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"content": "\u003cp>News of San Francisco artist and designer Rex Ray’s death rippled out over the ether Monday afternoon, with many friends and admirers expressing sorrow on social media. Author Rebecca Solnit posted on Facebook about meeting Ray in 1989, and in noting that he designed her first book, wrote, “He made ‘high’ art as well as design and then they merged into something gorgeous and extravagant and joyous and very colorful.” Shortly thereafter \u003ca href=\"http://www.davidbowie.com/news/rex-ray-says-goodbye-and-fu-54141\" target=\"_blank\" rel=\"noopener\">a warm tribute to Ray\u003c/a> went up on David Bowie’s website, coinciding with a heartfelt \u003ca href=\"https://www.facebook.com/griff.williams.5/posts/10206082145677131\" target=\"_blank\" rel=\"noopener\">post\u003c/a> by Griff Williams, owner of Gallery 16 and the artist’s gallerist of nearly 20 years. That Ray’s work so fluidly traverses art and design is a testament to his inestimable talents; that his work is so widely embraced is a testament to him.\u003c/p>\n\u003cp>I didn’t know Ray personally, but I would know his work from across the room. I first encountered his collages in 2002 at ModernBook/Gallery494, a gallery-cum-bookstore then located in Palo Alto that featured small exhibitions of highly crafted artworks and art books with a strong design aesthetic. Small works on panel by Ray lined the walls; their lush resin coated surfaces and exquisite color palettes drew me in off the street like a bee to honey, and I wasn’t the only one. I worked at a gallery two doors down and everyone who walked in asked me if I’d seen Ray’s show. The work held broad appeal in Palo Alto, to be sure, where Joseph Eichler’s mid-century modern homes are symbols of good taste and timeless design. Ray’s intricate cut paper collages have always been simultaneously retro and contemporary.\u003c/p>\n\u003cp>His finely detailed images are often evocative of foliage and often present a bejeweled dreamscape, firmly entrenched in loveliness. Ferris wheels, starbursts and delicate chains make appearances, as do organic forms composed of tear-shaped cut paper petals. Ray’s color combinations are somehow optimistic, or maybe it was his implementation of cutaway shapes, giving practical beauty to the cuttings others might have thrown away. But not Ray — in his work negative space is as essential as positive space, and it speaks volumes about his eye for detail. Coming upon his work now, I look for the “edge events,” small details that give powerful visual impact to the edges of his work. The eye could languish in the center of his compositions quite happily, but Ray also knew to celebrate their boundaries.\u003c/p>\n\u003cfigure id=\"attachment_10379763\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10379763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg\" alt='\"Discolaria\" 2009 Collage on linen 100\" x 300\"' width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/discolariaCrop-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Discolaria,” 2009. \u003ccite>(Gallery 16)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if the work hinged somehow on being “too beautiful” for some people — we all know the type — his rock ‘n’ roll side could engage anyone. By day, of course, Ray was a graphic designer with a penchant for music. He did corporate gigs and commercial projects for the likes of Apple and Levi’s, including a construction barrier that may have one-upped a lot of public art on display at the time. Early on, he designed posters and T-shirts for ACT UP, and later he created concert posters for just about everyone, including Florence and the Machine, Radiohead, Kanye West, Rihanna, The Rolling Stones, Bryan Adams, Beck, R. E. M., and Paul McCartney, among many others.\u003c/p>\n\u003cp>Beyond all of that, he experimented with putting his work on everything from posters to note cards, mugs to iPad covers, jigsaw puzzles to decorative trays, and beyond. He illustrated children’s books and calendars — and once even wrapped a Smartcar in his designs for charity. The beauty of covering all the bases, the so-called high and low, is that the work belongs everywhere, from the museum walls to the gift shop to the street. I vividly recall seeing SFMOMA’s gift shop window tricked out a few years ago with a display of Ray’s wares. He also had many museum shows, of course, and reproductions, as fun as they are, are never as amazing as the work is in person, but frankly it was his ability and his willingness to experiment in so many arenas that was a huge part of his appeal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Purists have debated whether Ray’s art was really design or whether his design was really art, but these boring distinctions hardly mattered — really, who cares? He kept working, prolifically imprinting his legacy everywhere. Gone too soon, at just age 58 after years of battling lymphoma, he left a tremendous array of art and design to populate the void. The work that remains, all of it, reminds us to look for art high and low — and to find beauty along the edges however, wherever we can.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Work by Rex Ray is currently featured in the traveling group exhibition, \u003cem>Beauty Reigns: A Baroque Sensibility in Recent Painting\u003c/em>, which is organized by René Paul Barilleaux, Chief Curator, for San Antonio’s McNay Art Museum. A public memorial for Ray is scheduled for March 12, 6pm, at Gallery 16. For more information, see \u003ca href=\"http://www.gallery16.com/\" target=\"_blank\" rel=\"noopener\">Gallery 16’s site\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>News of San Francisco artist and designer Rex Ray’s death rippled out over the ether Monday afternoon, with many friends and admirers expressing sorrow on social media. Author Rebecca Solnit posted on Facebook about meeting Ray in 1989, and in noting that he designed her first book, wrote, “He made ‘high’ art as well as design and then they merged into something gorgeous and extravagant and joyous and very colorful.” Shortly thereafter \u003ca href=\"http://www.davidbowie.com/news/rex-ray-says-goodbye-and-fu-54141\" target=\"_blank\" rel=\"noopener\">a warm tribute to Ray\u003c/a> went up on David Bowie’s website, coinciding with a heartfelt \u003ca href=\"https://www.facebook.com/griff.williams.5/posts/10206082145677131\" target=\"_blank\" rel=\"noopener\">post\u003c/a> by Griff Williams, owner of Gallery 16 and the artist’s gallerist of nearly 20 years. 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The eye could languish in the center of his compositions quite happily, but Ray also knew to celebrate their boundaries.\u003c/p>\n\u003cfigure id=\"attachment_10379763\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10379763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg\" alt='\"Discolaria\" 2009 Collage on linen 100\" x 300\"' width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/discolariaCrop.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/discolariaCrop-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Discolaria,” 2009. \u003ccite>(Gallery 16)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if the work hinged somehow on being “too beautiful” for some people — we all know the type — his rock ‘n’ roll side could engage anyone. 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"title": "Speaking Their Truth: Photography from Women in Iran and the Arab World",
"headTitle": "Speaking Their Truth: Photography from Women in Iran and the Arab World | 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/she-who-tells-a-story/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>She Who Tells a Story\u003c/h2>\n\u003cdiv class=\"event-desc\">Photographs from Iran and the Arab World.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through May 4, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Cantor Arts Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/she-who-tells-a-story/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Western news outlets have closely followed the story of \u003ca title=\"Sajida al-Rishawi\" href=\"http://news.yahoo.com/sajida-al-rishawi--the-failed-suicide-bomber-is-wants-in-prisoner-exchange-161654532.html\">Sajida al-Rishawi\u003c/a>, an Iraqi woman with ties to ISIS who currently sits on death row in Jordan. What’s striking about the commentary to date is the surprise expressed that al-Rishawi—and like her, Hayat Boumeddiene, who was sought as an accomplice in the massacre of journalists at the office of French satirical newspaper \u003cem>Charlie Hebdo\u003c/em>—could carry out such violent acts. That surprise is telling, for it illustrates the psychological constructions to which Middle Eastern women are often reduced: the hapless innocent with little ability to resist fundamentalism, or else the murderous zealot whose radicalization was inevitable.\u003c/p>\n\u003cp>Challenging those staid notions is an intimate exhibition now on view at the Cantor Arts Center at Stanford University. \u003cem>She Who Tells a Story: Women Photographers from Iran and the Arab World\u003c/em> marshals the work of 12 contemporary artists to tell stories of lives that proudly and powerfully defy popular stereotypes.\u003c/p>\n\u003cp>\u003ca title=\"Orientalism\" href=\"http://www.arabstereotypes.org/why-stereotypes/what-orientalism\">Orientalism\u003c/a>, a socio-political construct outlined by the late Palestinian cultural critic and theorist Edward Said, is the dominant schema by which Middle Eastern civilizations were situated for western audiences. Beginning in the mid-19th century, the advent of early photographic techniques allowed practitioners to build on the visual language already established by European artists including Jean-Léon Gérôme and Eugene Delacroix. On canvas and in photographs, Middle Eastern societies were presented as exotic, violent, inferior, and therefore beholden to their colonizing western counterparts for drawing them into the rapidly modernizing world.\u003c/p>\n\u003cfigure id=\"attachment_10354221\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Ghadirian_Untitled_2-e1423273912858.jpg\" alt=\"Shadi Ghadirian (Iran, b. 1974), Untitled from the Qajar series, 1998. (Courtesy Museum of Fine Arts, Boston.)\" width=\"427\" height=\"640\" class=\"size-full wp-image-10354221\">\u003cfigcaption class=\"wp-caption-text\">Shadi Ghadirian (Iran, b. 1974), Untitled from the \u003cem>Qajar\u003c/em> series, 1998. (Courtesy Museum of Fine Arts, Boston.)\u003c/figcaption>\u003c/figure>\n\u003cp>It could be argued that all of the images featured in \u003cem>She Who Tells a Story\u003c/em> were made as an interrogation or rejection of essentialist thinking, but there are specific bodies of work that illustrate how those challenges have changed over time. Lalla Essaydi—who along with Shirin Neshat, also represented in the exhibit, is arguably one of the better-known Arab artists in the contemporary art community—visualizes the female body as the prize of wholesale cultural consumption. \u003cem>Bullets Revisited #3\u003c/em> (2012) features a woman reclining on a low-slung bed in front of a gilded background. Looking closer, one realizes that the shimmering facets are not gold, but bullet casings. She is languid, available at least to our gaze, yet uninviting. She is contained, as women were thought to be controlled within physical spaces such as harems.\u003c/p>\n\u003cp>Essaydi’s performative practice addresses space as a gendered experience, identity, and isolation, all of which parallels her experience of growing up between eastern and western sensibilities. In this image, as in her earlier series \u003cem>Converging Territories \u003c/em>(2003-04), calligraphy references the power of the word in Islamic culture. Her subject’s skin bears the mark of religion, while other material signifiers such as bullet casings reference the fearsome rise and bloody consequences of extremist factions such as ISIS and Al-Qaeda.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Where Lalla Essaydi represents the first wave of visual artists whose work both challenged the limitations placed on contemporary creative practice in the Middle East and aroused western attention, artists Boushra Almutawakel and Shadi Ghadirian, along with the other nine artists highlighted in the exhibition, represent the next generation of Middle Eastern artists. \u003cem>Mother, Daughter, Doll \u003c/em>(2010) features two figures in a series of nine photographs. In the introductory frame, we see Almutawakel and her oldest child dressed in colorful yet conservative dress and seated before the camera. Over the course of the succeeding eight panels, color and expression vanish beneath a \u003ci>niqab\u003c/i>, the full-length robe that leaves only a woman’s eyes visible.\u003c/p>\n\u003cfigure id=\"attachment_10354220\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Almutawakel_series-e1423273933949.jpg\" alt=\"Boushra Almutawakel (Yemen, b. 1969), Mother, Daughter, Doll from the Hijab series, 2010. (Courtesy Museum of Fine Arts, Boston)\" width=\"427\" height=\"640\" class=\"size-full wp-image-10354220\">\u003cfigcaption class=\"wp-caption-text\">Boushra Almutawakel (Yemen, b. 1969), \u003cem>Mother, Daughter, Doll\u003c/em> from the \u003cem>Hijab\u003c/em> series, 2010. (Courtesy Museum of Fine Arts, Boston)\u003c/figcaption>\u003c/figure>\n\u003cp>It’s easy to see this series as reinforcing western stereotypes of Arab and Iranian women—veiled, submissive, “other”—but there is more to it. For some observant women, dressing conservatively protects them from an often hostile and unpredictable world. Almutawakel’s delivery is heavy-handed, but the series successfully presents both the stereotype with which we are all too familiar and the sense of security such sartorial choices allow.\u003c/p>\n\u003cp>\u003cem>Mother, Daughter, Doll \u003c/em> is hung opposite Shadi Ghadirian’s \u003cem>Qajar\u003c/em> series (1998), in which young Iranian women are photographed holding objects including a boombox, a Pepsi can, and musical instruments, and the two bodies of work convey how the artists subvert longstanding practices in photographic portraiture. Curator Kristen Gresh, who organized the exhibition for the Museum of Fine Arts in Boston, writes of Ghadirian’s work: “These humorous pastiches set up a cross-cultural and cross-temporal encounter.” In effect, we are witness to Ghadirian as she reconciles her own practice with history and contemporaneity, restriction and freedom, public and private.\u003c/p>\n\u003cp>Identity and its de/construction run throughout the exhibition, particularly as an intimate exchange between photographer and subject. Tanya Habjouqa’s \u003cem>Women of Gaza \u003c/em>(2009) portrays female subjects engaged in a range of activities, including a family picnic on the beach and an exercise class. These moments are far from extraordinary, and it is their mundane familiarity that provides potency. Talk to almost anyone in the Middle East about what they want from life, and their answers may include safety, agency, and freedom. Habjouqa captures those fleeting moments, and the series is rendered all the more powerful by the realization that what she captured of Gaza was pounded into dust by Israel during the summer of 2014.\u003c/p>\n\u003cfigure id=\"attachment_10354224\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Bisan_RMatar_LR-e1423273874126.jpg\" alt=\"Rania Matar, Bisan, Bethlehem, West Bank, 2009. From A Girl and Her Room series. (Courtesy of the artist and Carroll and Sons, Boston)\" width=\"640\" height=\"427\" class=\"size-full wp-image-10354224\">\u003cfigcaption class=\"wp-caption-text\">Rania Matar, \u003cem>Bisan, Bethlehem, West Bank\u003c/em>, 2009. From \u003cem>A Girl and Her Room\u003c/em> series. (Courtesy of the artist and Carroll and Sons, Boston)\u003c/figcaption>\u003c/figure>\n\u003cp>In similar fashion are Rania Matar’s photographs of girls on the verge of womanhood in their bedrooms. \u003cem>A Girl in Her Room\u003c/em> (2010) offers a view of otherwise private spaces, where childhood is quickly overwhelmed by teenage interests and anxieties. While the entire series is engaging, I was stopped cold by \u003cem>Bisan, Bethlehem, West Bank\u003c/em> (2009). Curled into a chair, her feet pulled up to the edge as she fidgets with her sock, Bisan gazes away from the camera as though lost in thought. What struck me about this composition was the tiny Palestinian flag attached to the wall above her head. What is identity, and how is it constructed, when national allegiance is proclaimed as more important?\u003c/p>\n\u003cp>Geopolitical conflict is another, and perhaps most important, aspect of life in the greater Middle East portrayed throughout the exhibition. Important because it shapes our understanding of past and present acrimony in the region, and because it renders other choices made by those who live in war zones all the more precious. Macro- and micro- views of conflict and its aftermath are represented in a smart cross-gallery installation of Jananne Al-Ani’s \u003cem>Aerial I\u003c/em> (2011) and Rula Halawani’s \u003cem>Negative Incursions\u003c/em> (2002). Al Ani’s work—production stills drawn from the single-channel digital video \u003cem>Shadow Sites II\u003c/em>—captures places on the land that bear the marks of humankind’s creative and destructive potential. Al-Ani’s 1,000-ft. view suggests the prevalence and unemotional clarity of military surveillance and reminds us of the power of war to erase who and what once was.\u003c/p>\n\u003cp>By contrast, Rula Halawani’s series \u003cem>Negative Incursions\u003c/em> documents Israel’s assault on Gaza in 2002, a portent of the atrocities that unfolded in the same region in 2009 and again in 2014. Trained as a photojournalist, Halawani abandoned press photography after years of forcefully separating herself from her subjects so as to maintain objectivity. \u003cem>Negative Incursions\u003c/em> is the first series she produced after shifting professional gears. The large-format photographs are printed as negatives, and the reverse presentation has a disquieting effect. We know that we’re looking at tanks rolling through the streets of Gaza, and at bodies cut down by gunfire, but the clarity and “truth” thought to be conveyed by the photographic image is unclear. The absence of the the body in Al-Ani’s work and its obscured presence in Halawani’s work render these images as powerful pendants.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>She Who Tells a Story\u003c/em> succeeds as a presentation of photographic work by women throughout the Middle East. While the subjects, aesthetic choices, and range of photographic practices represented is narrow and at times repetitive, the installation builds on the momentum created by other recent exhibitions, including \u003cem>\u003ca title=\"Here and Elsewhere\" href=\"http://www.newmuseum.org/exhibitions/view/here-and-elsewhere\">Here and Elsewhere\u003c/a>\u003c/em> and \u003cem>\u003ca title=\"View from Inside\" href=\"http://2014biennial.fotofest.org/view-from-inside.aspx#.VM7qQWTF95A\">View from Inside\u003c/a>\u003c/em>, in which contemporary art produced throughout the Middle East is examined through a critical lens.\u003c/p>\n\n",
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"excerpt": "An in-depth look at the realities revealed in \u003cem>She Who Tells a Story\u003c/em>, the exhibit of photographic work by women throughout the Middle East.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/she-who-tells-a-story/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>She Who Tells a Story\u003c/h2>\n\u003cdiv class=\"event-desc\">Photographs from Iran and the Arab World.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through May 4, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Cantor Arts Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/she-who-tells-a-story/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Western news outlets have closely followed the story of \u003ca title=\"Sajida al-Rishawi\" href=\"http://news.yahoo.com/sajida-al-rishawi--the-failed-suicide-bomber-is-wants-in-prisoner-exchange-161654532.html\">Sajida al-Rishawi\u003c/a>, an Iraqi woman with ties to ISIS who currently sits on death row in Jordan. What’s striking about the commentary to date is the surprise expressed that al-Rishawi—and like her, Hayat Boumeddiene, who was sought as an accomplice in the massacre of journalists at the office of French satirical newspaper \u003cem>Charlie Hebdo\u003c/em>—could carry out such violent acts. That surprise is telling, for it illustrates the psychological constructions to which Middle Eastern women are often reduced: the hapless innocent with little ability to resist fundamentalism, or else the murderous zealot whose radicalization was inevitable.\u003c/p>\n\u003cp>Challenging those staid notions is an intimate exhibition now on view at the Cantor Arts Center at Stanford University. \u003cem>She Who Tells a Story: Women Photographers from Iran and the Arab World\u003c/em> marshals the work of 12 contemporary artists to tell stories of lives that proudly and powerfully defy popular stereotypes.\u003c/p>\n\u003cp>\u003ca title=\"Orientalism\" href=\"http://www.arabstereotypes.org/why-stereotypes/what-orientalism\">Orientalism\u003c/a>, a socio-political construct outlined by the late Palestinian cultural critic and theorist Edward Said, is the dominant schema by which Middle Eastern civilizations were situated for western audiences. Beginning in the mid-19th century, the advent of early photographic techniques allowed practitioners to build on the visual language already established by European artists including Jean-Léon Gérôme and Eugene Delacroix. On canvas and in photographs, Middle Eastern societies were presented as exotic, violent, inferior, and therefore beholden to their colonizing western counterparts for drawing them into the rapidly modernizing world.\u003c/p>\n\u003cfigure id=\"attachment_10354221\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Ghadirian_Untitled_2-e1423273912858.jpg\" alt=\"Shadi Ghadirian (Iran, b. 1974), Untitled from the Qajar series, 1998. (Courtesy Museum of Fine Arts, Boston.)\" width=\"427\" height=\"640\" class=\"size-full wp-image-10354221\">\u003cfigcaption class=\"wp-caption-text\">Shadi Ghadirian (Iran, b. 1974), Untitled from the \u003cem>Qajar\u003c/em> series, 1998. (Courtesy Museum of Fine Arts, Boston.)\u003c/figcaption>\u003c/figure>\n\u003cp>It could be argued that all of the images featured in \u003cem>She Who Tells a Story\u003c/em> were made as an interrogation or rejection of essentialist thinking, but there are specific bodies of work that illustrate how those challenges have changed over time. Lalla Essaydi—who along with Shirin Neshat, also represented in the exhibit, is arguably one of the better-known Arab artists in the contemporary art community—visualizes the female body as the prize of wholesale cultural consumption. \u003cem>Bullets Revisited #3\u003c/em> (2012) features a woman reclining on a low-slung bed in front of a gilded background. Looking closer, one realizes that the shimmering facets are not gold, but bullet casings. She is languid, available at least to our gaze, yet uninviting. She is contained, as women were thought to be controlled within physical spaces such as harems.\u003c/p>\n\u003cp>Essaydi’s performative practice addresses space as a gendered experience, identity, and isolation, all of which parallels her experience of growing up between eastern and western sensibilities. In this image, as in her earlier series \u003cem>Converging Territories \u003c/em>(2003-04), calligraphy references the power of the word in Islamic culture. Her subject’s skin bears the mark of religion, while other material signifiers such as bullet casings reference the fearsome rise and bloody consequences of extremist factions such as ISIS and Al-Qaeda.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Where Lalla Essaydi represents the first wave of visual artists whose work both challenged the limitations placed on contemporary creative practice in the Middle East and aroused western attention, artists Boushra Almutawakel and Shadi Ghadirian, along with the other nine artists highlighted in the exhibition, represent the next generation of Middle Eastern artists. \u003cem>Mother, Daughter, Doll \u003c/em>(2010) features two figures in a series of nine photographs. In the introductory frame, we see Almutawakel and her oldest child dressed in colorful yet conservative dress and seated before the camera. Over the course of the succeeding eight panels, color and expression vanish beneath a \u003ci>niqab\u003c/i>, the full-length robe that leaves only a woman’s eyes visible.\u003c/p>\n\u003cfigure id=\"attachment_10354220\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Almutawakel_series-e1423273933949.jpg\" alt=\"Boushra Almutawakel (Yemen, b. 1969), Mother, Daughter, Doll from the Hijab series, 2010. (Courtesy Museum of Fine Arts, Boston)\" width=\"427\" height=\"640\" class=\"size-full wp-image-10354220\">\u003cfigcaption class=\"wp-caption-text\">Boushra Almutawakel (Yemen, b. 1969), \u003cem>Mother, Daughter, Doll\u003c/em> from the \u003cem>Hijab\u003c/em> series, 2010. (Courtesy Museum of Fine Arts, Boston)\u003c/figcaption>\u003c/figure>\n\u003cp>It’s easy to see this series as reinforcing western stereotypes of Arab and Iranian women—veiled, submissive, “other”—but there is more to it. For some observant women, dressing conservatively protects them from an often hostile and unpredictable world. Almutawakel’s delivery is heavy-handed, but the series successfully presents both the stereotype with which we are all too familiar and the sense of security such sartorial choices allow.\u003c/p>\n\u003cp>\u003cem>Mother, Daughter, Doll \u003c/em> is hung opposite Shadi Ghadirian’s \u003cem>Qajar\u003c/em> series (1998), in which young Iranian women are photographed holding objects including a boombox, a Pepsi can, and musical instruments, and the two bodies of work convey how the artists subvert longstanding practices in photographic portraiture. Curator Kristen Gresh, who organized the exhibition for the Museum of Fine Arts in Boston, writes of Ghadirian’s work: “These humorous pastiches set up a cross-cultural and cross-temporal encounter.” In effect, we are witness to Ghadirian as she reconciles her own practice with history and contemporaneity, restriction and freedom, public and private.