lory Tatoulian.\u003c/p>\n\u003cp>“I remember when my grandfather would come and visit us, he would share a room with me and he would wake up in the middle of the night screaming,” recalls Tatoulian, sitting beside her mother, Araxy Tatoulian, in the kitchen of Lory's home in downtown Pasadena.\u003c/p>\n\u003cp>“And I remember getting scared and running to my mom’s bedroom, and I didn’t understand what was happening,” she says.\u003c/p>\n\u003cp>Lory's mother would try to calm her down.\u003c/p>\n\u003cp>“And I would say, 'Lory, he has a pain, and later on when you grow up I’m going to tell you the story,' ” Araxy Tatoulian says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Araxy Tatoulian's parents survived the Armenian genocide, barely.\u003c/p>\n\u003cp>Her mother was wounded by Ottoman soldiers while she fought alongside men in the Armenian resistance.\u003c/p>\n\u003cp>She lived with the bullet until her death 30 years ago. The bullet is now part of a museum collection of genocide-related material in Armenia.\u003c/p>\n\u003cp>Araxy’s father, at the age of 8, was taken in by Arab Bedouins after his family was butchered. He was later reunited with surviving family in Lebanon.\u003c/p>\n\u003cfigure id=\"attachment_10500418\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-Tatoulians.jpg\">\u003cimg class=\"wp-image-10500418 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-Tatoulians.jpg\" alt=\" Araxy Tataloulian (L) and her daughter Lory with pictures of Araxy’s mother and father, survivors of the Armenian genocide. \" width=\"1920\" height=\"1544\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-400x322.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-1440x1158.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-1180x949.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-960x772.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\"> Araxy Tataloulian (L) and her daughter, Lory, with pictures of Araxy’s mother and father, survivors of the Armenian genocide. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lory Tatoulian says her grandparents rarely spoke of their experiences.\u003c/p>\n\u003cp>“But you just felt it in their eyes. It was manifest in the way they raised us with this underlying anxiety that something horrible could always happen,” Lory Tatoulian says. “That was an energy that was always present.”\u003c/p>\n\u003cp>But family life was also filled with a great deal of laughter and creativity. Her grandmother was also a stage actress and writer. Her mother, Araxy, is a teacher and poet.\u003c/p>\n\u003cp>“This is my story. This is a burden I also carry, and what am I to do with this pain?” Lory Tatoulian asks. “What am I to do with those stories, with those nightmares?”\u003c/p>\n\u003cp>Around 200 people crowded into \u003ca title=\"Abril Books\" href=\"http://www.abrilbooks.com/\">Abril Bookstore \u003c/a>in Glendale recently to hear Araxy and Lory Tatoulian sing traditional Armenian songs and share stories and photos of their family’s survival.\u003c/p>\n\u003cp>Araxy Tatoulian says her generation also kept stories of the genocide alive through art. But it’s younger generations who have really thrust it into the pop culture mainstream.\u003c/p>\n\u003cp>“This new generation, second and third generation, they feel like there’s a still a pain,\" says Araxy Tatoulian. \"So that’s why this year is very special. It’s a sacred centennial.\"\u003c/p>\n\u003cp>Hundreds of people also attended last week’s L.A. premiere of \u003ca title=\"1915: THE MOVIE\" href=\"http://www.1915themovie.com/\">\"1915: The Movie,\"\u003c/a> the first American feature film to explore how the anguish of the Armenian genocide continues to ripple across the generations.\u003c/p>\n\u003cp>“One hundred years after the Armenian genocide, this rather obsessed and haunted theater director is staging a play, which he believes will bring the ghosts of this forgotten crime back to life,” co-director and screenwriter Alec Mouhibian explains.\u003c/p>\n\u003cp>“And it turns out that personal confrontations with the truth need to be made before the historic confrontations can be made on the stage for the play to work,” Mouhibian says.\u003c/p>\n\u003cp>Both historic and contemporary confrontations must deal with the executions, death marches and land seizures of 100 years ago. Turkey concedes atrocities were committed against Christian Armenians under Ottoman rule during World War I. But it insists they occurred during wartime, when many Turks also perished.