\u003c/p>\n\u003cp>Identity and its de/construction run throughout the exhibition, particularly as an intimate exchange between photographer and subject. Tanya Habjouqa’s \u003cem>Women of Gaza \u003c/em>(2009) portrays female subjects engaged in a range of activities, including a family picnic on the beach and an exercise class. These moments are far from extraordinary, and it is their mundane familiarity that provides potency. Talk to almost anyone in the Middle East about what they want from life, and their answers may include safety, agency, and freedom. Habjouqa captures those fleeting moments, and the series is rendered all the more powerful by the realization that what she captured of Gaza was pounded into dust by Israel during the summer of 2014.\u003c/p>\n\u003cfigure id=\"attachment_10354224\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Bisan_RMatar_LR-e1423273874126.jpg\" alt=\"Rania Matar, Bisan, Bethlehem, West Bank, 2009. From A Girl and Her Room series. (Courtesy of the artist and Carroll and Sons, Boston)\" width=\"640\" height=\"427\" class=\"size-full wp-image-10354224\">\u003cfigcaption class=\"wp-caption-text\">Rania Matar, \u003cem>Bisan, Bethlehem, West Bank\u003c/em>, 2009. From \u003cem>A Girl and Her Room\u003c/em> series. (Courtesy of the artist and Carroll and Sons, Boston)\u003c/figcaption>\u003c/figure>\n\u003cp>In similar fashion are Rania Matar’s photographs of girls on the verge of womanhood in their bedrooms. \u003cem>A Girl in Her Room\u003c/em> (2010) offers a view of otherwise private spaces, where childhood is quickly overwhelmed by teenage interests and anxieties. While the entire series is engaging, I was stopped cold by \u003cem>Bisan, Bethlehem, West Bank\u003c/em> (2009). Curled into a chair, her feet pulled up to the edge as she fidgets with her sock, Bisan gazes away from the camera as though lost in thought. What struck me about this composition was the tiny Palestinian flag attached to the wall above her head. What is identity, and how is it constructed, when national allegiance is proclaimed as more important?\u003c/p>\n\u003cp>Geopolitical conflict is another, and perhaps most important, aspect of life in the greater Middle East portrayed throughout the exhibition. Important because it shapes our understanding of past and present acrimony in the region, and because it renders other choices made by those who live in war zones all the more precious. Macro- and micro- views of conflict and its aftermath are represented in a smart cross-gallery installation of Jananne Al-Ani’s \u003cem>Aerial I\u003c/em> (2011) and Rula Halawani’s \u003cem>Negative Incursions\u003c/em> (2002). Al Ani’s work—production stills drawn from the single-channel digital video \u003cem>Shadow Sites II\u003c/em>—captures places on the land that bear the marks of humankind’s creative and destructive potential. Al-Ani’s 1,000-ft. view suggests the prevalence and unemotional clarity of military surveillance and reminds us of the power of war to erase who and what once was.\u003c/p>\n\u003cp>By contrast, Rula Halawani’s series \u003cem>Negative Incursions\u003c/em> documents Israel’s assault on Gaza in 2002, a portent of the atrocities that unfolded in the same region in 2009 and again in 2014. Trained as a photojournalist, Halawani abandoned press photography after years of forcefully separating herself from her subjects so as to maintain objectivity. \u003cem>Negative Incursions\u003c/em> is the first series she produced after shifting professional gears. The large-format photographs are printed as negatives, and the reverse presentation has a disquieting effect. We know that we’re looking at tanks rolling through the streets of Gaza, and at bodies cut down by gunfire, but the clarity and “truth” thought to be conveyed by the photographic image is unclear. The absence of the the body in Al-Ani’s work and its obscured presence in Halawani’s work render these images as powerful pendants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>She Who Tells a Story\u003c/em> succeeds as a presentation of photographic work by women throughout the Middle East. While the subjects, aesthetic choices, and range of photographic practices represented is narrow and at times repetitive, the installation builds on the momentum created by other recent exhibitions, including \u003cem>\u003ca title=\"Here and Elsewhere\" href=\"http://www.newmuseum.org/exhibitions/view/here-and-elsewhere\">Here and Elsewhere\u003c/a>\u003c/em> and \u003cem>\u003ca title=\"View from Inside\" href=\"http://2014biennial.fotofest.org/view-from-inside.aspx#.VM7qQWTF95A\">View from Inside\u003c/a>\u003c/em>, in which contemporary art produced throughout the Middle East is examined through a critical lens.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\" target=\"_blank\" rel=\"noopener\">\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>Event Information\u003c/h3>\n\u003ch4>‘Through a Lens Darkly’\u003c/h4>\n\u003cdiv class=\"event-desc\">Screening with filmmaker discussion.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 12, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">CounterPulse\u003c/div>\n\u003cul>\n\u003cli>\u003ca title=\"Details\" href=\"http://ww2.kqed.org/events/pick/black-history-month-celebration/\" target=\"_blank\" rel=\"noopener\">Event details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>–\u003c/p>\n\u003ch4>‘A Love Supreme’ Night\u003c/h4>\n\u003cdiv class=\"event-desc\">Screening with live jazz.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 13, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Impact Hub, Oakland\u003c/div>\n\u003cul>\n\u003cli>\u003ca title=\"Details\" href=\"http://ww2.kqed.org/events/pick/love-supreme-night/\" target=\"_blank\" rel=\"noopener\">Event details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>–\u003c/p>\n\u003ch4>Digital Diaspora Family Reunion Roadshow\u003c/h4>\n\u003cdiv class=\"event-desc\">Participatory family-photo afternoon event with live jazz.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 14, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">World Assembly Family of Churches\u003c/div>\n\u003cul>\n\u003cli>\u003ca title=\"Details\" href=\"http://ww2.kqed.org/events/pick/digital-diaspora-family-reunion-roadshow/\" target=\"_blank\" rel=\"noopener\">Event details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It’s February, and all across the U.S., events celebrate Black History Month to honor African-American contributions to society. In Oakland, the country’s \u003ca href=\"http://priceonomics.com/the-most-and-least-diverse-cities-in-america/\" target=\"_blank\" rel=\"noopener\">most diverse\u003c/a> city, celebrations come with an added importance of remembering history and the importance of the visual image.\u003c/p>\n\u003cp>Photographs are powerful. They are also personal. For Thomas Allen Harris, the family photo album has been a source of inspiration, as well as a point of collaboration and conversation. In his most recent film, \u003cem>Through a Lens Darkly: Black Photographers and the Emergence of a People\u003c/em>, Harris interweaves his own story into the history of African-American photographers in the United States. An award-winning filmmaker, Harris has made films for the past 20 years using his family narrative as a point of departure.\u003c/p>\n\u003cp>Harris, who grew up in the Bronx and Dar es Salaam, Tanzania, is deeply interested in family histories and how they intersect with the public record. At a young age, Harris sat on the knees of his grandfather, enjoying the stories of his family. Many of his previous films, in fact, have been tied to familial themes: \u003cem>Families of Value\u003c/em> (1995) takes a deeper look at black families through the lens of queer siblings; \u003cem>É Minha Cara/That’s My Face\u003c/em> (2001) is a queer “mythopoetic” journey through the African diaspora; and \u003cem>Twelve Disciples of Nelson Mandela\u003c/em> (2004) was inspired by the passing of his South African stepfather, whose “weapon of choice was the camera,” Harris says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o4Kd1GfkfW4\u003c/p>\n\u003cp>With \u003cem>Through a Lens Darkly\u003c/em>, Harris’ aim was to create a film based on Deborah Willis’ book, \u003cem>Reflections in Black: A History of Black Photographers, 1840 to the Present\u003c/em>. The film is not just about black photography; on the phone from the East Coast, Harris describes it as “a war of images in the American family album.” As the end product of over seven years of extensive research and sifting through more than 15,000 photographs from institutional archives and professional photographers, in addition to 6,000 images from personal archives, the film uses about 950 images. Six months before the film was finished, Harris decided to put his own story into the film. “In many ways, it explodes notions of documentary,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Understanding the legacy of black photographers has important ramifications for what goes on today. Harris hopes the film will prompt viewers to think about race in a different way, and sees it ultimately as a call to action. “The goal is to understand the power of our family photographs and how they connect our family stories to the historical record, understanding our commonality despite our differences.”\u003c/p>\n\u003cfigure id=\"attachment_10360670\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10360670\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/3-1180x787.jpg\" alt=\"Art by Malik and Karen Seneferu\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/3-800x533.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of art by Malik Seneferu at Impact Hub in Oakland. (Photo: Lakshmi Sarah) \u003ccite>(Lakshmi Sarah)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Harris, it’s about “how we see one another and ourselves,” a theme that’s echoed in an accompanying art exhibit at the \u003ca href=\"http://oakland.impacthub.net/omi-gallery/\" target=\"_blank\" rel=\"noopener\">OMI gallery at Impact Hub\u003c/a> in Oakland.\u003c/p>\n\u003cp>“\u003ca href=\"http://oakland.impacthub.net/omi-gallery/\" target=\"_blank\" rel=\"noopener\">BLACK<3MATTERS\u003c/a>,” curated by Ashara Ekundayo, co-founder of Impact Hub Oakland, represents the second time Oakland-based artists Karen Seneferu and her husband Malik Seneferu have shown their artwork together. As Karen Seneferu sees it, “The concerns that people have for the community can’t happen without love.” Ultimately, she believes one can’t declare that “black lives matter” unless one also recognizes “black love matters.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For Impact Hub Oakland and Ekundayo, it’s all about love. “Love is our bottom line,” she says. Celebrating the 50th anniversary of John Coltrane’s seminal album \u003cem>A Love Supreme\u003c/em> and Impact Hub Oakland’s first anniversary, Ekundayo sees the events as a three-prong conversation with the film, the space and the art.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\" target=\"_blank\" rel=\"noopener\">\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>Event Information\u003c/h3>\n\u003ch4>‘Through a Lens Darkly’\u003c/h4>\n\u003cdiv class=\"event-desc\">Screening with filmmaker discussion.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 12, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">CounterPulse\u003c/div>\n\u003cul>\n\u003cli>\u003ca title=\"Details\" href=\"http://ww2.kqed.org/events/pick/black-history-month-celebration/\" target=\"_blank\" rel=\"noopener\">Event details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>–\u003c/p>\n\u003ch4>‘A Love Supreme’ Night\u003c/h4>\n\u003cdiv class=\"event-desc\">Screening with live jazz.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 13, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Impact Hub, Oakland\u003c/div>\n\u003cul>\n\u003cli>\u003ca title=\"Details\" href=\"http://ww2.kqed.org/events/pick/love-supreme-night/\" target=\"_blank\" rel=\"noopener\">Event details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>–\u003c/p>\n\u003ch4>Digital Diaspora Family Reunion Roadshow\u003c/h4>\n\u003cdiv class=\"event-desc\">Participatory family-photo afternoon event with live jazz.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 14, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">World Assembly Family of Churches\u003c/div>\n\u003cul>\n\u003cli>\u003ca title=\"Details\" href=\"http://ww2.kqed.org/events/pick/digital-diaspora-family-reunion-roadshow/\" target=\"_blank\" rel=\"noopener\">Event details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It’s February, and all across the U.S., events celebrate Black History Month to honor African-American contributions to society. In Oakland, the country’s \u003ca href=\"http://priceonomics.com/the-most-and-least-diverse-cities-in-america/\" target=\"_blank\" rel=\"noopener\">most diverse\u003c/a> city, celebrations come with an added importance of remembering history and the importance of the visual image.\u003c/p>\n\u003cp>Photographs are powerful. They are also personal. For Thomas Allen Harris, the family photo album has been a source of inspiration, as well as a point of collaboration and conversation. In his most recent film, \u003cem>Through a Lens Darkly: Black Photographers and the Emergence of a People\u003c/em>, Harris interweaves his own story into the history of African-American photographers in the United States. An award-winning filmmaker, Harris has made films for the past 20 years using his family narrative as a point of departure.\u003c/p>\n\u003cp>Harris, who grew up in the Bronx and Dar es Salaam, Tanzania, is deeply interested in family histories and how they intersect with the public record. At a young age, Harris sat on the knees of his grandfather, enjoying the stories of his family. Many of his previous films, in fact, have been tied to familial themes: \u003cem>Families of Value\u003c/em> (1995) takes a deeper look at black families through the lens of queer siblings; \u003cem>É Minha Cara/That’s My Face\u003c/em> (2001) is a queer “mythopoetic” journey through the African diaspora; and \u003cem>Twelve Disciples of Nelson Mandela\u003c/em> (2004) was inspired by the passing of his South African stepfather, whose “weapon of choice was the camera,” Harris says.\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/o4Kd1GfkfW4'\n title='//www.youtube.com/embed/o4Kd1GfkfW4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With \u003cem>Through a Lens Darkly\u003c/em>, Harris’ aim was to create a film based on Deborah Willis’ book, \u003cem>Reflections in Black: A History of Black Photographers, 1840 to the Present\u003c/em>. The film is not just about black photography; on the phone from the East Coast, Harris describes it as “a war of images in the American family album.” As the end product of over seven years of extensive research and sifting through more than 15,000 photographs from institutional archives and professional photographers, in addition to 6,000 images from personal archives, the film uses about 950 images. Six months before the film was finished, Harris decided to put his own story into the film. “In many ways, it explodes notions of documentary,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Understanding the legacy of black photographers has important ramifications for what goes on today. Harris hopes the film will prompt viewers to think about race in a different way, and sees it ultimately as a call to action. “The goal is to understand the power of our family photographs and how they connect our family stories to the historical record, understanding our commonality despite our differences.”\u003c/p>\n\u003cfigure id=\"attachment_10360670\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10360670\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/3-1180x787.jpg\" alt=\"Art by Malik and Karen Seneferu\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/3-800x533.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of art by Malik Seneferu at Impact Hub in Oakland. (Photo: Lakshmi Sarah) \u003ccite>(Lakshmi Sarah)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Harris, it’s about “how we see one another and ourselves,” a theme that’s echoed in an accompanying art exhibit at the \u003ca href=\"http://oakland.impacthub.net/omi-gallery/\" target=\"_blank\" rel=\"noopener\">OMI gallery at Impact Hub\u003c/a> in Oakland.\u003c/p>\n\u003cp>“\u003ca href=\"http://oakland.impacthub.net/omi-gallery/\" target=\"_blank\" rel=\"noopener\">BLACK<3MATTERS\u003c/a>,” curated by Ashara Ekundayo, co-founder of Impact Hub Oakland, represents the second time Oakland-based artists Karen Seneferu and her husband Malik Seneferu have shown their artwork together. As Karen Seneferu sees it, “The concerns that people have for the community can’t happen without love.” Ultimately, she believes one can’t declare that “black lives matter” unless one also recognizes “black love matters.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For Impact Hub Oakland and Ekundayo, it’s all about love. “Love is our bottom line,” she says. Celebrating the 50th anniversary of John Coltrane’s seminal album \u003cem>A Love Supreme\u003c/em> and Impact Hub Oakland’s first anniversary, Ekundayo sees the events as a three-prong conversation with the film, the space and the art.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cool Hand Ken: A Traditional Sign Painter in a Digital Age",
"headTitle": "Cool Hand Ken: A Traditional Sign Painter in a Digital Age | KQED",
"content": "\u003cp>For 73 years, \u003ca href=\"www.mercurynews.com/ci_23241171/cassidy-rey-giese-painted-silicon-valley-and-showed\">Rey Giese\u003c/a> painted the Valley of Heart’s Delight in letters, numbers and company logos. A skilled artisan whose craft was earned by years of apprenticeship, working as a journeyman and then finally branching out into his own business, Giese spent the 1930s and ’40s in what would come to be known as Silicon Valley honing his skills and personal style—one that he adhered to throughout his entire career, enduring passing trends and fickle tastes.\u003c/p>\n\u003cp>Giese was still working two weeks before his death, at the age of 93, in 2013. Whether or not he was aware of it, a new generation of sign painters revered him as a legend, and were committing themselves to keep the vanishing craft alive. In a \u003ca href=\"http://www.kaleidgallery.com/2014/01/rey-giese-painting-the-town-since-1935-exhibit-feb-7-2014/\">tribute exhibition\u003c/a> at KALEID Gallery in 2014, friends, clients and sign painters from up and down the California coast showed up with a variety of Giese artwork, vintage photos and plenty of good-humored stories. He was clearly beloved by all that knew him.\u003c/p>\n\u003cfigure id=\"attachment_10315749\" class=\"wp-caption alignright\" style=\"max-width: 514px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/P1190244.jpg\" alt=\"Giese Tribute Exhibition at KALEID Gallery, 2014. (Photo: Cherri Lakey)\" width=\"514\" height=\"720\" class=\"size-full wp-image-10315749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/P1190244.jpg 514w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/P1190244-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/P1190244-428x600.jpg 428w\" sizes=\"(max-width: 514px) 100vw, 514px\">\u003cfigcaption class=\"wp-caption-text\">Giese Tribute Exhibition at KALEID Gallery, 2014. (Photo: Cherri Lakey)\u003c/figcaption>\u003c/figure>\n\u003cp>Ken Davis was one of them. An ardent admirer, Davis once met with Giese to inquire about purchasing one of his signs. Giese looked at him a bit confused, and said, “You’re a sign painter, why don’t you just make it?” Davis persisted: “I’d like something from you.” Giese just rolled his eyes, and said, “Okay.”\u003c/p>\n\u003cp>Davis was born in 1982, the very same year that the vinyl cutting plotter was established, thus causing the accelerated decline of the traditional sign trade; it was (and still is) faster and cheaper than hand-painting. Davis’ peers like to joke that he was born “in the ashes of sign painting,” but Davis has taken the torch from the purists of the past, like Rey Giese, and carried it into a digital age where its rarity is being appreciated as an art.\u003c/p>\n\u003cp>Davis grew up in Fremont, drawing replicas of comic-book logos like \u003cem>The Incredible Hulk\u003c/em> and rusted brand names on the sides of freight trains that rolled through the neighborhood. An inclination toward subculture led him to visiting skateboard shops for their graphics, much like others might visit an art gallery. He felt his calling to do graphics and lettering for a living, but had no idea how to go about it. He was working in a shipping and receiving warehouse and really beginning to loathe it. “I started acting out and doing little subversive things to make me feel better about my day,” he says—things like building a secret skate ramp in the back of the warehouse and hiding out whenever he could. It was there that he read \u003cem>Two Year Autopsy\u003c/em> by tattoo artist \u003ca href=\"http://www.grimemonster.com/\">Grime\u003c/a>. “All I could think,” recalls Davis, “was that this guy had it harder than most and is doing his dream… what’s my excuse?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2003, Davis began practicing his lettering in secret and learned about the sign painter’s enamel \u003ca href=\"http://www.1shot.com/home.html\">1 Shot.\u003c/a> “I rushed over to an art store in downtown San Jose that I heard carried it,” he says. “They only carried three colors: white, ivory and dark brown. I bought all three… it’s a color palette I still use in my work all the time.”\u003c/p>\n\u003cfigure id=\"attachment_10315750\" class=\"wp-caption alignright\" style=\"max-width: 505px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/DSCF0054.jpg\" alt=\"Ken Davis' studio. (Photo: Cherri Lakey)\" width=\"505\" height=\"720\" class=\"size-full wp-image-10315750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/DSCF0054.jpg 505w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/DSCF0054-400x570.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/DSCF0054-420x600.jpg 420w\" sizes=\"(max-width: 505px) 100vw, 505px\">\u003cfigcaption class=\"wp-caption-text\">Ken Davis’ studio. (Photo: Cherri Lakey)\u003c/figcaption>\u003c/figure>\n\u003cp>As fate would have it, Davis soon met \u003ca href=\"http://www.joshluke.com/\">Josh Luke\u003c/a> at an art show in a tattoo shop. Davis pointed to Luke’s “Trick or Treat” gold-leaf sign in the show and asked, “Can you show me how you do that?” Soon, they were hanging out, bonding over lettering and skateboarding. Luke worked at \u003ca href=\"http://www.newbohemiasigns.com/\">New Bohemia Signs\u003c/a>, a 100% hand-painted sign shop, and when a vacancy came up at the small but soon-to-explode shop, they offered Davis an apprenticeship. “I was so excited,” Davis reports. “My very first job was to fill in all these circles, and it took me forever because I wanted to be so precise about it and do a good job.”\u003c/p>\n\u003cp>That sort of dedication is still with him today. Davis values meticulous technique and is disappointed by the “earn it ’til you learn it” attitudes of the internet age. “There’s a whole enthusiasm in making crafts that were lost during our parents’ generation, but the problem I see with that is that everything is so goddamned accessible online,” he says. “There’s no genuine appreciation for the steps needed to hone that craft. ‘Hey, I just took a three-part session on YouTube on how to do this… I’m going to start my own online business selling it.’ There’s a total disregard for other people’s pounds of flesh they gave in honing their skill.”\u003c/p>\n\u003cp>Davis continues: “Every artist or craftsperson I look up to doesn’t just see something and copy it. They’ve said to themselves, ‘I like that, but \u003cem>why\u003c/em> do I like it? Let me look at the influences and go down that rabbit hole of history.’ They come back up with their own take on things, and their own reasons for doing what it is they’re doing.”\u003c/p>\n\u003cp>Davis remains unwavering in a commitment to giving his client work of great value. “I may come in with a migraine, but it won’t be because I was at the bar the night before. It’ll be because of the pressure I put on myself to deliver the best I can.” As for the many unseasoned sign painters charging questionable rates, Davis is concerned about their potential to “sour” the public on sign painting with their lack of skill. “You have to bring the quality that brought you to where you are, and you have to bring that quality every time. The only way to stay relevant in craft or art is to consistently be a monster,” he says. “To just consistently annihilate their senses.”\u003c/p>\n\u003cfigure id=\"attachment_10315751\" class=\"wp-caption alignright\" style=\"max-width: 531px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/DSCF0085.jpg\" alt=\"Ken Davis in his studio. (Photo: Cherri Lakey)\" width=\"531\" height=\"720\" class=\"size-full wp-image-10315751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/DSCF0085.jpg 531w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/DSCF0085-400x542.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/DSCF0085-442x600.jpg 442w\" sizes=\"(max-width: 531px) 100vw, 531px\">\u003cfigcaption class=\"wp-caption-text\">Ken Davis in his Hayward studio. (Photo: Cherri Lakey)\u003c/figcaption>\u003c/figure>\n\u003cp>It’s with this reputation and fan base that Davis has been successfully self-employed for the past three years, dividing his time between on-location work for clients, commission work for customers and his own artistic work for art shows. But even these divisions are becoming blurry. He often has clients that reach out and say: “We like what you do, just do something for us.” This is a tricky line between the trade purists, whose motto is “It’s just a sign,” and the artists who are commissioned to execute their own vision and aesthetic.\u003c/p>\n\u003cp>But Davis has the respect of both camps. With the standards of the craft’s forebears on one hand and a quick wit and contemporary outsider attitude on the other—coupled with an active \u003ca href=\"http://instagram.com/coolhandken/\" target=\"_blank\" rel=\"noopener\">Instagram feed\u003c/a>—he’s even been flown to Japan and the Netherlands for work (something he’s hoping to do more of). “As the Bay Area is being slashed and every open space is being built upon, I’m really wanting to move closer to nature. Keep my overhead low, travel more, and paint for people that appreciate what I do,” Davis says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“This is it for me, it’s sacred. I take it very seriously because I don’t want to go back.”\u003c/p>\n\n",
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"excerpt": "Contemporary sign painter “Cool Hand” Ken Davis carries on the legacy of a disappearing trade.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For 73 years, \u003ca href=\"www.mercurynews.com/ci_23241171/cassidy-rey-giese-painted-silicon-valley-and-showed\">Rey Giese\u003c/a> painted the Valley of Heart’s Delight in letters, numbers and company logos. A skilled artisan whose craft was earned by years of apprenticeship, working as a journeyman and then finally branching out into his own business, Giese spent the 1930s and ’40s in what would come to be known as Silicon Valley honing his skills and personal style—one that he adhered to throughout his entire career, enduring passing trends and fickle tastes.\u003c/p>\n\u003cp>Giese was still working two weeks before his death, at the age of 93, in 2013. Whether or not he was aware of it, a new generation of sign painters revered him as a legend, and were committing themselves to keep the vanishing craft alive. In a \u003ca href=\"http://www.kaleidgallery.com/2014/01/rey-giese-painting-the-town-since-1935-exhibit-feb-7-2014/\">tribute exhibition\u003c/a> at KALEID Gallery in 2014, friends, clients and sign painters from up and down the California coast showed up with a variety of Giese artwork, vintage photos and plenty of good-humored stories. He was clearly beloved by all that knew him.\u003c/p>\n\u003cfigure id=\"attachment_10315749\" class=\"wp-caption alignright\" style=\"max-width: 514px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/P1190244.jpg\" alt=\"Giese Tribute Exhibition at KALEID Gallery, 2014. (Photo: Cherri Lakey)\" width=\"514\" height=\"720\" class=\"size-full wp-image-10315749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/P1190244.jpg 514w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/P1190244-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/P1190244-428x600.jpg 428w\" sizes=\"(max-width: 514px) 100vw, 514px\">\u003cfigcaption class=\"wp-caption-text\">Giese Tribute Exhibition at KALEID Gallery, 2014. (Photo: Cherri Lakey)\u003c/figcaption>\u003c/figure>\n\u003cp>Ken Davis was one of them. An ardent admirer, Davis once met with Giese to inquire about purchasing one of his signs. Giese looked at him a bit confused, and said, “You’re a sign painter, why don’t you just make it?” Davis persisted: “I’d like something from you.” Giese just rolled his eyes, and said, “Okay.”\u003c/p>\n\u003cp>Davis was born in 1982, the very same year that the vinyl cutting plotter was established, thus causing the accelerated decline of the traditional sign trade; it was (and still is) faster and cheaper than hand-painting. Davis’ peers like to joke that he was born “in the ashes of sign painting,” but Davis has taken the torch from the purists of the past, like Rey Giese, and carried it into a digital age where its rarity is being appreciated as an art.\u003c/p>\n\u003cp>Davis grew up in Fremont, drawing replicas of comic-book logos like \u003cem>The Incredible Hulk\u003c/em> and rusted brand names on the sides of freight trains that rolled through the neighborhood. An inclination toward subculture led him to visiting skateboard shops for their graphics, much like others might visit an art gallery. He felt his calling to do graphics and lettering for a living, but had no idea how to go about it. He was working in a shipping and receiving warehouse and really beginning to loathe it. “I started acting out and doing little subversive things to make me feel better about my day,” he says—things like building a secret skate ramp in the back of the warehouse and hiding out whenever he could. It was there that he read \u003cem>Two Year Autopsy\u003c/em> by tattoo artist \u003ca href=\"http://www.grimemonster.com/\">Grime\u003c/a>. “All I could think,” recalls Davis, “was that this guy had it harder than most and is doing his dream… what’s my excuse?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2003, Davis began practicing his lettering in secret and learned about the sign painter’s enamel \u003ca href=\"http://www.1shot.com/home.html\">1 Shot.\u003c/a> “I rushed over to an art store in downtown San Jose that I heard carried it,” he says. “They only carried three colors: white, ivory and dark brown. I bought all three… it’s a color palette I still use in my work all the time.”\u003c/p>\n\u003cfigure id=\"attachment_10315750\" class=\"wp-caption alignright\" style=\"max-width: 505px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/DSCF0054.jpg\" alt=\"Ken Davis' studio. (Photo: Cherri Lakey)\" width=\"505\" height=\"720\" class=\"size-full wp-image-10315750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/DSCF0054.jpg 505w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/DSCF0054-400x570.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/DSCF0054-420x600.jpg 420w\" sizes=\"(max-width: 505px) 100vw, 505px\">\u003cfigcaption class=\"wp-caption-text\">Ken Davis’ studio. (Photo: Cherri Lakey)\u003c/figcaption>\u003c/figure>\n\u003cp>As fate would have it, Davis soon met \u003ca href=\"http://www.joshluke.com/\">Josh Luke\u003c/a> at an art show in a tattoo shop. Davis pointed to Luke’s “Trick or Treat” gold-leaf sign in the show and asked, “Can you show me how you do that?” Soon, they were hanging out, bonding over lettering and skateboarding. Luke worked at \u003ca href=\"http://www.newbohemiasigns.com/\">New Bohemia Signs\u003c/a>, a 100% hand-painted sign shop, and when a vacancy came up at the small but soon-to-explode shop, they offered Davis an apprenticeship. “I was so excited,” Davis reports. “My very first job was to fill in all these circles, and it took me forever because I wanted to be so precise about it and do a good job.”\u003c/p>\n\u003cp>That sort of dedication is still with him today. Davis values meticulous technique and is disappointed by the “earn it ’til you learn it” attitudes of the internet age. “There’s a whole enthusiasm in making crafts that were lost during our parents’ generation, but the problem I see with that is that everything is so goddamned accessible online,” he says. “There’s no genuine appreciation for the steps needed to hone that craft. ‘Hey, I just took a three-part session on YouTube on how to do this… I’m going to start my own online business selling it.’ There’s a total disregard for other people’s pounds of flesh they gave in honing their skill.”\u003c/p>\n\u003cp>Davis continues: “Every artist or craftsperson I look up to doesn’t just see something and copy it. They’ve said to themselves, ‘I like that, but \u003cem>why\u003c/em> do I like it? Let me look at the influences and go down that rabbit hole of history.’ They come back up with their own take on things, and their own reasons for doing what it is they’re doing.”\u003c/p>\n\u003cp>Davis remains unwavering in a commitment to giving his client work of great value. “I may come in with a migraine, but it won’t be because I was at the bar the night before. It’ll be because of the pressure I put on myself to deliver the best I can.” As for the many unseasoned sign painters charging questionable rates, Davis is concerned about their potential to “sour” the public on sign painting with their lack of skill. “You have to bring the quality that brought you to where you are, and you have to bring that quality every time. The only way to stay relevant in craft or art is to consistently be a monster,” he says. “To just consistently annihilate their senses.”\u003c/p>\n\u003cfigure id=\"attachment_10315751\" class=\"wp-caption alignright\" style=\"max-width: 531px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/DSCF0085.jpg\" alt=\"Ken Davis in his studio. (Photo: Cherri Lakey)\" width=\"531\" height=\"720\" class=\"size-full wp-image-10315751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/DSCF0085.jpg 531w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/DSCF0085-400x542.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/DSCF0085-442x600.jpg 442w\" sizes=\"(max-width: 531px) 100vw, 531px\">\u003cfigcaption class=\"wp-caption-text\">Ken Davis in his Hayward studio. (Photo: Cherri Lakey)\u003c/figcaption>\u003c/figure>\n\u003cp>It’s with this reputation and fan base that Davis has been successfully self-employed for the past three years, dividing his time between on-location work for clients, commission work for customers and his own artistic work for art shows. But even these divisions are becoming blurry. He often has clients that reach out and say: “We like what you do, just do something for us.” This is a tricky line between the trade purists, whose motto is “It’s just a sign,” and the artists who are commissioned to execute their own vision and aesthetic.\u003c/p>\n\u003cp>But Davis has the respect of both camps. With the standards of the craft’s forebears on one hand and a quick wit and contemporary outsider attitude on the other—coupled with an active \u003ca href=\"http://instagram.com/coolhandken/\" target=\"_blank\" rel=\"noopener\">Instagram feed\u003c/a>—he’s even been flown to Japan and the Netherlands for work (something he’s hoping to do more of). “As the Bay Area is being slashed and every open space is being built upon, I’m really wanting to move closer to nature. Keep my overhead low, travel more, and paint for people that appreciate what I do,” Davis says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "BART Gallery Pt. 2: Take a Journey Beyond Downtown",
"headTitle": "BART Gallery Pt. 2: Take a Journey Beyond Downtown | KQED",
"content": "\u003cp>Continuing our two-part tour of Oakland art galleries organized by BART stops (\u003ca href=\"http://ww2.kqed.org/arts/2015/01/07/bart-gallery-pt-1-take-the-train-to-oaklands-art-boom/\" target=\"_blank\" rel=\"noopener\">see Part 1 here\u003c/a>), we journey in this installment a bit farther afield, to Temescal, Eastlake and Golden Gate. By no means definitive, this guide should nonetheless provide the curious with plenty to see, if not a few new spaces to investigate. Be sure to add your favorite Oakland galleries in the comments section below and enjoy the ride!\u003c/p>\n\u003ch2>MacArthur BART\u003c/h2>\n\u003cfigure id=\"attachment_10304109\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10304109\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Sofia_Cordova_Echoes_2014.jpg\" alt=\"Sofía Cordóva, <i>Echoes of a Tumbling Throne (Odas Al Fin De Los Tiempos)</i>, 2014; Courtesy Royal NoneSuch Gallery, Oakland\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Sofia_Cordova_Echoes_2014.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Sofia_Cordova_Echoes_2014-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sofía Cordóva, \u003ci>Echoes of a Tumbling Throne (Odas Al Fin De Los Tiempos)\u003c/i>, 2014; Courtesy Royal NoneSuch Gallery, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>Royal NoneSuch Gallery\u003c/h3>\n\u003ch5>4231 Telegraph Ave.\u003cbr>\n\u003ca href=\"http://www.royalnonesuchgallery.com/\" target=\"_blank\" rel=\"noopener\">royalnonesuchgallery.com\u003c/a>\u003c/h5>\n\u003cp>Royal NoneSuch Gallery (conveniently shortened to RNG) packs a whole lot of quality into its tiny, 270-square-foot space. Currently helmed by a five-person roster of artists, RNG is experiencing increased and well-deserved attention of late, with write-ups in a variety of local publications for their mixture of solo shows, conceptual pairings and immersive installations. Their experimental programming even extends to their version of a fundraising auction, in which artist-facilitated experiences replace objects. Opening Jan. 30 is \u003cem>Not Much To Look At\u003c/em>, an exhibition of “new ugly paintings” by 14 Bay Area artists.\u003c/p>\n\u003cfigure id=\"attachment_10318181\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/AFterHours.SM_.jpg\" alt=\"Carrie Hott, Installation view from After Hours, 2014; Courtesy Interface Gallery, Oakland\" width=\"450\" height=\"450\" class=\"size-full wp-image-10318181\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/AFterHours.SM_.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/AFterHours.SM_-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/AFterHours.SM_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/AFterHours.SM_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/AFterHours.SM_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/AFterHours.SM_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/AFterHours.SM_-75x75.jpg 75w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Hott, Installation view from \u003cem>After Hours\u003c/em>, 2014; Courtesy Interface Gallery, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>Interface Gallery\u003c/h3>\n\u003ch5>486 49th St.\u003cbr>\n\u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">interfaceartgallery.com\u003c/a>\u003c/h5>\n\u003cp>In a converted horse stall at the end of Temescal Alley, just off Telegraph and 49th Street, Interface Gallery hosts intimate shows both experimental and object-based. In a unique installation challenge, the gallery’s largest wall is floor-to-ceiling brick, prompting a level of site-specific problem-solving in each exhibition. Gallery director Suzanne L’Heureux hosts an eclectic range of makers and thinkers—from Shipping + Receiving’s \u003cb>Feral City\u003c/b> to the current atmospheric installation by Carrie Hott, the imagined life of a lamp shop after hours.\u003c/p>\n\u003ch2>Ashby BART\u003c/h2>\n\u003cfigure id=\"attachment_10304238\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10304238\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/999_lazybones_jpg_640x640_q95.jpg\" alt=\"Lisa Rybovich Crallé, Tablet 1 (Moonlight Bongo), 2014; Courtesy ØGAARD, Oakland\" width=\"640\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/999_lazybones_jpg_640x640_q95.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/999_lazybones_jpg_640x640_q95-400x298.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Rybovich Crallé, Tablet 1 (Moonlight Bongo), 2014; Courtesy ØGAARD, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>ØGAARD\u003c/h3>\n\u003ch5>5861 San Pablo Ave.\u003cbr>\n\u003ca href=\"http://www.ogaard.org/\" target=\"_blank\" rel=\"noopener\">ogaard.org\u003c/a>\u003c/h5>\n\u003cp>A textile-focused gallery, event space and studio run by Tessa Watson out of a pristine San Pablo storefront, ØGAARD challenges notions of what actually belongs in a “textile-focused gallery” (sometimes sculptures, sometimes ceramics). It’s also a hub of creative activity; along with exhibitions that tread that delicious line between craft and art, Watson organizes workshops covering everything from loom weaving to butter knife carving about once a month. Oakland artist Alice Wiese starts off the new year with a show of embroidery work opening Jan. 24.\u003c/p>\n\u003ch2>Lake Merritt BART\u003c/h2>\n\u003cfigure id=\"attachment_10304239\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10304239\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/quality-auto-service-1-IMG_4162.jpg\" alt=\"Kathy Sloane, from <b>Gardens, Garages and Garbage Cans</b>, 2014; Courtesy Random Parts, Oakland\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/quality-auto-service-1-IMG_4162.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/quality-auto-service-1-IMG_4162-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kathy Sloane, from \u003cb>Gardens, Garages and Garbage Cans\u003c/b>, 2014; Courtesy Random Parts, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>Random Parts\u003c/h3>\n\u003ch5>1206 13th Ave.\u003cbr>\n\u003ca href=\"http://www.randomparts.org/\" target=\"_blank\" rel=\"noopener\">randomparts.org\u003c/a>\u003c/h5>\n\u003cp>While Random Parts stretches the BART-able conditions of this list a bit (prepare for a 20 minute walk from the Lake Merritt stop), it’s well worth the journey to this small artist-run space. One year into their programming, they’ve hosted an artist-in-residence from Spain, facilitated a neighborhood mural, exhibited photographs of ad hoc local planters and showed drawings by Bay Area conceptual artist Lowell Darling, to name a few. Their mission, to intermingle international, local, well-known, self-taught and underexposed artists, is true to their name. Except in this case, the “random” parts are always, unexpectedly, the parts you didn’t know you were looking for. Their 2015 season starts off February with paintings by Colleen Flaherty.\u003c/p>\n\u003cfigure id=\"attachment_10304236\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10304236\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Our-Ascent_Diptych.jpg\" alt=\"Kristine Eudey, <i>Our Ascent Yields to a Contour</i>, 2014; Courtesy the artist\" width=\"640\" height=\"299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Our-Ascent_Diptych.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Our-Ascent_Diptych-400x186.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kristine Eudey, \u003ci>Our Ascent Yields to a Contour\u003c/i>, 2014; Courtesy the artist\u003c/figcaption>\u003c/figure>\n\u003ch3>Backstock Gallery\u003c/h3>\n\u003ch5>3231 Grand Ave.\u003cbr>\n\u003ca href=\"http://www.oakcommon.com/pages/backstock-gallery\" target=\"_blank\" rel=\"noopener\">oakcommon.com/pages/backstock-gallery\u003c/a>\u003c/h5>\n\u003cp>Since we’ve already strayed from the BART map, the pleasant stroll to Backstock Gallery won’t bother you one bit. Whether you choose to orbit Lake Merritt clockwise or counterclockwise, you’ll wind up just across the street from the picturesque Grand Lake Theatre on a strip full of diversions. Backstock is tucked in the two back rooms of Oak Common, a retail store with a highly curated selection of clothing, accessories, fancy soaps and plant koozies. Operating since Sept. 2013, the gallery shows local and formerly local artists (Lauren Douglas, Anzfer Farms, Simon Pyle), dedicated to the “under-represented genres” of film, video, installation and experimental work. Next up: an exhibition of photographs by recent CCA MFA alum Kristine Eudey, opening Jan. 25.\u003c/p>\n\u003ch2>Anywhere!\u003c/h2>\n\u003cfigure id=\"attachment_10304107\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10304107\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/DGW_Four-Generations-825x417.jpg\" alt=\"Doug Garth Williams, <i>Four Generations</i>, 2012; Courtesy Block Gallery\" width=\"640\" height=\"323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/DGW_Four-Generations-825x417.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/DGW_Four-Generations-825x417-400x201.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Doug Garth Williams, \u003ci>Four Generations\u003c/i>, 2012; Courtesy Block Gallery\u003c/figcaption>\u003c/figure>\n\u003ch3>BLOCK GALLERY\u003c/h3>\n\u003cp>\u003c/p>\n\u003ch5>\u003ca href=\"http://www.block-gallery.com/\" target=\"_blank\" rel=\"noopener\">block-gallery.com\u003c/a>\u003c/h5>\n\u003cp>BLOCK GALLERY could be anywhere, but chances are it’s somewhere BART friendly. This site-specific exhibition program, run by Director Lacey Haslam, negotiates alternative spaces for exhibitions, forging partnerships with local businesses and filling more than just empty storefronts with art. Most recently, Haslam organized \u003cb>Resource\u003c/b>, with the work of seven artists in eight public window spaces along Old Oakland’s Ninth Street. Prior to that, you might have noticed the text pieces by Kari Marboe alongside the Latham Memorial Fountain. Currently on view: a solo show by painter Anna Valdez inside Inspired Life Chiropractic, and a two-person exhibition with Valdez and Sacramento-based Andrew L. Rogers at Domain Apartments.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The second in our series touring the East Bay's art galleries, arranged by BART station.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Continuing our two-part tour of Oakland art galleries organized by BART stops (\u003ca href=\"http://ww2.kqed.org/arts/2015/01/07/bart-gallery-pt-1-take-the-train-to-oaklands-art-boom/\" target=\"_blank\" rel=\"noopener\">see Part 1 here\u003c/a>), we journey in this installment a bit farther afield, to Temescal, Eastlake and Golden Gate. By no means definitive, this guide should nonetheless provide the curious with plenty to see, if not a few new spaces to investigate. Be sure to add your favorite Oakland galleries in the comments section below and enjoy the ride!\u003c/p>\n\u003ch2>MacArthur BART\u003c/h2>\n\u003cfigure id=\"attachment_10304109\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10304109\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Sofia_Cordova_Echoes_2014.jpg\" alt=\"Sofía Cordóva, <i>Echoes of a Tumbling Throne (Odas Al Fin De Los Tiempos)</i>, 2014; Courtesy Royal NoneSuch Gallery, Oakland\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Sofia_Cordova_Echoes_2014.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Sofia_Cordova_Echoes_2014-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sofía Cordóva, \u003ci>Echoes of a Tumbling Throne (Odas Al Fin De Los Tiempos)\u003c/i>, 2014; Courtesy Royal NoneSuch Gallery, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>Royal NoneSuch Gallery\u003c/h3>\n\u003ch5>4231 Telegraph Ave.\u003cbr>\n\u003ca href=\"http://www.royalnonesuchgallery.com/\" target=\"_blank\" rel=\"noopener\">royalnonesuchgallery.com\u003c/a>\u003c/h5>\n\u003cp>Royal NoneSuch Gallery (conveniently shortened to RNG) packs a whole lot of quality into its tiny, 270-square-foot space. Currently helmed by a five-person roster of artists, RNG is experiencing increased and well-deserved attention of late, with write-ups in a variety of local publications for their mixture of solo shows, conceptual pairings and immersive installations. Their experimental programming even extends to their version of a fundraising auction, in which artist-facilitated experiences replace objects. Opening Jan. 30 is \u003cem>Not Much To Look At\u003c/em>, an exhibition of “new ugly paintings” by 14 Bay Area artists.\u003c/p>\n\u003cfigure id=\"attachment_10318181\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/AFterHours.SM_.jpg\" alt=\"Carrie Hott, Installation view from After Hours, 2014; Courtesy Interface Gallery, Oakland\" width=\"450\" height=\"450\" class=\"size-full wp-image-10318181\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/AFterHours.SM_.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/AFterHours.SM_-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/AFterHours.SM_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/AFterHours.SM_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/AFterHours.SM_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/AFterHours.SM_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/AFterHours.SM_-75x75.jpg 75w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Hott, Installation view from \u003cem>After Hours\u003c/em>, 2014; Courtesy Interface Gallery, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>Interface Gallery\u003c/h3>\n\u003ch5>486 49th St.\u003cbr>\n\u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">interfaceartgallery.com\u003c/a>\u003c/h5>\n\u003cp>In a converted horse stall at the end of Temescal Alley, just off Telegraph and 49th Street, Interface Gallery hosts intimate shows both experimental and object-based. In a unique installation challenge, the gallery’s largest wall is floor-to-ceiling brick, prompting a level of site-specific problem-solving in each exhibition. Gallery director Suzanne L’Heureux hosts an eclectic range of makers and thinkers—from Shipping + Receiving’s \u003cb>Feral City\u003c/b> to the current atmospheric installation by Carrie Hott, the imagined life of a lamp shop after hours.\u003c/p>\n\u003ch2>Ashby BART\u003c/h2>\n\u003cfigure id=\"attachment_10304238\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10304238\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/999_lazybones_jpg_640x640_q95.jpg\" alt=\"Lisa Rybovich Crallé, Tablet 1 (Moonlight Bongo), 2014; Courtesy ØGAARD, Oakland\" width=\"640\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/999_lazybones_jpg_640x640_q95.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/999_lazybones_jpg_640x640_q95-400x298.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Rybovich Crallé, Tablet 1 (Moonlight Bongo), 2014; Courtesy ØGAARD, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>ØGAARD\u003c/h3>\n\u003ch5>5861 San Pablo Ave.\u003cbr>\n\u003ca href=\"http://www.ogaard.org/\" target=\"_blank\" rel=\"noopener\">ogaard.org\u003c/a>\u003c/h5>\n\u003cp>A textile-focused gallery, event space and studio run by Tessa Watson out of a pristine San Pablo storefront, ØGAARD challenges notions of what actually belongs in a “textile-focused gallery” (sometimes sculptures, sometimes ceramics). It’s also a hub of creative activity; along with exhibitions that tread that delicious line between craft and art, Watson organizes workshops covering everything from loom weaving to butter knife carving about once a month. Oakland artist Alice Wiese starts off the new year with a show of embroidery work opening Jan. 24.\u003c/p>\n\u003ch2>Lake Merritt BART\u003c/h2>\n\u003cfigure id=\"attachment_10304239\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10304239\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/quality-auto-service-1-IMG_4162.jpg\" alt=\"Kathy Sloane, from <b>Gardens, Garages and Garbage Cans</b>, 2014; Courtesy Random Parts, Oakland\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/quality-auto-service-1-IMG_4162.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/quality-auto-service-1-IMG_4162-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kathy Sloane, from \u003cb>Gardens, Garages and Garbage Cans\u003c/b>, 2014; Courtesy Random Parts, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>Random Parts\u003c/h3>\n\u003ch5>1206 13th Ave.\u003cbr>\n\u003ca href=\"http://www.randomparts.org/\" target=\"_blank\" rel=\"noopener\">randomparts.org\u003c/a>\u003c/h5>\n\u003cp>While Random Parts stretches the BART-able conditions of this list a bit (prepare for a 20 minute walk from the Lake Merritt stop), it’s well worth the journey to this small artist-run space. One year into their programming, they’ve hosted an artist-in-residence from Spain, facilitated a neighborhood mural, exhibited photographs of ad hoc local planters and showed drawings by Bay Area conceptual artist Lowell Darling, to name a few. Their mission, to intermingle international, local, well-known, self-taught and underexposed artists, is true to their name. Except in this case, the “random” parts are always, unexpectedly, the parts you didn’t know you were looking for. Their 2015 season starts off February with paintings by Colleen Flaherty.\u003c/p>\n\u003cfigure id=\"attachment_10304236\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10304236\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Our-Ascent_Diptych.jpg\" alt=\"Kristine Eudey, <i>Our Ascent Yields to a Contour</i>, 2014; Courtesy the artist\" width=\"640\" height=\"299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Our-Ascent_Diptych.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Our-Ascent_Diptych-400x186.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kristine Eudey, \u003ci>Our Ascent Yields to a Contour\u003c/i>, 2014; Courtesy the artist\u003c/figcaption>\u003c/figure>\n\u003ch3>Backstock Gallery\u003c/h3>\n\u003ch5>3231 Grand Ave.\u003cbr>\n\u003ca href=\"http://www.oakcommon.com/pages/backstock-gallery\" target=\"_blank\" rel=\"noopener\">oakcommon.com/pages/backstock-gallery\u003c/a>\u003c/h5>\n\u003cp>Since we’ve already strayed from the BART map, the pleasant stroll to Backstock Gallery won’t bother you one bit. Whether you choose to orbit Lake Merritt clockwise or counterclockwise, you’ll wind up just across the street from the picturesque Grand Lake Theatre on a strip full of diversions. Backstock is tucked in the two back rooms of Oak Common, a retail store with a highly curated selection of clothing, accessories, fancy soaps and plant koozies. Operating since Sept. 2013, the gallery shows local and formerly local artists (Lauren Douglas, Anzfer Farms, Simon Pyle), dedicated to the “under-represented genres” of film, video, installation and experimental work. Next up: an exhibition of photographs by recent CCA MFA alum Kristine Eudey, opening Jan. 25.\u003c/p>\n\u003ch2>Anywhere!\u003c/h2>\n\u003cfigure id=\"attachment_10304107\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10304107\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/DGW_Four-Generations-825x417.jpg\" alt=\"Doug Garth Williams, <i>Four Generations</i>, 2012; Courtesy Block Gallery\" width=\"640\" height=\"323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/DGW_Four-Generations-825x417.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/DGW_Four-Generations-825x417-400x201.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Doug Garth Williams, \u003ci>Four Generations\u003c/i>, 2012; Courtesy Block Gallery\u003c/figcaption>\u003c/figure>\n\u003ch3>BLOCK GALLERY\u003c/h3>\n\u003cp>\u003c/p>\n\u003ch5>\u003ca href=\"http://www.block-gallery.com/\" target=\"_blank\" rel=\"noopener\">block-gallery.com\u003c/a>\u003c/h5>\n\u003cp>BLOCK GALLERY could be anywhere, but chances are it’s somewhere BART friendly. This site-specific exhibition program, run by Director Lacey Haslam, negotiates alternative spaces for exhibitions, forging partnerships with local businesses and filling more than just empty storefronts with art. Most recently, Haslam organized \u003cb>Resource\u003c/b>, with the work of seven artists in eight public window spaces along Old Oakland’s Ninth Street. Prior to that, you might have noticed the text pieces by Kari Marboe alongside the Latham Memorial Fountain. Currently on view: a solo show by painter Anna Valdez inside Inspired Life Chiropractic, and a two-person exhibition with Valdez and Sacramento-based Andrew L. Rogers at Domain Apartments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "pulitzer-prize-winning-cartoonist-reflects-on-the-charlie-hebdo-attacks",