\u003c/p>\n\u003cp>To this day Turkey denies there was ever a systematic plan to wipe out Armenians, or that as many as 1.5 million Armenian men, woman and children perished.\u003c/p>\n\u003cp>“1915” co-director Garin Hovannisian, whose father, Raffi Hovannisian, is the first foreign minister of \u003ca href=\"http://en.wikipedia.org/wiki/Armenia\">Armenia\u003c/a>, says that as long as the denial persists, so, too, will the protests.\u003c/p>\n\u003cp>“If you’re aware as an Armenian, you’re also aware of the fact that Turkey’s denial is just not passive denial. It’s aggressive denial,” Hovannisian says. “So the battle is ongoing, and that’s why I think we have no opportunity to back down.”\u003c/p>\n\u003cp>One of the loudest voices in the call for genocide recognition is the Grammy Award-winning L.A. metal band \u003ca title=\"System of a Down\" href=\"http://www.systemofadown.com/\">System of a Down\u003c/a>.\u003c/p>\n\u003cp>All four members are also descendants of Armenian genocide survivors. This week System of a Down wrapped up an international tour commemorating the genocide’s centennial with its first-ever performance in Armenia, in a massive \u003ca title=\"System of a Down in Armenia\" href=\"https://www.youtube.com/watch?v=NYblpyVo_cc\">outdoor concert in the capital city, Yerevan. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10500460\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg\">\u003cimg class=\"wp-image-10500460 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg\" alt=\"Screen shot from the web simulcast of System of a Down’s April 23 outdoor performance in Yerevan, Armenia’s capital. It was the band’s first ever performance in Armenia. \" width=\"1920\" height=\"1220\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-400x254.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-800x508.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-1440x915.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-1180x750.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-960x610.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot from the web simulcast of System of a Down’s April 23 outdoor performance in Yerevan, Armenia’s capital. It was the band’s first-ever performance in Armenia. \u003ccite>(System of a Down)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The important thing is justice,” said vocalist Serj Tankian, speaking about the band’s 20-year crusade in a video statement at the start of its \"Wake up the Souls\" tour.\u003c/p>\n\u003cp>“If someone killed my family and burned my house down and I’m running after them for 100 years, you have to have incrimination, you have to courts involved, etc,” Tankian says.\u003c/p>\n\u003cp>An online campaign launched this year by Glendale rapper R-Mean to raise awareness of the genocide sums it up in its slogan: \"\u003ca title=\"R-Mean Open Wounds video\" href=\"https://www.youtube.com/watch?v=0qDVkXKfm1M\">Our Wounds Are Still Open\u003c/a>.\"\u003c/p>\n\u003cp>Open wounds is also the theme of a street mural painted last year in L.A.’s Little Armenia neighborhood by artist Arutyun Gozukuchikyan, who goes by the name \u003ca title=\"ArtViaArt\" href=\"http://www.artviaart.com/\">ArtViaArt\u003c/a>.\u003c/p>\n\u003cp>The mural shows a forearm sliced open by a dagger, the year 1915 exposed beneath the skin. \"Our Wounds are Still Open\" is painted in letters that look as if they were carved into the concrete.\u003c/p>\n\u003cp>\"As for why and what difference this will make, it’s just documenting,” Gozukuchikyan says. “I don’t know what the next generation will do, but you’re kind of just painting history.”\u003c/p>\n\u003cfigure id=\"attachment_10500461\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-ArtG.jpg\">\u003cimg class=\"wp-image-10500461 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-ArtG.jpg\" alt=\"Arutyun Gozukuchikyan otherwise known as ArtViaArt and his recent street mural in L.A.’s Little Armenia commemorating the Armenian genocide. \" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arutyun Gozukuchikyan, otherwise known as ArtViaArt, and his recent street mural in L.A.’s Little Armenia commemorating the Armenian genocide. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A second mural completed a few months ago shows an elderly Armenian woman, Gozukuchikyan’s grandmother, her mouth bound with a cloth that's again inscribed with the year 1915.