"title": "Pulitzer Prize-winning Cartoonist Reflects on 'Charlie Hebdo' Attacks",
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"headTitle": "Pulitzer Prize-winning Cartoonist Reflects on ‘Charlie Hebdo’ Attacks | KQED",
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"content": "\u003cp>I first heard about the attacks on the \u003cem>Charlie Hebdo\u003c/em> cartoonists early in the morning while juggling my two kids at breakfast. My wife and I spoke in hushed tones and spelled out words in front of the kids. I want to keep this sort of awfulness from them as long as possible. Our oldest knows I’m a cartoonist, and suddenly, cartoonists getting killed was the top story on every news outlet.\u003c/p>\n\u003cp>While I have the luxury of living and working in the United States, where thankfully free speech is revered, the attacks in Paris definitely put the “what if?” in the back of my head.\u003c/p>\n\u003cp>No time for that, I had to contact my political cartoonist friends around the country to see if they had any news or knew any of the cartoonists at \u003cem>Charlie Hebdo\u003c/em>. It didn’t take long to hear stories of palling around with these guys or having beers with them, and now they were dead, targeted by terrorists for their cartoons.\u003c/p>\n\u003cp>Imagine your grandfather or an older uncle who can draw and make people laugh. They’re fun at parties and have an interesting, weird job. That describes many of the cartoonists I know, and seems to apply to the cartoonists killed at \u003cem>Charlie Hebdo\u003c/em>. (Three of the cartoonists who were killed were \u003ca href=\"http://www.theguardian.com/world/2015/jan/07/cartoonists-victims-charlie-hebdo-attack\" target=\"_blank\" rel=\"noopener\">over 70 years old\u003c/a>.)\u003c/p>\n\u003cp>I don’t want to minimize the senseless killing of the other non-cartoonists, but it was the cartoonists who led the crazed gunmen to attack the \u003cem>Charlie Hebdo\u003c/em> offices that day. They did it because of the cartoons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So, should we take a closer look at the content and offensive nature of some of those \u003ca href=\"http://www.charliehebdo.fr/\" target=\"_blank\" rel=\"noopener\">cartoons\u003c/a>? Should we dig deeper into the \u003ca href=\"http://www.nytimes.com/2015/01/14/world/europe/new-charlie-hebdo-has-muhammad-cartoon.html\" target=\"_blank\" rel=\"noopener\">cultural differences\u003c/a> that caused people to react so violently? Should we investigate whether these cartoons \u003ca href=\"https://firstlook.org/theintercept/2015/01/09/solidarity-charlie-hebdo-cartoons/\" target=\"_blank\" rel=\"noopener\">crossed a line\u003c/a> that shouldn’t be crossed?\u003c/p>\n\u003cp>No. You do not kill people because your feelings were hurt. Period.\u003c/p>\n\u003cp>More than feelings being hurt, were these cartoons “blasphemy?” \u003ca href=\"http://www.nytimes.com/2015/01/15/world/attack-prompts-debate-on-the-roots-of-muslim-objection-to-image-making-.html?_r=0\" target=\"_blank\" rel=\"noopener\">Perhaps\u003c/a>, depending on who you ask. Sure, the Koran \u003ca href=\"http://www.newsweek.com/koran-does-not-forbid-images-prophet-298298\" target=\"_blank\" rel=\"noopener\">discourages\u003c/a> making images of divine figures, but this is in the context of preventing idol worship. Did these terrorists really worry people would worship the cartoon images in \u003cem>Charlie Hebdo\u003c/em>? After all, that’s why the Koran mentions the dangers of making images.\u003c/p>\n\u003cp>Of course, their worry is probably that Muhammad is being disrespected or mocked, but who gets to decide what is in good fun and what is cruel, blasphemous mocking? The guy with the AK-47, apparently. \u003c/p>\n\u003cp>Even if cartoons or other images depict Muhammad, the Koran does not call for punishing the creators of these images with death—that is the guy with the AK-47’s interpretation of Islam’s most holy text. \u003c/p>\n\u003cp>You see the dangerous rabbit hole we go down when we try to critique cartoons based on the interpretations of madmen, for that is what these terrorists really are. We shouldn’t second-guess cartoons based on a violent extremist’s interpretation of a 1,400-year-old holy book. That would be like altering federal legislation in the United States lest it offend the guy who \u003ca href=\"http://www.cnn.com/2015/01/13/politics/john-boehner-bartender-poison/\" target=\"_blank\" rel=\"noopener\">thinks he’s Jesus\u003c/a> and wants to poison John Boehner. \u003c/p>\n\u003cp>Yes, if there was no racism in France, peace in the Middle East and happy well-adjusted people everywhere, the Paris attacks may not have happened. But rather than avenging years of colonialism in the Middle East, fighting discrimination in France and defending the Prophet Muhammad, methinks these killers wanted to be bigger than they really were and do it the easy way. What’s easier than shooting up a bunch of high-profile old cartoonists?\u003c/p>\n\u003cp>Since editing cartoons and limiting speech based on the unintelligible demands of the confused and violent mind of an Islamic extremist is so ridiculous, what about the vast majority of Muslims who are moderate, some of who may be offended by cartoons?\u003c/p>\n\u003cp>Let them be offended. \u003c/p>\n\u003cp>Sorry, but many cartoons are intended to offend. While I would not create work like the Danish Muhammad cartoons or those appearing in \u003cem>Charlie Hebdo\u003c/em> (my cartoons depicting Muhammad are a \u003ca href=\"http://youtu.be/Tyl2bPqmjoI\" target=\"_blank\" rel=\"noopener\">little more\u003c/a>, um, \u003ca href=\"http://youtu.be/9W5tAMKHwS8\" target=\"_blank\" rel=\"noopener\">subtle\u003c/a>), I firmly stand by their right to create those cartoons, as ham-fisted and goofy as they are.\u003cbr>\nStrangely enough, I think one of the best \u003ca href=\"http://www.theguardian.com/world/2006/aug/20/iran.israel\" target=\"_blank\" rel=\"noopener\">responses\u003c/a> to the Danish Muhammad cartoons came from the Iranian newspaper \u003cem>Hamshahri\u003c/em>, which launched their “International Holocaust Cartoon Competition” in 2006. Yes, the cartoon competition was all about Holocaust denial, and the cartoons were anti-Semitic and vile. But I’ll take a war of ideas and cartoons anytime over actual violence. Let’s fight speech with more speech!\u003c/p>\n\u003cp>One thing most people don’t know is that attacks on cartoonists happen all the time. I’ve become involved with \u003ca href=\"http://cartoonistsrights.org/\" target=\"_blank\" rel=\"noopener\">Cartoonists Rights Network International\u003c/a>, a group that shines a light on cartoonists around the world who have been attacked, imprisoned or killed. I have become friends with many cartoonists who have had to hide out from thugs, been jailed or beaten—inspiring men and women who continue to draw cartoons under threat of lawsuits, physical attacks or death. \u003c/p>\n\u003cp>My hope is that the power of cartoons—and conversely the attacks on powerful cartoons—receive more attention after the \u003cem>Charlie Hebdo\u003c/em> attacks.\u003c/p>\n\u003cp>Even though it may not always seem like it, the pen (or pencil, or brush, or computer) really is mightier than the sword. Five million copies of \u003cem>Charlie Hebdo\u003c/em> and inspired cartoonists around the world—now we know who gets the last laugh.\u003c/p>\n\u003cp>–\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mark Fiore is a flash-animation editorial cartoonist working in San Francisco. His \u003ca href=\"https://www.markfiore.com/\" target=\"_blank\" rel=\"noopener\">website\u003c/a> hosts voicemails from irate readers threatening him on a regular basis. He is the recipient of the 2010 Pulitzer Prize for editorial cartooning. Follow him on Twitter at \u003ca href=\"https://twitter.com/markfiore\" target=\"_blank\" rel=\"noopener\">@MarkFiore\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Mark Fiore, longtime Bay Area political cartoonist, takes a closer look at the attacks in Paris; what they mean to him personally and to the future of satire.",
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"title": "Pulitzer Prize-winning Cartoonist Reflects on 'Charlie Hebdo' Attacks | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I first heard about the attacks on the \u003cem>Charlie Hebdo\u003c/em> cartoonists early in the morning while juggling my two kids at breakfast. My wife and I spoke in hushed tones and spelled out words in front of the kids. I want to keep this sort of awfulness from them as long as possible. Our oldest knows I’m a cartoonist, and suddenly, cartoonists getting killed was the top story on every news outlet.\u003c/p>\n\u003cp>While I have the luxury of living and working in the United States, where thankfully free speech is revered, the attacks in Paris definitely put the “what if?” in the back of my head.\u003c/p>\n\u003cp>No time for that, I had to contact my political cartoonist friends around the country to see if they had any news or knew any of the cartoonists at \u003cem>Charlie Hebdo\u003c/em>. It didn’t take long to hear stories of palling around with these guys or having beers with them, and now they were dead, targeted by terrorists for their cartoons.\u003c/p>\n\u003cp>Imagine your grandfather or an older uncle who can draw and make people laugh. They’re fun at parties and have an interesting, weird job. That describes many of the cartoonists I know, and seems to apply to the cartoonists killed at \u003cem>Charlie Hebdo\u003c/em>. (Three of the cartoonists who were killed were \u003ca href=\"http://www.theguardian.com/world/2015/jan/07/cartoonists-victims-charlie-hebdo-attack\" target=\"_blank\" rel=\"noopener\">over 70 years old\u003c/a>.)\u003c/p>\n\u003cp>I don’t want to minimize the senseless killing of the other non-cartoonists, but it was the cartoonists who led the crazed gunmen to attack the \u003cem>Charlie Hebdo\u003c/em> offices that day. They did it because of the cartoons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So, should we take a closer look at the content and offensive nature of some of those \u003ca href=\"http://www.charliehebdo.fr/\" target=\"_blank\" rel=\"noopener\">cartoons\u003c/a>? Should we dig deeper into the \u003ca href=\"http://www.nytimes.com/2015/01/14/world/europe/new-charlie-hebdo-has-muhammad-cartoon.html\" target=\"_blank\" rel=\"noopener\">cultural differences\u003c/a> that caused people to react so violently? Should we investigate whether these cartoons \u003ca href=\"https://firstlook.org/theintercept/2015/01/09/solidarity-charlie-hebdo-cartoons/\" target=\"_blank\" rel=\"noopener\">crossed a line\u003c/a> that shouldn’t be crossed?\u003c/p>\n\u003cp>No. You do not kill people because your feelings were hurt. Period.\u003c/p>\n\u003cp>More than feelings being hurt, were these cartoons “blasphemy?” \u003ca href=\"http://www.nytimes.com/2015/01/15/world/attack-prompts-debate-on-the-roots-of-muslim-objection-to-image-making-.html?_r=0\" target=\"_blank\" rel=\"noopener\">Perhaps\u003c/a>, depending on who you ask. Sure, the Koran \u003ca href=\"http://www.newsweek.com/koran-does-not-forbid-images-prophet-298298\" target=\"_blank\" rel=\"noopener\">discourages\u003c/a> making images of divine figures, but this is in the context of preventing idol worship. Did these terrorists really worry people would worship the cartoon images in \u003cem>Charlie Hebdo\u003c/em>? After all, that’s why the Koran mentions the dangers of making images.\u003c/p>\n\u003cp>Of course, their worry is probably that Muhammad is being disrespected or mocked, but who gets to decide what is in good fun and what is cruel, blasphemous mocking? The guy with the AK-47, apparently. \u003c/p>\n\u003cp>Even if cartoons or other images depict Muhammad, the Koran does not call for punishing the creators of these images with death—that is the guy with the AK-47’s interpretation of Islam’s most holy text. \u003c/p>\n\u003cp>You see the dangerous rabbit hole we go down when we try to critique cartoons based on the interpretations of madmen, for that is what these terrorists really are. We shouldn’t second-guess cartoons based on a violent extremist’s interpretation of a 1,400-year-old holy book. That would be like altering federal legislation in the United States lest it offend the guy who \u003ca href=\"http://www.cnn.com/2015/01/13/politics/john-boehner-bartender-poison/\" target=\"_blank\" rel=\"noopener\">thinks he’s Jesus\u003c/a> and wants to poison John Boehner. \u003c/p>\n\u003cp>Yes, if there was no racism in France, peace in the Middle East and happy well-adjusted people everywhere, the Paris attacks may not have happened. But rather than avenging years of colonialism in the Middle East, fighting discrimination in France and defending the Prophet Muhammad, methinks these killers wanted to be bigger than they really were and do it the easy way. What’s easier than shooting up a bunch of high-profile old cartoonists?\u003c/p>\n\u003cp>Since editing cartoons and limiting speech based on the unintelligible demands of the confused and violent mind of an Islamic extremist is so ridiculous, what about the vast majority of Muslims who are moderate, some of who may be offended by cartoons?\u003c/p>\n\u003cp>Let them be offended. \u003c/p>\n\u003cp>Sorry, but many cartoons are intended to offend. While I would not create work like the Danish Muhammad cartoons or those appearing in \u003cem>Charlie Hebdo\u003c/em> (my cartoons depicting Muhammad are a \u003ca href=\"http://youtu.be/Tyl2bPqmjoI\" target=\"_blank\" rel=\"noopener\">little more\u003c/a>, um, \u003ca href=\"http://youtu.be/9W5tAMKHwS8\" target=\"_blank\" rel=\"noopener\">subtle\u003c/a>), I firmly stand by their right to create those cartoons, as ham-fisted and goofy as they are.\u003cbr>\nStrangely enough, I think one of the best \u003ca href=\"http://www.theguardian.com/world/2006/aug/20/iran.israel\" target=\"_blank\" rel=\"noopener\">responses\u003c/a> to the Danish Muhammad cartoons came from the Iranian newspaper \u003cem>Hamshahri\u003c/em>, which launched their “International Holocaust Cartoon Competition” in 2006. Yes, the cartoon competition was all about Holocaust denial, and the cartoons were anti-Semitic and vile. But I’ll take a war of ideas and cartoons anytime over actual violence. Let’s fight speech with more speech!\u003c/p>\n\u003cp>One thing most people don’t know is that attacks on cartoonists happen all the time. I’ve become involved with \u003ca href=\"http://cartoonistsrights.org/\" target=\"_blank\" rel=\"noopener\">Cartoonists Rights Network International\u003c/a>, a group that shines a light on cartoonists around the world who have been attacked, imprisoned or killed. I have become friends with many cartoonists who have had to hide out from thugs, been jailed or beaten—inspiring men and women who continue to draw cartoons under threat of lawsuits, physical attacks or death. \u003c/p>\n\u003cp>My hope is that the power of cartoons—and conversely the attacks on powerful cartoons—receive more attention after the \u003cem>Charlie Hebdo\u003c/em> attacks.\u003c/p>\n\u003cp>Even though it may not always seem like it, the pen (or pencil, or brush, or computer) really is mightier than the sword. Five million copies of \u003cem>Charlie Hebdo\u003c/em> and inspired cartoonists around the world—now we know who gets the last laugh.\u003c/p>\n\u003cp>–\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mark Fiore is a flash-animation editorial cartoonist working in San Francisco. His \u003ca href=\"https://www.markfiore.com/\" target=\"_blank\" rel=\"noopener\">website\u003c/a> hosts voicemails from irate readers threatening him on a regular basis. He is the recipient of the 2010 Pulitzer Prize for editorial cartooning. Follow him on Twitter at \u003ca href=\"https://twitter.com/markfiore\" target=\"_blank\" rel=\"noopener\">@MarkFiore\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "local-artists-discuss-the-place-of-healing-artwork-in-black-lives",
"title": "Local Artists Discuss the Place of Healing Artwork in Black Lives",
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"headTitle": "Local Artists Discuss the Place of Healing Artwork in Black Lives | KQED",
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"content": "\u003cp>Inequality and police brutality aren’t exactly new, but social media is. And in reaction to the recent spate of killings of unarmed black men, which have been well-documented by smartphones and online sharing, society is once again revisiting the issue of racism. The feelings of grief and frustration among black youth and those in solidarity can be seen in the #BlackLivesMatter movement, which has brought millions of people together in protest of police violence.\u003c/p>\n\u003cp>Sometimes, \u003ca href=\"http://ww2.kqed.org/news/2014/12/19/Berkeley-businesses-respond-michael-brown-protests-black-lives-matter\">certain aspects of street protests\u003c/a> stray from the core idea of what it means to be young and black in America. But a handful of local artists are taking back that idea by creating a space—through their art—to heal from the systemic racism that breeds fear, self-doubt and self-hatred within black communities.\u003c/p>\n\u003cfigure id=\"attachment_10287334\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_mng1s1r9Uk1qjzkeqo1_1280.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10287334 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_mng1s1r9Uk1qjzkeqo1_1280.png\" alt=\"tumblr_mng1s1r9Uk1qjzkeqo1_1280\" width=\"300\" height=\"220\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amir Aziz, 21: “I want to actually tell the story of what happened at the moment for us now and for later too.” (Photo credit: Kristian Contreras/Youthful Kinfolk)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://amiraziz.me/\">Amir Aziz\u003c/a> is a graphic artist, photographer and Oakland native who’s part of the Bay Area art collective \u003ca href=\"http://youthfulkinfolk.com/\">Youthful Kinfolk\u003c/a>, a group of young people interested in pushing Bay Area art and culture further. Aziz chronicles the movements that sprout from the deaths and resulting trials of unarmed black men, putting them together in a “collection of unity.” His collection demonstrates how Oakland’s young people of color interact with various events happening all over the nation. “I go to these events and I document them, and I want to share that with everyone—share what you miss when you’re not in this part of Oakland that you may not be too comfortable with,” Aziz says.\u003c/p>\n\u003cfigure id=\"attachment_10287336\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10287336 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280-400x509.jpg\" alt=\"tumblr_n233f9OtQ51rjhvsdo1_1280\" width=\"400\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280-400x509.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280-471x600.jpg 471w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280-927x1180.jpg 927w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amir Aziz, \u003cem>Portrait of a Potential Black Girl\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>He also focuses on photo manipulation inspired by \u003ca href=\"http://www.ebony.com/entertainment-culture/black-alt-enter-afrofuturism-999#axzz3OJd7yEVe\">Afrofuturism\u003c/a>, the movement of black sci-fi and fantasy culture born in the late 1970s (think Parliament, Sun Ra, Octavia Butler and, more recently, Janelle Monáe).\u003c/p>\n\u003cp>If approached at random on the street and asked, “Are the lives of black people just as important as the lives of white people?,” most people would likely say yes. Yet at the same time, young black children all over America struggle to find positive role models and depictions of themselves in the media. How are they supposed to plan a future? That’s where Afrofuturism comes in.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Aziz’s work projects a positive future for black people, outside of the stereotypical box. “I just like projecting so-called blackness in the past, present and future,” he says. “I like to look toward our future and create realisms for us and alternatives.”\u003c/p>\n\u003cp>As Aziz says, “We may not always have [healing spaces] or know where to find them, or know they exist. I think art is one of the ways that you can have a healing space.”\u003c/p>\n\u003cp>\u003cem>Find Amir Aziz on Twitter as \u003ca href=\"https://twitter.com/amirazizme\">@amirazizme\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10287457\" class=\"wp-caption alignleft\" style=\"max-width: 276px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/10608321_1555651857986019_1303018795844505660_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10287457\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/10608321_1555651857986019_1303018795844505660_o-400x457.jpg\" alt=\"Lady Rose\" width=\"276\" height=\"315\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Roselyn Berry, 30, “All my work is political regardless of the subject matter, it always comes from a political lens of how we’re unified and how we’re liberated and using creative expression as a tool and a means for social change.”\u003c/figcaption>\u003c/figure>\n\u003cp>Writer and spoken-word artist Roselyn Berry, a.k.a. \u003ca href=\"http://www.revolutionarywords.com/\">Lady Rose\u003c/a>, has dedicated her life to uplifting African American communities. She’s been involved in social justice work for the last 14 years—11 of those in Boston, where she marched in solidarity for Oscar Grant, and three in the Bay Area.\u003c/p>\n\u003cp>“Having to see your folks be dehumanized and murdered over and over and over again, it’s just overly traumatizing and it’s difficult,” Berry says. “As an artist, it’s both what drives me to want to produce and it’s also what makes me feel like I can’t produce. It’s so personal, and it takes you to a place where I think sometimes my brain can’t even be creative, because it’s just too hard to deal with the reality of it.”\u003c/p>\n\u003cp>She struggled to write her piece titled “Hands Up, Don’t Shoot” right after Michael Brown was killed. It’s one of the only pieces she’s released to the public since. The overwhelming reality of the situation made it difficult for her to open up and channel the raw frustration and rage she felt into her writing.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=xe8GtqKzdds]\u003c/p>\n\u003cp>Nevertheless, Berry forces herself to write in such moments of urgency, because it enables black people to tell their stories and heal.\u003c/p>\n\u003cp>“Any time a life is lost, especially when it’s a life of a black or brown person, whether I knew them or not, it feels personal to me,” she explains. “Because we’ve lost someone from our community. Because we’ve lost another soldier. Because we’ve lost another warrior. And regardless of whatever judgements folks had about how those people lived their lives or whatever decisions they made—which none of us really know anyways—it’s still another life.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/173264661″]\u003c/p>\n\u003cp>As a social justice worker, Berry is familiar with the issues that over-policing causes in black communities, but it doesn’t stop the hurt. She wants to see more at the rallies, protests and marches. Not just chanting or spoken word, but full ceremony, song and dance. “We’ve gotten to a point where we start to view creative expression as an accessory to the movement, or as something that we integrate as opposed to a centerpiece,” she says. “I’d like to see us start to recognize that freedom of expression has always been a tactic that our folks have used to come together around, and we don’t do enough of it.”\u003c/p>\n\u003cp>\u003cem>Find Roselyn Berry on Facebook as \u003ca href=\"https://www.facebook.com/pages/Lady-Rose/1555648477986357?fref=nf\">Lady Rose\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10288514\" class=\"wp-caption alignleft\" style=\"max-width: 301px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/RS13961_Screen-Shot-2015-01-09-at-10.44.52-AM.png-alt_219-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10288514\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/RS13961_Screen-Shot-2015-01-09-at-10.44.52-AM.png-alt_219-1-400x279.png\" alt=\"Adimu Madyun is the healer and facilitator of DeterminiNation \" width=\"301\" height=\"210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/RS13961_Screen-Shot-2015-01-09-at-10.44.52-AM.png-alt_219-1-400x279.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/RS13961_Screen-Shot-2015-01-09-at-10.44.52-AM.png-alt_219-1.png 782w\" sizes=\"(max-width: 301px) 100vw, 301px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Adimu Madyun says the best way to protest is to be in alignment mentally, physically, spiritually and emotionally.\u003c/figcaption>\u003c/figure>\n\u003cp>A traditionally successful access point for black communities is hip-hop, an artistic space of healing, political engagement and success—particularly for black folks. \u003ca href=\"http://www.determinationmedia.org/\">DetermiNation\u003c/a> is a black men’s group affiliated with \u003ca href=\"http://unitedrootsoakland.org/\">United Roots Oakland\u003c/a>. The group gives young men ages 19-26 a space to learn, to heal from the trauma of lives characterized by poverty and drugs, and to focus on what they want to affirm in their future as opposed to what their life is about in the present.\u003c/p>\n\u003cp>For the men of DetermiNation, the death of a peer is nothing new. It’s part of the daily struggle that’s plagued African-American communities for centuries.\u003c/p>\n\u003cp>Group facilitator Adimu Madyun encourages the men of DetermiNation to focus on improving themselves mentally, physically, spiritually and emotionally through art. To Madyun, music is an integral part. He also tells his men not to get too deep into protests and instead focus on empowering themselves first, so as to make their families, organizations and communities strong.\u003c/p>\n\u003cp>“The world of the protests can be very confusing, because they get out there and march with all kinds of people, and then they realize they still have nothing,” Madyun says. “When the protests are done, they are still on the street.”\u003c/p>\n\u003cp>When first creating music, many of the men in DetermiNation rap and sing about “terrible stuff,” Madyun says, citing sexism, violence and drugs—subjects more ‘ratchet’ than political. But Madyun lets them work through that, and then provides them with a solution. “You have to talk and teach and sell what social responsibility is, he says. “You have to get them excited about being responsible.”\u003c/p>\n\u003cp>DetermiNation provides an environment for men to critique one another and show love in order to get to the next stage of creating art with a social message. In the song “Living Wealthy,” for example, Madyun raps about healing the men, as the others rap about seeing their community overcome racial and economic inequality.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/140436882″]\u003c/p>\n\u003cp>\u003cem>Find DetermiNation on Twitter as \u003ca href=\"https://twitter.com/DetermiNationMG\">@DetermiNationMG\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10287474\" class=\"wp-caption alignleft\" style=\"max-width: 237px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_nfpjd2Ephe1qzodk2o1_400-e1420798083625.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10287474\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_nfpjd2Ephe1qzodk2o1_400-e1420798083625.jpg\" alt=\"(Photo Credit: Arturo Torres/atorresphoto.com) \" width=\"237\" height=\"237\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">IAMSU!: “It’s necessary for us to voice our opinions and speak up, because if we don’t then they’ll think they can just walk all over us.” (Photo: Arturo Torres)\u003c/figcaption>\u003c/figure>\n\u003cp>Richmond hip-hop artist Sudan Williams, a.k.a. \u003ca href=\"http://hbkiamsu.com/\">IAMSU!\u003c/a>, was a youth leader before he started making music full-time—and now he’s got the ear of the people. As a talented rapper and producer whose social media game is on point, Su’s following expands well beyond the Bay Area and the United States.\u003c/p>\n\u003cp>Su’s at that artistic sweet spot: on the creative come-up, but not too good for his mom’s house in Pinole. “I come here and I have to deal with the problems that go on here,” he explains, “so this is what directly affects me. So I consider myself a local artist, the things that I convey in my music are all things that I’ve seen living out here.”\u003c/p>\n\u003cp>As a musician, he’s been making music with good vibes. But the momentous energy of recent events within the black community have him thinking about the type of artist he wants to be. Normally, he just reports his experience as a young black man, be it the struggle of his peers or simply being in the club. But “lately I’ve been having a conflict of what I talk about in my music, just because of these things that are going on,” he reports. “I’ve been having trouble approaching things the way that I used to. I know I need to be more attentive to what I’m actually saying in my music, and I want people to take [away] something of value.”\u003c/p>\n\u003cp>His debut album \u003cem>Sincerely Yours\u003c/em> came out in May of last year. The song “Problems” touches on the issue of black people’s struggles, such as enduring the world’s limited historical perspective on black lives, obstacles to buying real estate, and more.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=orYme0D5yJw&w=560&h=315]\u003c/p>\n\u003cp>Ironically, Su’s hesitant about being too political and preachy in his music. His place of healing comes primarily through conducting toy- and backpack-collection drives in Oakland. Su’s challenge is in how he can lead people away from fear and self-hatred while growing as an artist that’s true to himself and his own personal progression.\u003c/p>\n\u003cp>Or, as he puts it: “The generation that I cater to isn’t really receptive to being just badgered and harassed with a message, you know?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Find IAMSU! on Twitter at \u003ca href=\"https://twitter.com/IAMSU\">@IAMSU\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Talking with young Bay Area artists and cultural scenemakers about art's healing power in the #BlackLivesMatter movement; featuring IAMSU!, Amir Aziz, Lady Rose and DetermiNation.\r\n\r\n",
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"title": "Local Artists Discuss the Place of Healing Artwork in Black Lives | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inequality and police brutality aren’t exactly new, but social media is. And in reaction to the recent spate of killings of unarmed black men, which have been well-documented by smartphones and online sharing, society is once again revisiting the issue of racism. The feelings of grief and frustration among black youth and those in solidarity can be seen in the #BlackLivesMatter movement, which has brought millions of people together in protest of police violence.\u003c/p>\n\u003cp>Sometimes, \u003ca href=\"http://ww2.kqed.org/news/2014/12/19/Berkeley-businesses-respond-michael-brown-protests-black-lives-matter\">certain aspects of street protests\u003c/a> stray from the core idea of what it means to be young and black in America. But a handful of local artists are taking back that idea by creating a space—through their art—to heal from the systemic racism that breeds fear, self-doubt and self-hatred within black communities.\u003c/p>\n\u003cfigure id=\"attachment_10287334\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_mng1s1r9Uk1qjzkeqo1_1280.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10287334 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_mng1s1r9Uk1qjzkeqo1_1280.png\" alt=\"tumblr_mng1s1r9Uk1qjzkeqo1_1280\" width=\"300\" height=\"220\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amir Aziz, 21: “I want to actually tell the story of what happened at the moment for us now and for later too.” (Photo credit: Kristian Contreras/Youthful Kinfolk)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://amiraziz.me/\">Amir Aziz\u003c/a> is a graphic artist, photographer and Oakland native who’s part of the Bay Area art collective \u003ca href=\"http://youthfulkinfolk.com/\">Youthful Kinfolk\u003c/a>, a group of young people interested in pushing Bay Area art and culture further. Aziz chronicles the movements that sprout from the deaths and resulting trials of unarmed black men, putting them together in a “collection of unity.” His collection demonstrates how Oakland’s young people of color interact with various events happening all over the nation. “I go to these events and I document them, and I want to share that with everyone—share what you miss when you’re not in this part of Oakland that you may not be too comfortable with,” Aziz says.\u003c/p>\n\u003cfigure id=\"attachment_10287336\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10287336 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280-400x509.jpg\" alt=\"tumblr_n233f9OtQ51rjhvsdo1_1280\" width=\"400\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280-400x509.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280-471x600.jpg 471w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280-927x1180.jpg 927w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/tumblr_n233f9OtQ51rjhvsdo1_1280.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amir Aziz, \u003cem>Portrait of a Potential Black Girl\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>He also focuses on photo manipulation inspired by \u003ca href=\"http://www.ebony.com/entertainment-culture/black-alt-enter-afrofuturism-999#axzz3OJd7yEVe\">Afrofuturism\u003c/a>, the movement of black sci-fi and fantasy culture born in the late 1970s (think Parliament, Sun Ra, Octavia Butler and, more recently, Janelle Monáe).\u003c/p>\n\u003cp>If approached at random on the street and asked, “Are the lives of black people just as important as the lives of white people?,” most people would likely say yes. Yet at the same time, young black children all over America struggle to find positive role models and depictions of themselves in the media. How are they supposed to plan a future? That’s where Afrofuturism comes in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aziz’s work projects a positive future for black people, outside of the stereotypical box. “I just like projecting so-called blackness in the past, present and future,” he says. “I like to look toward our future and create realisms for us and alternatives.”\u003c/p>\n\u003cp>As Aziz says, “We may not always have [healing spaces] or know where to find them, or know they exist. I think art is one of the ways that you can have a healing space.”\u003c/p>\n\u003cp>\u003cem>Find Amir Aziz on Twitter as \u003ca href=\"https://twitter.com/amirazizme\">@amirazizme\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10287457\" class=\"wp-caption alignleft\" style=\"max-width: 276px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/10608321_1555651857986019_1303018795844505660_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10287457\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/10608321_1555651857986019_1303018795844505660_o-400x457.jpg\" alt=\"Lady Rose\" width=\"276\" height=\"315\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Roselyn Berry, 30, “All my work is political regardless of the subject matter, it always comes from a political lens of how we’re unified and how we’re liberated and using creative expression as a tool and a means for social change.”\u003c/figcaption>\u003c/figure>\n\u003cp>Writer and spoken-word artist Roselyn Berry, a.k.a. \u003ca href=\"http://www.revolutionarywords.com/\">Lady Rose\u003c/a>, has dedicated her life to uplifting African American communities. She’s been involved in social justice work for the last 14 years—11 of those in Boston, where she marched in solidarity for Oscar Grant, and three in the Bay Area.\u003c/p>\n\u003cp>“Having to see your folks be dehumanized and murdered over and over and over again, it’s just overly traumatizing and it’s difficult,” Berry says. “As an artist, it’s both what drives me to want to produce and it’s also what makes me feel like I can’t produce. It’s so personal, and it takes you to a place where I think sometimes my brain can’t even be creative, because it’s just too hard to deal with the reality of it.”\u003c/p>\n\u003cp>She struggled to write her piece titled “Hands Up, Don’t Shoot” right after Michael Brown was killed. It’s one of the only pieces she’s released to the public since. The overwhelming reality of the situation made it difficult for her to open up and channel the raw frustration and rage she felt into her writing.\u003c/p>\n\u003cp>\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/xe8GtqKzdds'\n title='//www.youtube.com/embed/xe8GtqKzdds'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Nevertheless, Berry forces herself to write in such moments of urgency, because it enables black people to tell their stories and heal.\u003c/p>\n\u003cp>“Any time a life is lost, especially when it’s a life of a black or brown person, whether I knew them or not, it feels personal to me,” she explains. “Because we’ve lost someone from our community. Because we’ve lost another soldier. Because we’ve lost another warrior. And regardless of whatever judgements folks had about how those people lived their lives or whatever decisions they made—which none of us really know anyways—it’s still another life.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='undefined' height='undefined'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/173264661″&visual=true&undefined'\n title='”https://api.soundcloud.com/tracks/173264661″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As a social justice worker, Berry is familiar with the issues that over-policing causes in black communities, but it doesn’t stop the hurt. She wants to see more at the rallies, protests and marches. Not just chanting or spoken word, but full ceremony, song and dance. “We’ve gotten to a point where we start to view creative expression as an accessory to the movement, or as something that we integrate as opposed to a centerpiece,” she says. “I’d like to see us start to recognize that freedom of expression has always been a tactic that our folks have used to come together around, and we don’t do enough of it.”\u003c/p>\n\u003cp>\u003cem>Find Roselyn Berry on Facebook as \u003ca href=\"https://www.facebook.com/pages/Lady-Rose/1555648477986357?fref=nf\">Lady Rose\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10288514\" class=\"wp-caption alignleft\" style=\"max-width: 301px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/RS13961_Screen-Shot-2015-01-09-at-10.44.52-AM.png-alt_219-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10288514\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/RS13961_Screen-Shot-2015-01-09-at-10.44.52-AM.png-alt_219-1-400x279.png\" alt=\"Adimu Madyun is the healer and facilitator of DeterminiNation \" width=\"301\" height=\"210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/RS13961_Screen-Shot-2015-01-09-at-10.44.52-AM.png-alt_219-1-400x279.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/RS13961_Screen-Shot-2015-01-09-at-10.44.52-AM.png-alt_219-1.png 782w\" sizes=\"(max-width: 301px) 100vw, 301px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Adimu Madyun says the best way to protest is to be in alignment mentally, physically, spiritually and emotionally.\u003c/figcaption>\u003c/figure>\n\u003cp>A traditionally successful access point for black communities is hip-hop, an artistic space of healing, political engagement and success—particularly for black folks. \u003ca href=\"http://www.determinationmedia.org/\">DetermiNation\u003c/a> is a black men’s group affiliated with \u003ca href=\"http://unitedrootsoakland.org/\">United Roots Oakland\u003c/a>. The group gives young men ages 19-26 a space to learn, to heal from the trauma of lives characterized by poverty and drugs, and to focus on what they want to affirm in their future as opposed to what their life is about in the present.\u003c/p>\n\u003cp>For the men of DetermiNation, the death of a peer is nothing new. It’s part of the daily struggle that’s plagued African-American communities for centuries.\u003c/p>\n\u003cp>Group facilitator Adimu Madyun encourages the men of DetermiNation to focus on improving themselves mentally, physically, spiritually and emotionally through art. To Madyun, music is an integral part. He also tells his men not to get too deep into protests and instead focus on empowering themselves first, so as to make their families, organizations and communities strong.\u003c/p>\n\u003cp>“The world of the protests can be very confusing, because they get out there and march with all kinds of people, and then they realize they still have nothing,” Madyun says. “When the protests are done, they are still on the street.”\u003c/p>\n\u003cp>When first creating music, many of the men in DetermiNation rap and sing about “terrible stuff,” Madyun says, citing sexism, violence and drugs—subjects more ‘ratchet’ than political. But Madyun lets them work through that, and then provides them with a solution. “You have to talk and teach and sell what social responsibility is, he says. “You have to get them excited about being responsible.”\u003c/p>\n\u003cp>DetermiNation provides an environment for men to critique one another and show love in order to get to the next stage of creating art with a social message. In the song “Living Wealthy,” for example, Madyun raps about healing the men, as the others rap about seeing their community overcome racial and economic inequality.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='undefined' height='undefined'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/140436882″&visual=true&undefined'\n title='”https://api.soundcloud.com/tracks/140436882″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Find DetermiNation on Twitter as \u003ca href=\"https://twitter.com/DetermiNationMG\">@DetermiNationMG\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10287474\" class=\"wp-caption alignleft\" style=\"max-width: 237px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_nfpjd2Ephe1qzodk2o1_400-e1420798083625.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10287474\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/tumblr_nfpjd2Ephe1qzodk2o1_400-e1420798083625.jpg\" alt=\"(Photo Credit: Arturo Torres/atorresphoto.com) \" width=\"237\" height=\"237\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">IAMSU!: “It’s necessary for us to voice our opinions and speak up, because if we don’t then they’ll think they can just walk all over us.” (Photo: Arturo Torres)\u003c/figcaption>\u003c/figure>\n\u003cp>Richmond hip-hop artist Sudan Williams, a.k.a. \u003ca href=\"http://hbkiamsu.com/\">IAMSU!\u003c/a>, was a youth leader before he started making music full-time—and now he’s got the ear of the people. As a talented rapper and producer whose social media game is on point, Su’s following expands well beyond the Bay Area and the United States.\u003c/p>\n\u003cp>Su’s at that artistic sweet spot: on the creative come-up, but not too good for his mom’s house in Pinole. “I come here and I have to deal with the problems that go on here,” he explains, “so this is what directly affects me. So I consider myself a local artist, the things that I convey in my music are all things that I’ve seen living out here.”\u003c/p>\n\u003cp>As a musician, he’s been making music with good vibes. But the momentous energy of recent events within the black community have him thinking about the type of artist he wants to be. Normally, he just reports his experience as a young black man, be it the struggle of his peers or simply being in the club. But “lately I’ve been having a conflict of what I talk about in my music, just because of these things that are going on,” he reports. “I’ve been having trouble approaching things the way that I used to. I know I need to be more attentive to what I’m actually saying in my music, and I want people to take [away] something of value.”\u003c/p>\n\u003cp>His debut album \u003cem>Sincerely Yours\u003c/em> came out in May of last year. The song “Problems” touches on the issue of black people’s struggles, such as enduring the world’s limited historical perspective on black lives, obstacles to buying real estate, and more.\u003c/p>\n\u003cp>\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/orYme0D5yJw'\n title='//www.youtube.com/embed/orYme0D5yJw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Ironically, Su’s hesitant about being too political and preachy in his music. His place of healing comes primarily through conducting toy- and backpack-collection drives in Oakland. Su’s challenge is in how he can lead people away from fear and self-hatred while growing as an artist that’s true to himself and his own personal progression.\u003c/p>\n\u003cp>Or, as he puts it: “The generation that I cater to isn’t really receptive to being just badgered and harassed with a message, you know?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Find IAMSU! on Twitter at \u003ca href=\"https://twitter.com/IAMSU\">@IAMSU\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Black Comix Art Festival Celebrates the March to Freedom",
"headTitle": "The Black Comix Art Festival Celebrates the March to Freedom | 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/black-comix-art-festival/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Black Comix Art Festival\u003c/h4>\n\u003cdiv class=\"event-desc\">Inaugural celebration with artists, panels and more.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Jan 18-19, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Yerba Buena Gardens\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/black-comix-art-festival/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It’s been two years since mega comic-book convention WonderCon packed up and headed south to Anaheim. And this year, the Alternative Press Expo (APE) returns to San Jose, leaving local comic book lovers without a simple BART ride over to their favorite annual gathering. What’s a comic lover to do, you ask?\u003c/p>\n\u003cp>To start, one can spend two days celebrating the brilliant creativity of comic book artists at the first annual \u003ca href=\"http://bcaf.norcalmlkfoundation.org/\" target=\"_blank\" rel=\"noopener\">Black Comix Art Festival\u003c/a> (BCAF). The festival, a program sponsored by the Northern California Martin Luther King, Jr. Community Foundation, runs Jan. 18-19.\u003c/p>\n\u003cp>“Our overarching goal, our mission, is to celebrate African Americans in the comic arts and popular visual culture,” says Aaron Grizzell, event co-founder and executive director of the Northern California MLK Community Foundation. “Every community who lives in this area, who lives in this state, should be able to see themselves within the culture in which they participate. You ought to be able to see a superhero or see someone you can dream about, that you want to be.”\u003c/p>\n\u003cp>Grizzell and co-founder and comic book artist John Jennings—who also co-founded the annual Black Comic Book Festival in Harlem—hope to provide just that. In the spirit of accessibility, the event is free; what’s more, both BART and MUNI will provide free transportation to attendees around the bay.\u003c/p>\n\u003cp>“We want people of all ages, particularly the young people, when they’re just sort of formulating what their community looks like, to see within this space positive visions of themselves so they can create and be inspired,” says Grizzell.\u003c/p>\n\u003cfigure id=\"attachment_10296201\" class=\"wp-caption alignright\" style=\"max-width: 446px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Afua-Niobe.jpg\" alt=\"Afua Richardson's "Niobe"\" width=\"446\" height=\"409\" class=\"size-full wp-image-10296201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Afua-Niobe.jpg 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Afua-Niobe-400x366.jpg 400w\" sizes=\"(max-width: 446px) 100vw, 446px\">\u003cfigcaption class=\"wp-caption-text\">Afua Richardson’s “Niobe,” from ‘The Untamed’ (Stranger Comics).\u003c/figcaption>\u003c/figure>\n\u003cp>The theme for the inaugural BCAF is “March to Freedom,” commemorating the 50th anniversary of the historic civil-rights march from Selma to Montgomery and the passing of the 1965 Voting Rights Act.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We also see BCAF as being, for some of us who are a little more active in the space, a space where we can open up various conversations that might be a little more difficult than in ‘real life,’” says Grizzell. “Artists in the comic space can create certain types of messages, and because it’s in an animation space, it might be able to open up new conversations.”\u003c/p>\n\u003cp>Those conversations include the representation of women and people of color in the traditionally white, male-dominated culture of comic books, but also the current climate of race, gender and class issues around the country. The organizing committee kept conscious of gender representation with vendors and presenters, and will host a strong presence of celebrated black women artists. Among them are \u003ci>Genius\u003c/i> creator \u003ca href=\"http://www.afuarichardson.info/\" target=\"_blank\" rel=\"noopener\">Afua Richardson\u003c/a>, who has an upcoming digital \u003ci>Wonder Woman\u003c/i> project in the works with DC Comics, and \u003ci>Concrete Park\u003c/i> co-creator \u003ca href=\"http://www.darkhorse.com/Blog/1676/tony-puryear-and-erika-alexanders-concrete-park-re\" target=\"_blank\" rel=\"noopener\">Erika Alexander\u003c/a>. Actress \u003ca href=\"http://www.amandlastenberg.com/\" target=\"_blank\" rel=\"noopener\">Amandla Stenberg\u003c/a> (known to many for her portrayal of Rue in the \u003ci>Hunger Games\u003c/i> films) will be in attendance with her latest comic project, as well.\u003c/p>\n\u003cp>The event will also host panel discussions and presentations specific to the African-American comic world.\u003c/p>\n\u003cp>“We don’t put any restrictions on the subject matter, only that we need to make sure it’s age-appropriate in how we discuss it,” says Grizzell. “We suspect this is going to generate a lot of conversations specific to what is going on in our social milieu.”\u003c/p>\n\u003cp>The panel discussions include a wide array of topics, from self-publishing to media critic \u003ca href=\"http://rutgerspress.rutgers.edu/product/Blacker-the-Ink,5473.aspx\" target=\"_blank\" rel=\"noopener\">Frances Gateward\u003c/a>'s exploration of African-American comics’ impact on pop culture at large. Writer and culture critic \u003ca href=\"http://thenerdsofcolor.org/author/shawntca/\" target=\"_blank\" rel=\"noopener\">Shawn Taylor\u003c/a> will present on “hip-hop, comics and popular culture.” A presentation on police brutality is on the schedule, with \u003ci>K Chronicles\u003c/i> creator \u003ca href=\"http://www.kchronicles.com/\" target=\"_blank\" rel=\"noopener\">Keith Knight\u003c/a> moderating.\u003c/p>\n\u003cp>And let’s not forget the talented lineup of artists presenting their work. In addition to the panelists, other vendors include \u003ci>Blue Marvel\u003c/i>'s \u003ca href=\"https://www.facebook.com/kevin.grevioux\" target=\"_blank\" rel=\"noopener\">Kevin Grevioux\u003c/a>, \u003ci>Black Dynamite\u003c/i> creator \u003ca href=\"http://leseanthomas.com/\" target=\"_blank\" rel=\"noopener\">LeSean Thomas\u003c/a>, and \u003ci>Miranda Mercury\u003c/i> and \u003ci>Voltron\u003c/i> writer \u003ca href=\"http://mirandamercury.com/?tag=brandon-thomas\" target=\"_blank\" rel=\"noopener\">Brandon Thomas\u003c/a>, among many others.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re ecstatic about where we’ve been able to set this up and how it’s been set up,” says Grizzell. “As the head of the foundation, our joy comes from when we see something coming together and how it can have a real impact on the community—not just the target community of African Americans, but the community as a whole—we’re really happy about that.”\u003c/p>\n\n",