\u003c/p>\n\u003cp>Gozukuchikyan says a lot of older Armenians were hesitant to ever talk about the genocide, let alone to protest.\u003c/p>\n\u003cp>“This generation’s different, this generation’s stepping up,” Gozukuchikyan says. “This is our way of saying: No one wants to recognize this? We’ll recognize it ourselves.\"\u003c/p>\n\u003cp>Gozukuchikyan says he’s done with the genocide as a subject, for now anyway. All he could say is right up there on the walls.\u003c/p>\n\u003cp>It’s a sentiment that “1915” co-director Garvin Hovannissian can relate to.\u003c/p>\n\u003cp>“When we were making this film I’d always been thinking of April 24 as our last chance of telling the world what happened to us,” Hovannissian says.\u003c/p>\n\u003cp>“But it’s really the first time that many people are going to hear about (the genocide). And that’s another way of saying our work and struggle are still ahead of us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And maybe through a film, song or street mural, the Armenian genocide will remain burnished in people’s memories for another hundred years.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10500416/armenian-genocide-anniversary-sparks-fiery-art-in-los-angeles",
"authors": [
"2600"
],
"programs": [
"news_72"
],
"categories": [
"news_223",
"news_8"
],
"tags": [
"news_17909",
"news_17286",
"news_17041"
],
"featImg": "news_10500417",
"label": "news_72"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"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.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=visualarts": {
"isFetching": false,
"latestQuery": {
"from": 1836,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2478,
"relation": "eq"
},
"items": [
"arts_10684403",
"arts_10656607",
"arts_10674882",
"arts_10670290",
"arts_10654176",
"arts_10657240",
"arts_10623723",
"arts_10628462",
"arts_10605752",
"arts_10602269",
"arts_10599408",
"news_10500416"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_visualarts": {
"isLoading": true
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"source_arts_10657240": {
"type": "terms",
"id": "source_arts_10657240",
"meta": {
"override": true
},
"name": "Remembrance",
"isLoading": false
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"news_72": {
"type": "terms",
"id": "news_72",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "72",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/10/2014/10/TCR-2-Logo-Web-Banners-03.png",
"name": "The California Report",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The California Report Archives | KQED News",
"ogDescription": null
},
"ttid": 6969,
"slug": "the-california-report",
"isLoading": false,
"link": "/news/program/the-california-report"
},
"news_223": {
"type": "terms",
"id": "news_223",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "223",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED News",
"ogDescription": null
},
"ttid": 231,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/news/category/arts-and-culture"
},
"news_8": {
"type": "terms",
"id": "news_8",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "8",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED News",
"ogDescription": null
},
"ttid": 8,
"slug": "news",
"isLoading": false,
"link": "/news/category/news"
},
"news_17909": {
"type": "terms",
"id": "news_17909",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17909",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Armenian genocide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Armenian genocide Archives | KQED News",
"ogDescription": null
},
"ttid": 17943,
"slug": "armenian-genocide",
"isLoading": false,
"link": "/news/tag/armenian-genocide"
},
"news_17286": {
"type": "terms",
"id": "news_17286",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17286",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tcr",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tcr Archives | KQED News",
"ogDescription": null
},
"ttid": 17318,
"slug": "tcr",
"isLoading": false,
"link": "/news/tag/tcr"
},
"news_17041": {
"type": "terms",
"id": "news_17041",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17041",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-california-report-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-california-report-featured Archives | KQED News",
"ogDescription": null
},
"ttid": 17067,
"slug": "the-california-report-featured",
"isLoading": false,
"link": "/news/tag/the-california-report-featured"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