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"excerpt": "A talk with the founders of the inaugural Black Comix Art Festival, which runs two days and includes panel discussions, artist presentations and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/black-comix-art-festival/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Black Comix Art Festival\u003c/h4>\n\u003cdiv class=\"event-desc\">Inaugural celebration with artists, panels and more.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Jan 18-19, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Yerba Buena Gardens\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/black-comix-art-festival/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It’s been two years since mega comic-book convention WonderCon packed up and headed south to Anaheim. And this year, the Alternative Press Expo (APE) returns to San Jose, leaving local comic book lovers without a simple BART ride over to their favorite annual gathering. What’s a comic lover to do, you ask?\u003c/p>\n\u003cp>To start, one can spend two days celebrating the brilliant creativity of comic book artists at the first annual \u003ca href=\"http://bcaf.norcalmlkfoundation.org/\" target=\"_blank\" rel=\"noopener\">Black Comix Art Festival\u003c/a> (BCAF). The festival, a program sponsored by the Northern California Martin Luther King, Jr. Community Foundation, runs Jan. 18-19.\u003c/p>\n\u003cp>“Our overarching goal, our mission, is to celebrate African Americans in the comic arts and popular visual culture,” says Aaron Grizzell, event co-founder and executive director of the Northern California MLK Community Foundation. “Every community who lives in this area, who lives in this state, should be able to see themselves within the culture in which they participate. You ought to be able to see a superhero or see someone you can dream about, that you want to be.”\u003c/p>\n\u003cp>Grizzell and co-founder and comic book artist John Jennings—who also co-founded the annual Black Comic Book Festival in Harlem—hope to provide just that. In the spirit of accessibility, the event is free; what’s more, both BART and MUNI will provide free transportation to attendees around the bay.\u003c/p>\n\u003cp>“We want people of all ages, particularly the young people, when they’re just sort of formulating what their community looks like, to see within this space positive visions of themselves so they can create and be inspired,” says Grizzell.\u003c/p>\n\u003cfigure id=\"attachment_10296201\" class=\"wp-caption alignright\" style=\"max-width: 446px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Afua-Niobe.jpg\" alt=\"Afua Richardson's "Niobe"\" width=\"446\" height=\"409\" class=\"size-full wp-image-10296201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Afua-Niobe.jpg 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Afua-Niobe-400x366.jpg 400w\" sizes=\"(max-width: 446px) 100vw, 446px\">\u003cfigcaption class=\"wp-caption-text\">Afua Richardson’s “Niobe,” from ‘The Untamed’ (Stranger Comics).\u003c/figcaption>\u003c/figure>\n\u003cp>The theme for the inaugural BCAF is “March to Freedom,” commemorating the 50th anniversary of the historic civil-rights march from Selma to Montgomery and the passing of the 1965 Voting Rights Act.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We also see BCAF as being, for some of us who are a little more active in the space, a space where we can open up various conversations that might be a little more difficult than in ‘real life,’” says Grizzell. “Artists in the comic space can create certain types of messages, and because it’s in an animation space, it might be able to open up new conversations.”\u003c/p>\n\u003cp>Those conversations include the representation of women and people of color in the traditionally white, male-dominated culture of comic books, but also the current climate of race, gender and class issues around the country. The organizing committee kept conscious of gender representation with vendors and presenters, and will host a strong presence of celebrated black women artists. Among them are \u003ci>Genius\u003c/i> creator \u003ca href=\"http://www.afuarichardson.info/\" target=\"_blank\" rel=\"noopener\">Afua Richardson\u003c/a>, who has an upcoming digital \u003ci>Wonder Woman\u003c/i> project in the works with DC Comics, and \u003ci>Concrete Park\u003c/i> co-creator \u003ca href=\"http://www.darkhorse.com/Blog/1676/tony-puryear-and-erika-alexanders-concrete-park-re\" target=\"_blank\" rel=\"noopener\">Erika Alexander\u003c/a>. Actress \u003ca href=\"http://www.amandlastenberg.com/\" target=\"_blank\" rel=\"noopener\">Amandla Stenberg\u003c/a> (known to many for her portrayal of Rue in the \u003ci>Hunger Games\u003c/i> films) will be in attendance with her latest comic project, as well.\u003c/p>\n\u003cp>The event will also host panel discussions and presentations specific to the African-American comic world.\u003c/p>\n\u003cp>“We don’t put any restrictions on the subject matter, only that we need to make sure it’s age-appropriate in how we discuss it,” says Grizzell. “We suspect this is going to generate a lot of conversations specific to what is going on in our social milieu.”\u003c/p>\n\u003cp>The panel discussions include a wide array of topics, from self-publishing to media critic \u003ca href=\"http://rutgerspress.rutgers.edu/product/Blacker-the-Ink,5473.aspx\" target=\"_blank\" rel=\"noopener\">Frances Gateward\u003c/a>'s exploration of African-American comics’ impact on pop culture at large. Writer and culture critic \u003ca href=\"http://thenerdsofcolor.org/author/shawntca/\" target=\"_blank\" rel=\"noopener\">Shawn Taylor\u003c/a> will present on “hip-hop, comics and popular culture.” A presentation on police brutality is on the schedule, with \u003ci>K Chronicles\u003c/i> creator \u003ca href=\"http://www.kchronicles.com/\" target=\"_blank\" rel=\"noopener\">Keith Knight\u003c/a> moderating.\u003c/p>\n\u003cp>And let’s not forget the talented lineup of artists presenting their work. In addition to the panelists, other vendors include \u003ci>Blue Marvel\u003c/i>'s \u003ca href=\"https://www.facebook.com/kevin.grevioux\" target=\"_blank\" rel=\"noopener\">Kevin Grevioux\u003c/a>, \u003ci>Black Dynamite\u003c/i> creator \u003ca href=\"http://leseanthomas.com/\" target=\"_blank\" rel=\"noopener\">LeSean Thomas\u003c/a>, and \u003ci>Miranda Mercury\u003c/i> and \u003ci>Voltron\u003c/i> writer \u003ca href=\"http://mirandamercury.com/?tag=brandon-thomas\" target=\"_blank\" rel=\"noopener\">Brandon Thomas\u003c/a>, among many others.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re ecstatic about where we’ve been able to set this up and how it’s been set up,” says Grizzell. “As the head of the foundation, our joy comes from when we see something coming together and how it can have a real impact on the community—not just the target community of African Americans, but the community as a whole—we’re really happy about that.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Amateur Photography Gets a Fresh Look from Erik Kessels in 'Secondhand '",
"headTitle": "Amateur Photography Gets a Fresh Look from Erik Kessels in ‘Secondhand ‘ | KQED",
"content": "\u003cp>Erik Kessels is looking at your photos. On your Flickr stream, on your blog, in your family album for sale at the flea market. He plucks them out of the growing mass of images, online and discarded, to discover the unusual beauty of flaws or the unique narratives that build over time through photographs. Kessels is a Dutch designer/curator/artist and the co-founder of communications agency KesselsKramer.\u003c/p>\n\u003cp>Pier24 Photography in San Francisco, one of the largest exhibition spaces for photography in the world, has dedicated three large galleries to Kessels’ explorations of appropriated imagery for the current exhibition, \u003cb>Secondhand\u003c/b>.\u003c/p>\n\u003cp>In one room, a mass of 3×4-inch printed photographs extends from floor to ceiling. Thousands of photographs are piled on top of each other: images of flowers, family gatherings, sports events, landscapes, proms, pets. None are privileged, and the strewn-about quality beckons you to poke through them, which you can. This mountain is the physical manifestation of the magnitude of photographs collectively uploaded in a single day to the image sharing site Flickr. \u003cem>24 Hours in Photos\u003c/em> makes palpable the vigor with which we take and share photographs online. The experience is awe-inducing, unsettling, and at the same time it reveals something that we instinctively understand — there are abundant images online, most of them don’t matter, they are lost in the geological strata of Internet time. As \u003cem>24 Hours in Photos\u003c/em> is a representation of the contemporary condition of vernacular photography, Kessels’ other installation project, \u003cem>Album Beauty\u003c/em>, is an antidote. \u003c/p>\n\u003cfigure id=\"attachment_10280744\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/albumbeauty.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/albumbeauty.jpg\" alt=\"Erik Kessels, Album Beauty Installation view, 2014; Courtesy Pier 24 Photography, San Francisco\" width=\"640\" height=\"465\" class=\"size-full wp-image-10280744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/albumbeauty.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/albumbeauty-400x290.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erik Kessels, \u003ci>Album Beauty\u003c/i> Installation view, 2014; Courtesy Pier 24 Photography, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Album Beauty\u003c/em> also monumentalizes snapshot photography. But here it’s the idiosyncratic manner in which family albums are constructed, from the collaged arrangements to the inclusions of “mistake” photographs, that is brought to our attention. For years Kessels has been collecting discarded family albums at flea markets and antique shops. For the installation, reproductions of individual photographs and full album pages are blown up and made sculptural. This has an \u003cem>Alice in Wonderland\u003c/em> effect as the viewer moves through strangers’ memorialized lives, faded and flawed and colossal. Indeed, \u003cem>Album Beauty\u003c/em> is itself a memorial; Kessels considers the installation to be a celebration of a now-defunct practice. Included in the installation are what appear to be dozens of original albums, stacked and wrapped in twine. The cord impedes the viewer from accessing the tactile quality of the images and the delight of flipping through pages to discover a beautifully strange, collaged composition or an accidental double exposure. We are given those quirky and surreal moments outright. This may be a bit troublesome to those familiar with the pleasures of the “hunt” for that ineffable something of a flea market treasure, but it does in fact correspond to the carefully curated connoisseurship of many photographic blogs. \u003c/p>\n\u003cfigure id=\"attachment_10280746\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/iaep2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/iaep2.jpg\" alt=\"Erik Kessels, in almost every picture, installation view, 2014; Courtesy Pier 24 Photography, San Francisco\" width=\"640\" height=\"427\" class=\"size-full wp-image-10280746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/iaep2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/iaep2-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erik Kessels, \u003ci>in almost every picture\u003c/i>, installation view, 2014; Courtesy Pier 24 Photography, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>In almost every picture\u003c/em> is a third room of Kessels’ work, which contains highlights from his publishing project of the same name. For over ten years Kessels has been producing books of amateur photography through the publishing arm of his communications agency. He explained his process to me this way: “I’m almost like a detective going into these photographs and trying to find certain stories in them. And they might not always be 100% true, but when I put them together and without explaining too much of it, people also make their own stories out of it.” In the exhibition, we see what Kessels sees as he pours over endless images, looking for patterns and anomalies that can generate compelling narratives. Kessels’ editing is particularly successful here and the works are thoughtfully displayed. In the series, \u003cem>in almost every picture #3\u003c/em>, large light boxes illuminate photographs — culled from a hunting website — of deer that have triggered their own portraits by motion sensors. The deer eyes glow from the flash bulb and the light boxes mimic the experience of looking at nature from a radiating computer screen.\u003c/p>\n\u003cfigure id=\"attachment_10280745\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/iaep.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/iaep.jpg\" alt=\"Erik Kessels, in almost every picture #11, 2012; Courtesy Pier 24 Photography, San Francisco\" width=\"640\" height=\"440\" class=\"size-full wp-image-10280745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/iaep.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/iaep-400x275.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erik Kessels, \u003ci>in almost every picture #11\u003c/i>, 2012; Courtesy Pier 24 Photography, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>In a particularly mesmerizing series presented as a slideshow video, \u003cem>in almost every picture #11\u003c/em>, a woman is photographed throughout the years in different bodies of water — oceans, pools, bathtubs — always fully dressed. I asked Kessels to tell me about this particular project and how he came across the photographs. “I first found one image on Google… I was for some reason looking for somebody standing with their clothes on in water for something else, and I stumbled across this image… Fred is the photographer and Valerie is his wife, and they had a whole photo stream on Flickr. As I stayed in contact with them, I got to know the whole story. They had a wet-clothes adventures very frequently. For them, it’s a form of freedom… He, as a photographer, is a very good amateur, which I never mean [in a] negative [way], an amateur is someone who dares to make mistakes, and dares to take more and more risks, more than a professional.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When I mentioned to Kessels that the \u003cem>in almost every picture \u003c/em>publishing projects seemed to function as guides for how to stop and look at photographs, he quipped: \u003c/p>\n\u003cp>“Yeah, because we also live in an age where images become more and more important. Now we see more images before lunch than somebody in the 19th century would see in their whole life. It’s a different way of consuming images. But now that you see, for instance, that people have almost become editors. Everyday people, they have to become editors in what they would like to see and what they would not like to see, because it is such a bombardment of imagery coming at them. That’s an interesting thing — what kind of choices people make. For me it’s the same thing. The books are purely there to focus on a certain thing, highlight that and put a magnifying glass on that, so that people can view this just on its own.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Secondhand \u003c/strong>runs through May 2015 at Pier 24 Photography in San Francisco. For\u003ca href=\"http://pier24.org/\" target=\"_blank\" rel=\"noopener\"> more information\u003c/a> and to make an appointment to see the exhibition, visit pier24.org.\u003c/p>\n\n",
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"excerpt": "Dutch designer/curator/artist Erik Kessels plucks photographs out of the growing mass of images, online and discarded, to discover the unusual beauty of flaws or the unique narratives that build over time.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Erik Kessels is looking at your photos. On your Flickr stream, on your blog, in your family album for sale at the flea market. He plucks them out of the growing mass of images, online and discarded, to discover the unusual beauty of flaws or the unique narratives that build over time through photographs. Kessels is a Dutch designer/curator/artist and the co-founder of communications agency KesselsKramer.\u003c/p>\n\u003cp>Pier24 Photography in San Francisco, one of the largest exhibition spaces for photography in the world, has dedicated three large galleries to Kessels’ explorations of appropriated imagery for the current exhibition, \u003cb>Secondhand\u003c/b>.\u003c/p>\n\u003cp>In one room, a mass of 3×4-inch printed photographs extends from floor to ceiling. Thousands of photographs are piled on top of each other: images of flowers, family gatherings, sports events, landscapes, proms, pets. None are privileged, and the strewn-about quality beckons you to poke through them, which you can. This mountain is the physical manifestation of the magnitude of photographs collectively uploaded in a single day to the image sharing site Flickr. \u003cem>24 Hours in Photos\u003c/em> makes palpable the vigor with which we take and share photographs online. The experience is awe-inducing, unsettling, and at the same time it reveals something that we instinctively understand — there are abundant images online, most of them don’t matter, they are lost in the geological strata of Internet time. As \u003cem>24 Hours in Photos\u003c/em> is a representation of the contemporary condition of vernacular photography, Kessels’ other installation project, \u003cem>Album Beauty\u003c/em>, is an antidote. \u003c/p>\n\u003cfigure id=\"attachment_10280744\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/albumbeauty.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/albumbeauty.jpg\" alt=\"Erik Kessels, Album Beauty Installation view, 2014; Courtesy Pier 24 Photography, San Francisco\" width=\"640\" height=\"465\" class=\"size-full wp-image-10280744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/albumbeauty.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/albumbeauty-400x290.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erik Kessels, \u003ci>Album Beauty\u003c/i> Installation view, 2014; Courtesy Pier 24 Photography, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Album Beauty\u003c/em> also monumentalizes snapshot photography. But here it’s the idiosyncratic manner in which family albums are constructed, from the collaged arrangements to the inclusions of “mistake” photographs, that is brought to our attention. For years Kessels has been collecting discarded family albums at flea markets and antique shops. For the installation, reproductions of individual photographs and full album pages are blown up and made sculptural. This has an \u003cem>Alice in Wonderland\u003c/em> effect as the viewer moves through strangers’ memorialized lives, faded and flawed and colossal. Indeed, \u003cem>Album Beauty\u003c/em> is itself a memorial; Kessels considers the installation to be a celebration of a now-defunct practice. Included in the installation are what appear to be dozens of original albums, stacked and wrapped in twine. The cord impedes the viewer from accessing the tactile quality of the images and the delight of flipping through pages to discover a beautifully strange, collaged composition or an accidental double exposure. We are given those quirky and surreal moments outright. This may be a bit troublesome to those familiar with the pleasures of the “hunt” for that ineffable something of a flea market treasure, but it does in fact correspond to the carefully curated connoisseurship of many photographic blogs. \u003c/p>\n\u003cfigure id=\"attachment_10280746\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/iaep2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/iaep2.jpg\" alt=\"Erik Kessels, in almost every picture, installation view, 2014; Courtesy Pier 24 Photography, San Francisco\" width=\"640\" height=\"427\" class=\"size-full wp-image-10280746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/iaep2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/iaep2-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erik Kessels, \u003ci>in almost every picture\u003c/i>, installation view, 2014; Courtesy Pier 24 Photography, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>In almost every picture\u003c/em> is a third room of Kessels’ work, which contains highlights from his publishing project of the same name. For over ten years Kessels has been producing books of amateur photography through the publishing arm of his communications agency. He explained his process to me this way: “I’m almost like a detective going into these photographs and trying to find certain stories in them. And they might not always be 100% true, but when I put them together and without explaining too much of it, people also make their own stories out of it.” In the exhibition, we see what Kessels sees as he pours over endless images, looking for patterns and anomalies that can generate compelling narratives. Kessels’ editing is particularly successful here and the works are thoughtfully displayed. In the series, \u003cem>in almost every picture #3\u003c/em>, large light boxes illuminate photographs — culled from a hunting website — of deer that have triggered their own portraits by motion sensors. The deer eyes glow from the flash bulb and the light boxes mimic the experience of looking at nature from a radiating computer screen.\u003c/p>\n\u003cfigure id=\"attachment_10280745\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/iaep.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/iaep.jpg\" alt=\"Erik Kessels, in almost every picture #11, 2012; Courtesy Pier 24 Photography, San Francisco\" width=\"640\" height=\"440\" class=\"size-full wp-image-10280745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/iaep.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/iaep-400x275.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erik Kessels, \u003ci>in almost every picture #11\u003c/i>, 2012; Courtesy Pier 24 Photography, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>In a particularly mesmerizing series presented as a slideshow video, \u003cem>in almost every picture #11\u003c/em>, a woman is photographed throughout the years in different bodies of water — oceans, pools, bathtubs — always fully dressed. I asked Kessels to tell me about this particular project and how he came across the photographs. “I first found one image on Google… I was for some reason looking for somebody standing with their clothes on in water for something else, and I stumbled across this image… Fred is the photographer and Valerie is his wife, and they had a whole photo stream on Flickr. As I stayed in contact with them, I got to know the whole story. They had a wet-clothes adventures very frequently. For them, it’s a form of freedom… He, as a photographer, is a very good amateur, which I never mean [in a] negative [way], an amateur is someone who dares to make mistakes, and dares to take more and more risks, more than a professional.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I mentioned to Kessels that the \u003cem>in almost every picture \u003c/em>publishing projects seemed to function as guides for how to stop and look at photographs, he quipped: \u003c/p>\n\u003cp>“Yeah, because we also live in an age where images become more and more important. Now we see more images before lunch than somebody in the 19th century would see in their whole life. It’s a different way of consuming images. But now that you see, for instance, that people have almost become editors. Everyday people, they have to become editors in what they would like to see and what they would not like to see, because it is such a bombardment of imagery coming at them. That’s an interesting thing — what kind of choices people make. For me it’s the same thing. The books are purely there to focus on a certain thing, highlight that and put a magnifying glass on that, so that people can view this just on its own.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Secondhand \u003c/strong>runs through May 2015 at Pier 24 Photography in San Francisco. For\u003ca href=\"http://pier24.org/\" target=\"_blank\" rel=\"noopener\"> more information\u003c/a> and to make an appointment to see the exhibition, visit pier24.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Charlie Hebdo,' a Magazine of Satire, Mocks Politics, Religion",
"headTitle": "‘Charlie Hebdo,’ a Magazine of Satire, Mocks Politics, Religion | KQED",
"content": "\u003cp>\u003cem>Charlie Hebdo\u003c/em>, the satirical French magazine that was \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/07/375561888/10-dead-after-shootout-at-satirical-magazines-office-in-paris\" target=\"_blank\" rel=\"noopener\">the target of a deadly attack today\u003c/a>, is part of \u003ca href=\"http://www.bbc.com/news/world-europe-15551998\" target=\"_blank\" rel=\"noopener\">a long tradition of French satire\u003c/a> dating to the days before the French Revolution.\u003c/p>\n\u003cp>The left-wing magazine is known for its biting takedowns. Its past targets include the political right wing, capitalism, Christianity, Judaism and Islam.\u003c/p>\n\u003cp>It most recently came to the world’s attention when \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2012/09/19/161394146/france-on-alert-closing-embassies-after-magazine-publishes-muhammad-cartoons\" target=\"_blank\" rel=\"noopener\">it published cartoons of Islam’s Prophet Muhammad\u003c/a> soon after the deadly 2012 attack on the U.S. consulate in Benghazi that killed Chris Stevens, the U.S. ambassador to Libya. Initially, it was thought that an anti-Islam film had fanned the violence. The magazine, in its cartoons, referred to that film. At the time, editor Stephane Charbonnier said the cartoons would “shock those who want to be shocked.”\u003c/p>\n\u003cp>Many Muslims consider the depiction of their prophet to be blasphemous.\u003c/p>\n\u003cp>A year earlier, \u003cem>Charlie Hebdo’s \u003c/em>\u003ca href=\"http://www.npr.org/blogs/thetwo-way/2011/11/02/141928567/french-newspaper-firebombed-after-satire-involving-prophet-muhammad\" target=\"_blank\" rel=\"noopener\">offices were firebombed\u003c/a> after it published an issue that invited the Prophet Muhammad to be guest editor; the issue included an article about what a soft version of Sharia might look like. The magazine was renamed \u003cem>Charia Hebdo\u003c/em> for the issue, and its cover included an image of the prophet with the line, “A thousand lashes if you don’t die laughing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The magazine was also part of the controversy over the publication in 2005 by the Danish newspaper \u003cem>Jyllands-Posten\u003c/em> of cartoons depicting Islam’s prophet. The newspaper said the decision to publish the 12 editorial cartoons would contribute to the debate over Islam and free speech. The move resulted in violent protests worldwide and threats against \u003cem>Jyllands-Posten\u003c/em>. In solidarity, \u003cem>Charlie Hebdo \u003c/em>reprinted the 12 cartoons in 2006. Its headline for the feature was “Muhammad Overwhelmed By Fundamentalists.”\u003c/p>\n\u003cp>Jacques Chirac, then-president of France, condemned what he called the magazine’s “overt provocation.” The magazine and then-editor Philippe Val were accused of insulting Muslims, \u003ca href=\"http://news.bbc.co.uk/2/hi/6479673.stm\" target=\"_blank\" rel=\"noopener\">but a French court ultimately ruled\u003c/a> that the cartoons were covered by France’s laws on freedom of expression.\u003c/p>\n\u003cp>The BBC offers a rundown of what else \u003cem>Charlie Hebdo\u003c/em> printed: “Police would be shown holding the dripping heads of immigrants; there would be masturbating nuns; popes wearing condoms — anything to make a point.”\u003c/p>\n\u003cp>The folks over at the \u003ca href=\"http://www.thedailybeast.com/galleries/2011/11/02/charlie-hebdo-french-satire-magazine-s-shocking-covers-photos.html#78cc5a13-e7f3-4428-b0ff-a53e4d42d8f9\" target=\"_blank\" rel=\"noopener\">Daily Beast\u003c/a> have put together a slideshow of some of the magazine’s most controversial covers. You can find that \u003ca href=\"http://www.thedailybeast.com/galleries/2011/11/02/charlie-hebdo-french-satire-magazine-s-shocking-covers-photos.html#78cc5a13-e7f3-4428-b0ff-a53e4d42d8f9\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>The magazine has its roots in the 1960s, when many of its journalists worked at another satirical magazine, called \u003cem>Hara-Kiri\u003c/em>.\u003c/p>\n\u003cp>That magazine was banned after it published \u003ca href=\"http://www.ladepeche.fr/article/2011/11/03/1207143-de-hara-kiri-a-charlie-plus-de-40-ans-de-provocations.html\" target=\"_blank\" rel=\"noopener\">a mocking headline\u003c/a> in 1970 following two events that dominated the news at the time: the death of French President Charles de Gaulle and a fire at a discotheque that killed more than 100 people. In response, its staff started \u003cem>Charlie Hebdo\u003c/em>, the “Charlie” an apparent reference to the character from the Peanuts comic strip, which the magazine printed in its pages.\u003c/p>\n\u003cp>It’s important to note here that the magazine’s influence has gone far beyond its limited circulation. In fact, it has been in financial trouble. Its website \u003ca href=\"http://www.charliehebdo.fr/news/charlie-est-en-danger-107213.html\">noted today\u003c/a> that it needed to find ways to continue to exist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Financial worries aren’t new. It previously closed in 1981 because it ran out of money. The magazine was revived a decade later and continued publication — with its mixture of polemic wit and satire, offensive or hilarious depending on your point of view — until the attack on its offices today. \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=%27Charlie+Hebdo%2C%27+A+Magazine+Of+Satire%2C+Mocks+Politics%2C+Religion&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Charlie Hebdo\u003c/em>, the satirical French magazine that was \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/07/375561888/10-dead-after-shootout-at-satirical-magazines-office-in-paris\" target=\"_blank\" rel=\"noopener\">the target of a deadly attack today\u003c/a>, is part of \u003ca href=\"http://www.bbc.com/news/world-europe-15551998\" target=\"_blank\" rel=\"noopener\">a long tradition of French satire\u003c/a> dating to the days before the French Revolution.\u003c/p>\n\u003cp>The left-wing magazine is known for its biting takedowns. Its past targets include the political right wing, capitalism, Christianity, Judaism and Islam.\u003c/p>\n\u003cp>It most recently came to the world’s attention when \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2012/09/19/161394146/france-on-alert-closing-embassies-after-magazine-publishes-muhammad-cartoons\" target=\"_blank\" rel=\"noopener\">it published cartoons of Islam’s Prophet Muhammad\u003c/a> soon after the deadly 2012 attack on the U.S. consulate in Benghazi that killed Chris Stevens, the U.S. ambassador to Libya. Initially, it was thought that an anti-Islam film had fanned the violence. The magazine, in its cartoons, referred to that film. At the time, editor Stephane Charbonnier said the cartoons would “shock those who want to be shocked.”\u003c/p>\n\u003cp>Many Muslims consider the depiction of their prophet to be blasphemous.\u003c/p>\n\u003cp>A year earlier, \u003cem>Charlie Hebdo’s \u003c/em>\u003ca href=\"http://www.npr.org/blogs/thetwo-way/2011/11/02/141928567/french-newspaper-firebombed-after-satire-involving-prophet-muhammad\" target=\"_blank\" rel=\"noopener\">offices were firebombed\u003c/a> after it published an issue that invited the Prophet Muhammad to be guest editor; the issue included an article about what a soft version of Sharia might look like. The magazine was renamed \u003cem>Charia Hebdo\u003c/em> for the issue, and its cover included an image of the prophet with the line, “A thousand lashes if you don’t die laughing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The magazine was also part of the controversy over the publication in 2005 by the Danish newspaper \u003cem>Jyllands-Posten\u003c/em> of cartoons depicting Islam’s prophet. The newspaper said the decision to publish the 12 editorial cartoons would contribute to the debate over Islam and free speech. The move resulted in violent protests worldwide and threats against \u003cem>Jyllands-Posten\u003c/em>. In solidarity, \u003cem>Charlie Hebdo \u003c/em>reprinted the 12 cartoons in 2006. Its headline for the feature was “Muhammad Overwhelmed By Fundamentalists.”\u003c/p>\n\u003cp>Jacques Chirac, then-president of France, condemned what he called the magazine’s “overt provocation.” The magazine and then-editor Philippe Val were accused of insulting Muslims, \u003ca href=\"http://news.bbc.co.uk/2/hi/6479673.stm\" target=\"_blank\" rel=\"noopener\">but a French court ultimately ruled\u003c/a> that the cartoons were covered by France’s laws on freedom of expression.\u003c/p>\n\u003cp>The BBC offers a rundown of what else \u003cem>Charlie Hebdo\u003c/em> printed: “Police would be shown holding the dripping heads of immigrants; there would be masturbating nuns; popes wearing condoms — anything to make a point.”\u003c/p>\n\u003cp>The folks over at the \u003ca href=\"http://www.thedailybeast.com/galleries/2011/11/02/charlie-hebdo-french-satire-magazine-s-shocking-covers-photos.html#78cc5a13-e7f3-4428-b0ff-a53e4d42d8f9\" target=\"_blank\" rel=\"noopener\">Daily Beast\u003c/a> have put together a slideshow of some of the magazine’s most controversial covers. You can find that \u003ca href=\"http://www.thedailybeast.com/galleries/2011/11/02/charlie-hebdo-french-satire-magazine-s-shocking-covers-photos.html#78cc5a13-e7f3-4428-b0ff-a53e4d42d8f9\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>The magazine has its roots in the 1960s, when many of its journalists worked at another satirical magazine, called \u003cem>Hara-Kiri\u003c/em>.\u003c/p>\n\u003cp>That magazine was banned after it published \u003ca href=\"http://www.ladepeche.fr/article/2011/11/03/1207143-de-hara-kiri-a-charlie-plus-de-40-ans-de-provocations.html\" target=\"_blank\" rel=\"noopener\">a mocking headline\u003c/a> in 1970 following two events that dominated the news at the time: the death of French President Charles de Gaulle and a fire at a discotheque that killed more than 100 people. In response, its staff started \u003cem>Charlie Hebdo\u003c/em>, the “Charlie” an apparent reference to the character from the Peanuts comic strip, which the magazine printed in its pages.\u003c/p>\n\u003cp>It’s important to note here that the magazine’s influence has gone far beyond its limited circulation. In fact, it has been in financial trouble. Its website \u003ca href=\"http://www.charliehebdo.fr/news/charlie-est-en-danger-107213.html\">noted today\u003c/a> that it needed to find ways to continue to exist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Financial worries aren’t new. It previously closed in 1981 because it ran out of money. The magazine was revived a decade later and continued publication — with its mixture of polemic wit and satire, offensive or hilarious depending on your point of view — until the attack on its offices today. \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=%27Charlie+Hebdo%2C%27+A+Magazine+Of+Satire%2C+Mocks+Politics%2C+Religion&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "BART Gallery Pt. 1: Take the Train to Oakland's Art Boom",
"headTitle": "BART Gallery Pt. 1: Take the Train to Oakland’s Art Boom | KQED",
"content": "\u003cp>Want to escape the crush of First Fridays and still spend some quality time with the Oakland art scene? Whether you dwell in 94704 or 94110, a web of art spaces, from commercial galleries to nomadic projects, is just a BART ride away. So top up your Clipper card, hop on a train and take a ride to bask in the rich visual culture on the bright side of the Bay.\u003c/p>\n\u003ch2>12th St BART\u003c/h2>\n\u003cfigure id=\"attachment_10280872\" class=\"wp-caption alignright\" style=\"max-width: 483px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/proarts.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/proarts.jpg\" alt=\"Works by Rhonda Holberton, 2014; Courtesy Pro Arts, Oakland \" width=\"483\" height=\"640\" class=\"size-full wp-image-10280872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/proarts.jpg 483w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/proarts-400x530.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/proarts-452x600.jpg 452w\" sizes=\"(max-width: 483px) 100vw, 483px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Works by Rhonda Holberton, 2014; Courtesy Pro Arts, Oakland\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003ch3>Pro Arts\u003c/h3>\n\u003ch5>150 Frank H Ogawa Plaza\u003cbr>\n\u003ca href=\"http://proartsgallery.org\" target=\"_blank\" rel=\"noopener\">proartsgallery.org\u003c/a>\u003c/h5>\n\u003cp>This nonprofit space looking out on Frank H. Ogawa Plaza is an important launching pad for some of the most exciting up-and-coming Bay Area artists, especially via their \u003cb>2 x 2 Solos\u003c/b> series, exhibitions not to be missed. Pro Arts provides not just exposure, but artist services (organized open studios weekends and opportunity listings) and conducts an education program, offering over 700 art classes to local youth each year. In January, Pro Arts hosts \u003cb>2015 Re-Create Art Contest\u003c/b>, Oakland’s annual recycled art competition for grade-school artists.\u003c/p>\n\u003ch3>Shadow Office\u003c/h3>\n\u003ch5>308 15th Street\u003cbr>\n\u003ca href=\"http://shadowoffice.org/\" target=\"_blank\" rel=\"noopener\">shadowoffice.org\u003c/a>\u003c/h5>\n\u003cp>Run by the collaborative group Shipping + Receiving (a quartet of “interdisciplinary artists, writers, designers, food and drink people”), Shadow Office is a hybrid storefront space. In an all-too familiar story, the organizers were evicted from their former live-work warehouse, their building slated for demolition and future condo development. What is now Shadow Office opened up at just the right time, bringing with it the opportunity to put on experimental programming. “There is a lot of good energy on the block and we’re stoked to be part of it,” wrote Torreya Cummings last year. Their eclectic offerings have thus far included a pig roast, a ceramics sale, a free cat petting zoo and an exhibition of nautical-themed embroidery pieces.\u003c/p>\n\u003cfigure id=\"attachment_10280758\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/citylimits.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/citylimits.jpg\" alt=\"Tamra Seal, Bubbles; Courtesy City Limits Gallery, Oakland\" width=\"640\" height=\"480\" class=\"size-full wp-image-10280758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/citylimits.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/citylimits-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tamra Seal, \u003ci>Bubbles\u003c/i>; Courtesy City Limits Gallery, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>City Limits\u003c/h3>\n\u003ch5>300 Jefferson Street\u003cbr>\n\u003ca href=\"http://citylimitsgallery.com/\" target=\"_blank\" rel=\"noopener\">citylimitsgallery.com\u003c/a>\u003c/h5>\n\u003cp>This bright artist-run space perched on the edge of Jack London Square is an energetic and youthful gallery. With a brand-new flat files program and a fluid approach to exhibition making, the community around the gallery is a vibrant and optimistic one. Showcasing sculpture, painting, installations, video and photographic works, each visit to City Limits is a completely different experience. This is one of those outlier spaces most lively on opening nights or First Fridays, but co-directors Evan Reiser and Stephanie Rohlfs maintain regular Saturday hours for the weekend gallery goer.\u003c/p>\n\u003ch2>19th St BART\u003c/h2>\n\u003cfigure id=\"attachment_10280869\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/cringe.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/cringe.jpg\" alt=\"Rachel Yurkovich, Still from Five-Second Rule; Courtesy Aggregate Space\" width=\"640\" height=\"294\" class=\"size-full wp-image-10280869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/cringe.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/cringe-400x183.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rachel Yurkovich, Still from \u003ci>Five-Second Rule\u003c/i>; Courtesy Aggregate Space\u003c/figcaption>\u003c/figure>\n\u003ch3>Aggregate Space\u003c/h3>\n\u003ch5>801 W Grand Avenue\u003cbr>\n\u003ca href=\"http://www.aggregatespace.com/\" target=\"_blank\" rel=\"noopener\">aggregatespace.com\u003c/a>\u003c/h5>\n\u003cp>This sleek warehouse gallery space is run by co-founders Conrad M. Meyers II and S D Willis with a writing residency directed by Steffi Drewes. Its street entrance does little to prepare visitors for what’s inside: 15-foot ceilings, a fabrication shop, darkroom and screening lounge replete with theater seating. Dedicated to showcasing emerging local artists across media, Aggregate Space hosts exhibitions, artist talks, chapbook releases and film screenings, maintaining a full schedule of programming with the help of curatorial interns. They’ll start the year with a juried video show, \u003cb>Cringe\u003c/b>, featuring work by 9 artists selected from over 100 submissions.\u003c/p>\n\u003cfigure id=\"attachment_10280988\" class=\"wp-caption alignright\" style=\"max-width: 512px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/colosky.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/colosky.jpg\" alt=\"Randy Colosky, Slab #3, 2014; Courtesy of Chandra Cerrito Contemporary, Oakland\" width=\"512\" height=\"640\" class=\"size-full wp-image-10280988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/colosky.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/colosky-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/colosky-480x600.jpg 480w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Randy Colosky, \u003ci>Slab #3\u003c/i>, 2014; Courtesy of Chandra Cerrito Contemporary, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>Chandra Cerrito Contemporary\u003c/h3>\n\u003ch5>480 23rd Street\u003cbr>\n\u003ca href=\"http://chandracerritocontemporary.com/\" target=\"_blank\" rel=\"noopener\">chandracerritocontemporary.com\u003c/a>\u003c/h5>\n\u003cp>Chandra Cerrito Contemporary has come a long way from its humble 2007 beginnings on the mezzanine of Mercury 20 Gallery’s former Grand Avenue space. Actually, only two short blocks, but the current accommodations are a tad roomier. From Randy Colosky’s engineered ceramics to Amy M. Ho’s illusory architectural spaces, the gallery doesn’t shy away from thought-provoking installations. In fact, Chandra Cerrito represents an impressive number of sculptors at a time when 2D works are a safer bet for sales. Stop by for the ambitious shows and to peruse the Collectors Editions, affordable “limited edition and serial small works by gallery artists.”\u003c/p>\n\u003cfigure id=\"attachment_10280749\" class=\"wp-caption alignright\" style=\"max-width: 474px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/judithscott.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/judithscott.jpg\" alt=\"Judith Scott, Untitled, 2003; Photo courtesy of Creative Growth Art Center, Oakland\" width=\"474\" height=\"640\" class=\"size-full wp-image-10280749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/judithscott.jpg 474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/judithscott-400x540.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/judithscott-444x600.jpg 444w\" sizes=\"(max-width: 474px) 100vw, 474px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Judith Scott, \u003ci>Untitled\u003c/i>, 2003; Photo courtesy of Creative Growth Art Center, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>Creative Growth Art Center\u003c/h3>\n\u003ch5>355 24th Street\u003cbr>\n\u003ca href=\"http://creativegrowth.org/\" target=\"_blank\" rel=\"noopener\">creativegrowth.org\u003c/a>\u003c/h5>\n\u003cp>Serving artists with developmental disabilities, Creative Growth provides not only resources and services to their community of talented artists, but a gallery space showcasing seven well-considered exhibitions a year. The art center just celebrated its 40th year as the “oldest and largest” organization of its kind. For anyone seeking a break from the mundane, a visit to Creative Growth provides a refreshing jolt of the unexpected: colliding colors, material experimentation, energy harnessed into exciting mark making. Serving “approximately 150 clients from around the Bay Area,” Creative Growth is a must-stop on any gallery tour.\u003c/p>\n\u003cfigure id=\"attachment_10280502\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/johansson.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/johansson.jpg\" alt=\"Jennie Ottinger, White and Tan Head, 2014; Courtesy J\" width=\"640\" height=\"642\" class=\"size-full wp-image-10280502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-598x600.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennie Ottinger, \u003ci>White and Tan Head\u003c/i>, 2014; Courtesy Johansson Projects\u003c/figcaption>\u003c/figure>\n\u003ch3>Johansson Projects\u003c/h3>\n\u003ch5>2300 Telegraph Avenue\u003cbr>\n\u003ca href=\"http://johanssonprojects.com/\" target=\"_blank\" rel=\"noopener\">johanssonprojects.com\u003c/a>\u003c/h5>\n\u003cp>At the corner of Telegraph and 23rd, Johansson Projects’ elegant archways provide portals for sunlight-suffused exhibitions. Always eminently professional, this commercial space puts on shows of both well-known Bay Area artists (Michael Arcega, Alicia McCarthy) and recent MFA grads whose careers are on the rise (Margo Wolowiec, Jenny Sharaf). The 2015 season opens with an exhibition of paintings and sculptures by Jennie Ottinger on January 10, \u003cb>Letters to the Predator\u003c/b>.\u003c/p>\n\u003cfigure id=\"attachment_10280618\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED.jpg\" alt=\"Sylvia Fein, Together For Ever, 2013; Photo by Nick Pishvanov, courtesy of the artist and Krowswork, Oakland \" width=\"640\" height=\"483\" class=\"size-full wp-image-10280618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED-400x301.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sylvia Fein, \u003ci>Together For Ever\u003c/i>, 2013; Photo by Nick Pishvanov, courtesy of the artist and Krowswork, Oakland\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003ch3>Krowswork\u003c/h3>\n\u003ch5>480 23rd Street (side street entrance)\u003cbr>\n\u003ca href=\"http://www.krowswork.com/\" target=\"_blank\" rel=\"noopener\">krowswork.com\u003c/a>\u003c/h5>\n\u003cp>Krowswork just turned five years old, a remarkable fact alone. Director Jasmine Moorhead originally focused on contemporary video and photographic work, but now brings all media into her expansive gallery space. Krowswork’s programming is especially unique in its retrospectives of under-recognized artists (including Sylvia Fein and Jack Wright) whose lives are richly intertwined with the history of Northern California art. The gallery’s rigorous academic approach produces exhibitions that are neither staid nor didactic, but deeply informative and engaging. Also, it \u003cem>must\u003c/em> be noted that Krowswork is a palindrome.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Editor’s Note:\u003c/b> We corrected this post after being informed that Aggregate Space was actually closer to the 19th Street BART Station.\u003c/p>\n\n",
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"excerpt": "While the climate has become more challenging for local art galleries in San Francisco, the East Bay art scene is booming. This is the first in our handy guide to art close to BART.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Want to escape the crush of First Fridays and still spend some quality time with the Oakland art scene? Whether you dwell in 94704 or 94110, a web of art spaces, from commercial galleries to nomadic projects, is just a BART ride away. So top up your Clipper card, hop on a train and take a ride to bask in the rich visual culture on the bright side of the Bay.\u003c/p>\n\u003ch2>12th St BART\u003c/h2>\n\u003cfigure id=\"attachment_10280872\" class=\"wp-caption alignright\" style=\"max-width: 483px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/proarts.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/proarts.jpg\" alt=\"Works by Rhonda Holberton, 2014; Courtesy Pro Arts, Oakland \" width=\"483\" height=\"640\" class=\"size-full wp-image-10280872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/proarts.jpg 483w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/proarts-400x530.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/proarts-452x600.jpg 452w\" sizes=\"(max-width: 483px) 100vw, 483px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Works by Rhonda Holberton, 2014; Courtesy Pro Arts, Oakland\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003ch3>Pro Arts\u003c/h3>\n\u003ch5>150 Frank H Ogawa Plaza\u003cbr>\n\u003ca href=\"http://proartsgallery.org\" target=\"_blank\" rel=\"noopener\">proartsgallery.org\u003c/a>\u003c/h5>\n\u003cp>This nonprofit space looking out on Frank H. Ogawa Plaza is an important launching pad for some of the most exciting up-and-coming Bay Area artists, especially via their \u003cb>2 x 2 Solos\u003c/b> series, exhibitions not to be missed. Pro Arts provides not just exposure, but artist services (organized open studios weekends and opportunity listings) and conducts an education program, offering over 700 art classes to local youth each year. In January, Pro Arts hosts \u003cb>2015 Re-Create Art Contest\u003c/b>, Oakland’s annual recycled art competition for grade-school artists.\u003c/p>\n\u003ch3>Shadow Office\u003c/h3>\n\u003ch5>308 15th Street\u003cbr>\n\u003ca href=\"http://shadowoffice.org/\" target=\"_blank\" rel=\"noopener\">shadowoffice.org\u003c/a>\u003c/h5>\n\u003cp>Run by the collaborative group Shipping + Receiving (a quartet of “interdisciplinary artists, writers, designers, food and drink people”), Shadow Office is a hybrid storefront space. In an all-too familiar story, the organizers were evicted from their former live-work warehouse, their building slated for demolition and future condo development. What is now Shadow Office opened up at just the right time, bringing with it the opportunity to put on experimental programming. “There is a lot of good energy on the block and we’re stoked to be part of it,” wrote Torreya Cummings last year. Their eclectic offerings have thus far included a pig roast, a ceramics sale, a free cat petting zoo and an exhibition of nautical-themed embroidery pieces.\u003c/p>\n\u003cfigure id=\"attachment_10280758\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/citylimits.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/citylimits.jpg\" alt=\"Tamra Seal, Bubbles; Courtesy City Limits Gallery, Oakland\" width=\"640\" height=\"480\" class=\"size-full wp-image-10280758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/citylimits.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/citylimits-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tamra Seal, \u003ci>Bubbles\u003c/i>; Courtesy City Limits Gallery, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>City Limits\u003c/h3>\n\u003ch5>300 Jefferson Street\u003cbr>\n\u003ca href=\"http://citylimitsgallery.com/\" target=\"_blank\" rel=\"noopener\">citylimitsgallery.com\u003c/a>\u003c/h5>\n\u003cp>This bright artist-run space perched on the edge of Jack London Square is an energetic and youthful gallery. With a brand-new flat files program and a fluid approach to exhibition making, the community around the gallery is a vibrant and optimistic one. Showcasing sculpture, painting, installations, video and photographic works, each visit to City Limits is a completely different experience. This is one of those outlier spaces most lively on opening nights or First Fridays, but co-directors Evan Reiser and Stephanie Rohlfs maintain regular Saturday hours for the weekend gallery goer.\u003c/p>\n\u003ch2>19th St BART\u003c/h2>\n\u003cfigure id=\"attachment_10280869\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/cringe.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/cringe.jpg\" alt=\"Rachel Yurkovich, Still from Five-Second Rule; Courtesy Aggregate Space\" width=\"640\" height=\"294\" class=\"size-full wp-image-10280869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/cringe.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/cringe-400x183.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rachel Yurkovich, Still from \u003ci>Five-Second Rule\u003c/i>; Courtesy Aggregate Space\u003c/figcaption>\u003c/figure>\n\u003ch3>Aggregate Space\u003c/h3>\n\u003ch5>801 W Grand Avenue\u003cbr>\n\u003ca href=\"http://www.aggregatespace.com/\" target=\"_blank\" rel=\"noopener\">aggregatespace.com\u003c/a>\u003c/h5>\n\u003cp>This sleek warehouse gallery space is run by co-founders Conrad M. Meyers II and S D Willis with a writing residency directed by Steffi Drewes. Its street entrance does little to prepare visitors for what’s inside: 15-foot ceilings, a fabrication shop, darkroom and screening lounge replete with theater seating. Dedicated to showcasing emerging local artists across media, Aggregate Space hosts exhibitions, artist talks, chapbook releases and film screenings, maintaining a full schedule of programming with the help of curatorial interns. They’ll start the year with a juried video show, \u003cb>Cringe\u003c/b>, featuring work by 9 artists selected from over 100 submissions.\u003c/p>\n\u003cfigure id=\"attachment_10280988\" class=\"wp-caption alignright\" style=\"max-width: 512px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/colosky.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/colosky.jpg\" alt=\"Randy Colosky, Slab #3, 2014; Courtesy of Chandra Cerrito Contemporary, Oakland\" width=\"512\" height=\"640\" class=\"size-full wp-image-10280988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/colosky.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/colosky-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/colosky-480x600.jpg 480w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Randy Colosky, \u003ci>Slab #3\u003c/i>, 2014; Courtesy of Chandra Cerrito Contemporary, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>Chandra Cerrito Contemporary\u003c/h3>\n\u003ch5>480 23rd Street\u003cbr>\n\u003ca href=\"http://chandracerritocontemporary.com/\" target=\"_blank\" rel=\"noopener\">chandracerritocontemporary.com\u003c/a>\u003c/h5>\n\u003cp>Chandra Cerrito Contemporary has come a long way from its humble 2007 beginnings on the mezzanine of Mercury 20 Gallery’s former Grand Avenue space. Actually, only two short blocks, but the current accommodations are a tad roomier. From Randy Colosky’s engineered ceramics to Amy M. Ho’s illusory architectural spaces, the gallery doesn’t shy away from thought-provoking installations. In fact, Chandra Cerrito represents an impressive number of sculptors at a time when 2D works are a safer bet for sales. Stop by for the ambitious shows and to peruse the Collectors Editions, affordable “limited edition and serial small works by gallery artists.”\u003c/p>\n\u003cfigure id=\"attachment_10280749\" class=\"wp-caption alignright\" style=\"max-width: 474px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/judithscott.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/judithscott.jpg\" alt=\"Judith Scott, Untitled, 2003; Photo courtesy of Creative Growth Art Center, Oakland\" width=\"474\" height=\"640\" class=\"size-full wp-image-10280749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/judithscott.jpg 474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/judithscott-400x540.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/judithscott-444x600.jpg 444w\" sizes=\"(max-width: 474px) 100vw, 474px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Judith Scott, \u003ci>Untitled\u003c/i>, 2003; Photo courtesy of Creative Growth Art Center, Oakland\u003c/figcaption>\u003c/figure>\n\u003ch3>Creative Growth Art Center\u003c/h3>\n\u003ch5>355 24th Street\u003cbr>\n\u003ca href=\"http://creativegrowth.org/\" target=\"_blank\" rel=\"noopener\">creativegrowth.org\u003c/a>\u003c/h5>\n\u003cp>Serving artists with developmental disabilities, Creative Growth provides not only resources and services to their community of talented artists, but a gallery space showcasing seven well-considered exhibitions a year. The art center just celebrated its 40th year as the “oldest and largest” organization of its kind. For anyone seeking a break from the mundane, a visit to Creative Growth provides a refreshing jolt of the unexpected: colliding colors, material experimentation, energy harnessed into exciting mark making. Serving “approximately 150 clients from around the Bay Area,” Creative Growth is a must-stop on any gallery tour.\u003c/p>\n\u003cfigure id=\"attachment_10280502\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/johansson.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/johansson.jpg\" alt=\"Jennie Ottinger, White and Tan Head, 2014; Courtesy J\" width=\"640\" height=\"642\" class=\"size-full wp-image-10280502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-598x600.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/johansson-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennie Ottinger, \u003ci>White and Tan Head\u003c/i>, 2014; Courtesy Johansson Projects\u003c/figcaption>\u003c/figure>\n\u003ch3>Johansson Projects\u003c/h3>\n\u003ch5>2300 Telegraph Avenue\u003cbr>\n\u003ca href=\"http://johanssonprojects.com/\" target=\"_blank\" rel=\"noopener\">johanssonprojects.com\u003c/a>\u003c/h5>\n\u003cp>At the corner of Telegraph and 23rd, Johansson Projects’ elegant archways provide portals for sunlight-suffused exhibitions. Always eminently professional, this commercial space puts on shows of both well-known Bay Area artists (Michael Arcega, Alicia McCarthy) and recent MFA grads whose careers are on the rise (Margo Wolowiec, Jenny Sharaf). The 2015 season opens with an exhibition of paintings and sculptures by Jennie Ottinger on January 10, \u003cb>Letters to the Predator\u003c/b>.\u003c/p>\n\u003cfigure id=\"attachment_10280618\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED.jpg\" alt=\"Sylvia Fein, Together For Ever, 2013; Photo by Nick Pishvanov, courtesy of the artist and Krowswork, Oakland \" width=\"640\" height=\"483\" class=\"size-full wp-image-10280618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/SylviaFein_TogetherForEver_KQED-400x301.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sylvia Fein, \u003ci>Together For Ever\u003c/i>, 2013; Photo by Nick Pishvanov, courtesy of the artist and Krowswork, Oakland\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003ch3>Krowswork\u003c/h3>\n\u003ch5>480 23rd Street (side street entrance)\u003cbr>\n\u003ca href=\"http://www.krowswork.com/\" target=\"_blank\" rel=\"noopener\">krowswork.com\u003c/a>\u003c/h5>\n\u003cp>Krowswork just turned five years old, a remarkable fact alone. Director Jasmine Moorhead originally focused on contemporary video and photographic work, but now brings all media into her expansive gallery space. Krowswork’s programming is especially unique in its retrospectives of under-recognized artists (including Sylvia Fein and Jack Wright) whose lives are richly intertwined with the history of Northern California art. The gallery’s rigorous academic approach produces exhibitions that are neither staid nor didactic, but deeply informative and engaging. Also, it \u003cem>must\u003c/em> be noted that Krowswork is a palindrome.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Editor’s Note:\u003c/b> We corrected this post after being informed that Aggregate Space was actually closer to the 19th Street BART Station.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "10 Fun Ways to Get in Shape While Supporting the Arts",
"headTitle": "10 Fun Ways to Get in Shape While Supporting the Arts | KQED",
"content": "\u003cp>It’s that very special time of the year when you can’t escape people (including yourself) bemoaning their New Year’s resolution to get in shape and banish that holiday pudge. Lately, people have also been ranting about the \u003ca href=\"http://ww2.kqed.org/arts/series/pricedout/\">exodus of artists and the diminishing art spaces in the Bay Area\u003c/a>. So I decided to put together a list of fun ways to get in shape in the New Year while also supporting local arts organizations.\u003c/p>\n\u003cp>If you can still afford to live here, you can put your money (rather than all of those holiday sweets) were your mouth is. Oh, and if you think that you are too old or not physically fit enough to dance, (re)watch this viral gem:\u003cbr>\nhttp://youtu.be/fgMBUIIt8TE\u003c/p>\n\u003col>\n\u003cli>\n\u003ch3>Aerial Dance:\u003c/h3>\n\u003cp>For the more adventurous types, aerial dance is an amazing way to whittle away at that pesky arm waddle. \u003ca title=\"Zaccho\" href=\"http://www.zaccho.org/classes.html\" target=\"_blank\" rel=\"noopener\">Zaccho Dance Theater\u003c/a> offers weekly aerial yoga and dance classes. Both \u003ca title=\"Flyaway Productions\" href=\"http://flyawayproductions.com/upcoming-events/\" target=\"_blank\" rel=\"noopener\">Flyaway Productions\u003c/a> and \u003ca title=\"Bandaloop\" href=\"http://bandaloop.org/school/workshop-registration/\" target=\"_blank\" rel=\"noopener\">Bandaloop\u003c/a> in Oakland (pictured above) offer workshops throughout the year. And if you are afraid of heights, then at least check out these groups’ inspiring performances.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Ballroom:\u003c/h3>\n\u003cp>If, from the comfort of your couch, you’ve ever watched \u003ci>Dancing with the Stars\u003c/i> and thought, “Geez, I could totally do that,” then maybe it’s time you give it a twirl. And you can even take classes at the studio founded by \u003ca title=\"Cheryl Burke\" href=\"http://www.cherylburkedance.com/classes/\" target=\"_blank\" rel=\"noopener\">Cheryl Burke\u003c/a>, one of the \u003ci>Dancing with the Stars\u003c/i> champs, in Mountain View. For those in the north, there’s the \u003ca title=\"Arthur Murray Dance \" href=\"http://www.sonomadancesport.com/medalist-programs/\" target=\"_blank\" rel=\"noopener\">Arthur Murray Dance Center \u003c/a>(Santa Rosa), which is currently offering one free private lesson for new customers. Additionally, \u003ca href=\"http://metronomesf.com/schedules.php\" title=\"The Metronome\" target=\"_blank\" rel=\"noopener\">The Metronome\u003c/a> on Potrero Hill in San Francisco offers a variety of beginning classes on a weekly basis, as well as hosting a number of social events to practice your fancy new steps with partners — or complete strangers.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Bhangra:\u003c/h3>\n\u003cp>For fans of Bollywood films, check out bhangra, which is a high-energy workout for both men and women. \u003ca title=\"Dholrhythms\" href=\"http://dholrhythms.com\" target=\"_blank\" rel=\"noopener\">Dholrythms\u003c/a> offers bhangra classes in both San Francisco and Berkeley. \u003ca title=\"Dance Mission\" href=\"http://www.dancemission.com/adult_program/index.html\" target=\"_blank\" rel=\"noopener\">Dance Mission\u003c/a> offers a class on Monday nights. And once you’ve got some moves under your sari, you can show them off at \u003ca title=\"Non Stop Bhangra\" href=\"http://nonstopbhangra.com/non-stop-bhangra/\" target=\"_blank\" rel=\"noopener\">Non Stop Bhangra\u003c/a>, a monthly dance party at \u003ca title=\"Public Works\" href=\"http://publicsf.com/listing\" target=\"_blank\" rel=\"noopener\">Public Works\u003c/a>. No idea what I’m talking about? Get schooled along with Conan O’Brien.\u003c/p>\u003c/li>\n\u003cp>http://youtu.be/vi8zF2lm3BU\u003c/p>\n\u003cli>\n\u003ch3>Circus Arts:\u003c/h3>\n\u003cp>On the (very) rare occasion that I’m asked how I stay in shape, people tend to be surprised to hear that my answer is acrobatics. Although I’m not sure why the amazement, since who doesn’t want to do cartwheels (in a very safe environment)? You too can get your tumbling on at the \u003ca title=\"Circus Center\" href=\"http://circuscenter.org/class-descriptions/\" target=\"_blank\" rel=\"noopener\">Circus Center\u003c/a> and at \u003ca title=\"Acrosports\" href=\"http://www.acrosports.org/classes/teen-adult-classes/\" target=\"_blank\" rel=\"noopener\">Acrosports\u003c/a>. Both offer acrobatics as well as introductory classes in many other circus arts, like contortion, tight rope walking, trampoline, and tissu. \u003ca title=\"Athletic Playground\" href=\"http://www.athleticplayground.com/schedule.html\" target=\"_blank\" rel=\"noopener\">Athletic Playground\u003c/a> in Emeryville also offers beginning classes in acrobatics, aerial skills, and acroyoga. For the adrenaline junkie, check out trapeze classes at the \u003ca title=\"Circus Center\" href=\"http://circuscenter.org/class-descriptions/\" target=\"_blank\" rel=\"noopener\">Circus Center\u003c/a> or at \u003ca title=\"Kinetic Arts\" href=\"http://www.kineticartscenter.com/classes/\" target=\"_blank\" rel=\"noopener\">Kinetic Arts\u003c/a> in Oakland.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Dance-Pop:\u003c/h3>\n\u003cp>To be honest, before writing this article I didn’t know that “\u003ca title=\"Wikipedia\" href=\"http://en.wikipedia.org/wiki/Dance-pop\" target=\"_blank\" rel=\"noopener\">dance-pop\u003c/a>” was the terminology used for the choreography that one tends to see in popular music videos from the likes of Lady Gaga and Britney Spears. It’s ironic since it is one of my favorite genres! Both \u003ca title=\"ODC\" href=\"https://clients.mindbodyonline.com/classic/home?studioid=2717\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a> and \u003ca title=\"Dance Mission\" href=\"http://www.dancemission.com/adult_program/index.html\" target=\"_blank\" rel=\"noopener\">Dance Mission\u003c/a> offer a Vogue and Tone class — yes, we are talking about Vogueing a la Madonna-style. And there’s a group out there, called \u003ca href=\"http://www.popstartechnique.com/#!classes/cwlb\" title=\"Pop Star Technique\" target=\"_blank\" rel=\"noopener\">Pop Star Technique\u003c/a> that teaches a Beyonce-inspired dance class, which we hear might be hard to get into (since it fills up quickly and is not offered regularly), but is worth the effort if you can get a coveted spot. Read more about it on \u003ca href=\"http://ww2.kqed.org/pop/2014/09/19/learn-how-to-move-like-beyonce-thanks-to-bay-area-dance-teacher/\">KQED Pop.\u003c/a>\u003c/p>\n\u003cp>But wait, there’s more… Yes, that same group is dedicated to choreographing to crowd favorites like Michael Jackson and Justin Timberlake, rehearsing for weeks, and then performing the routines as the \u003ca title=\"Bay Area Flash Mob\" href=\"http://www.bayareaflashmob.com/\" target=\"_blank\" rel=\"noopener\">Bay Area Flash Mob\u003c/a>. They are always looking for more dancers. Here’s one their performances:\u003c/p>\u003c/li>\n\u003cp>http://youtu.be/gA5dFHHHHic\u003c/p>\n\u003cli>\n\u003ch3>Fire Performance:\u003c/h3>\n\u003cp> For those with tendencies towards pyromania, you can build up to dancing with fire at \u003ca title=\"Temple of Poi\" href=\"http://templeofpoi.wordpress.com/schedule/\" target=\"_blank\" rel=\"noopener\">Temple of Poi\u003c/a>, starting with a 6-week series for absolute beginners. \u003ca title=\"The Crucible\" href=\"http://thecrucible.org/classes/departments/fire-performance/\" target=\"_blank\" rel=\"noopener\">The Crucible\u003c/a> in Oakland also offers classes in a variety of genres, including poi, fire staff, and fire eating.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Hip Hop and Break Dancing:\u003c/h3>\n\u003cp>Have you seen this KQED video yet?\u003cbr>\nhttp://youtu.be/pLVGrZGSFXg\u003cbr>\nIf that inspired you to do some popping and locking in front of the mirror, then head over to \u003ca title=\"City Dance\" href=\"http://www.citydance.org/\" target=\"_blank\" rel=\"noopener\">City Dance\u003c/a>, where they offer weekly classes devoted to both of these classic moves. They also offer beginning break dancing and hip hop. \u003ca title=\"Acrosports\" href=\"http://www.acrosports.org/classes/teen-adult-classes/\" target=\"_blank\" rel=\"noopener\">Acrosports\u003c/a> offers a beginning break dancing class as well, but in a room that has a decent supply of padding should you be brave enough to try something more ambitious, like wind milling or the worm. And for those who just want plain old, hip hop classes, you can find them at a variety of places including \u003ca title=\"ODC\" href=\"https://clients.mindbodyonline.com/classic/home?studioid=2717\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>, \u003ca title=\"Dance Mission\" href=\"http://www.dancemission.com/adult_program/index.html\" target=\"_blank\" rel=\"noopener\">Dance Mission\u003c/a>, and the \u003ca title=\"Malonga\" href=\"http://mccatheater.com/class-schedule/\" target=\"_blank\" rel=\"noopener\">Malonga Casquelourd Center for the Arts\u003c/a> in Oakland.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Hula Hooping:\u003c/h3>\n\u003cp>Battling muffin-top? Want to look cool on The Playa? Then check out a workshop series with \u003ca title=\"Cherry Hoops\" href=\"http://www.cherryhoops.com/Services.html\" target=\"_blank\" rel=\"noopener\">Cherry Hoop\u003c/a> or at \u003ca title=\"Hoop the Flow\" href=\"http://www.hooptheflow.com\" target=\"_blank\" rel=\"noopener\">Hoop the Flow\u003c/a>. If you are feeling particularly hardcore, \u003ca title=\"The Crucible\" href=\"http://thecrucible.org/classes/departments/fire-performance/\" target=\"_blank\" rel=\"noopener\">The Crucible\u003c/a> offers a fire hooping class. Hot.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Roller Skating:\u003c/h3>\n\u003cp>Is retro more your thing? Disco skaters have been gathering in Golden Gate Park (near 6th Avenue and JKF Drive) weekly since the ’70s. Why not join them? You can also take lessons or just practice at \u003ca title=\"Church of 8 Wheels\" href=\"http://www.churchof8wheels.com/\" target=\"_blank\" rel=\"noopener\">The Church of 8 Wheels\u003c/a>. They are open to the public Tuesday through Saturday. Plus, they have a roller disco themed camp at Burning Man.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>World Dance:\u003c/h3>\n\u003cp> Are you a world traveler? Indulge in the wide variety of world dance classes around the Bay Area while you daydream about your next trip. You can learn Mexican folk dance, Argentine tango, or Brazilian samba at the \u003ca title=\"Mission Cultural Center\" href=\"http://www.missionculturalcenter.org/MCCLA_New/classes.html\" target=\"_blank\" rel=\"noopener\">Mission Cultural Center\u003c/a>. \u003ca title=\"ODC\" href=\"https://clients.mindbodyonline.com/classic/home?studioid=2717\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a> also offers samba, along with flamenco, hula, and many more. Live in the East Bay? Then why not try Balkan dance, Cape Breton Scottish-style step, or Egyptian belly dancing at \u003ca title=\"Ashkenaz\" href=\"http://www.ashkenaz.com/classes.php\" target=\"_blank\" rel=\"noopener\">Ashkenaz\u003c/a> in Berkeley? Or Congolese dance, Chicago stepping, or Haitian folkoric dance at the \u003ca title=\"Malonga\" href=\"http://mccatheater.com/class-schedule/\" target=\"_blank\" rel=\"noopener\">Malonga Casquelourd Center for the Arts\u003c/a>?\u003c/p>\u003c/li>\n\u003c/ol>\n\u003cp>If you have any other ideas of fun ways to get in shape while supporting our vibrant art scene, please include suggestions in the comments below.\u003c/p>\n\u003cp>\u003cstrong>Editor’s Note: The following changes were made to this post: On January, 7, 2015: Dyon Lain was replaced with Pop Star Technique; On January 22, 2015: “… take classes with Cheryl Burke” was replaced with “… take classes at the studio founded by Cheryl Burke.”\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s that very special time of the year when you can’t escape people (including yourself) bemoaning their New Year’s resolution to get in shape and banish that holiday pudge. Lately, people have also been ranting about the \u003ca href=\"http://ww2.kqed.org/arts/series/pricedout/\">exodus of artists and the diminishing art spaces in the Bay Area\u003c/a>. So I decided to put together a list of fun ways to get in shape in the New Year while also supporting local arts organizations.\u003c/p>\n\u003cp>If you can still afford to live here, you can put your money (rather than all of those holiday sweets) were your mouth is. Oh, and if you think that you are too old or not physically fit enough to dance, (re)watch this viral gem:\u003cbr>\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/fgMBUIIt8TE'\n title='//www.youtube.com/embed/fgMBUIIt8TE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003col>\n\u003cli>\n\u003ch3>Aerial Dance:\u003c/h3>\n\u003cp>For the more adventurous types, aerial dance is an amazing way to whittle away at that pesky arm waddle. \u003ca title=\"Zaccho\" href=\"http://www.zaccho.org/classes.html\" target=\"_blank\" rel=\"noopener\">Zaccho Dance Theater\u003c/a> offers weekly aerial yoga and dance classes. Both \u003ca title=\"Flyaway Productions\" href=\"http://flyawayproductions.com/upcoming-events/\" target=\"_blank\" rel=\"noopener\">Flyaway Productions\u003c/a> and \u003ca title=\"Bandaloop\" href=\"http://bandaloop.org/school/workshop-registration/\" target=\"_blank\" rel=\"noopener\">Bandaloop\u003c/a> in Oakland (pictured above) offer workshops throughout the year. And if you are afraid of heights, then at least check out these groups’ inspiring performances.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Ballroom:\u003c/h3>\n\u003cp>If, from the comfort of your couch, you’ve ever watched \u003ci>Dancing with the Stars\u003c/i> and thought, “Geez, I could totally do that,” then maybe it’s time you give it a twirl. And you can even take classes at the studio founded by \u003ca title=\"Cheryl Burke\" href=\"http://www.cherylburkedance.com/classes/\" target=\"_blank\" rel=\"noopener\">Cheryl Burke\u003c/a>, one of the \u003ci>Dancing with the Stars\u003c/i> champs, in Mountain View. For those in the north, there’s the \u003ca title=\"Arthur Murray Dance \" href=\"http://www.sonomadancesport.com/medalist-programs/\" target=\"_blank\" rel=\"noopener\">Arthur Murray Dance Center \u003c/a>(Santa Rosa), which is currently offering one free private lesson for new customers. Additionally, \u003ca href=\"http://metronomesf.com/schedules.php\" title=\"The Metronome\" target=\"_blank\" rel=\"noopener\">The Metronome\u003c/a> on Potrero Hill in San Francisco offers a variety of beginning classes on a weekly basis, as well as hosting a number of social events to practice your fancy new steps with partners — or complete strangers.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Bhangra:\u003c/h3>\n\u003cp>For fans of Bollywood films, check out bhangra, which is a high-energy workout for both men and women. \u003ca title=\"Dholrhythms\" href=\"http://dholrhythms.com\" target=\"_blank\" rel=\"noopener\">Dholrythms\u003c/a> offers bhangra classes in both San Francisco and Berkeley. \u003ca title=\"Dance Mission\" href=\"http://www.dancemission.com/adult_program/index.html\" target=\"_blank\" rel=\"noopener\">Dance Mission\u003c/a> offers a class on Monday nights. And once you’ve got some moves under your sari, you can show them off at \u003ca title=\"Non Stop Bhangra\" href=\"http://nonstopbhangra.com/non-stop-bhangra/\" target=\"_blank\" rel=\"noopener\">Non Stop Bhangra\u003c/a>, a monthly dance party at \u003ca title=\"Public Works\" href=\"http://publicsf.com/listing\" target=\"_blank\" rel=\"noopener\">Public Works\u003c/a>. No idea what I’m talking about? Get schooled along with Conan O’Brien.\u003c/p>\u003c/li>\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/vi8zF2lm3BU'\n title='//www.youtube.com/embed/vi8zF2lm3BU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cli>\n\u003ch3>Circus Arts:\u003c/h3>\n\u003cp>On the (very) rare occasion that I’m asked how I stay in shape, people tend to be surprised to hear that my answer is acrobatics. Although I’m not sure why the amazement, since who doesn’t want to do cartwheels (in a very safe environment)? You too can get your tumbling on at the \u003ca title=\"Circus Center\" href=\"http://circuscenter.org/class-descriptions/\" target=\"_blank\" rel=\"noopener\">Circus Center\u003c/a> and at \u003ca title=\"Acrosports\" href=\"http://www.acrosports.org/classes/teen-adult-classes/\" target=\"_blank\" rel=\"noopener\">Acrosports\u003c/a>. Both offer acrobatics as well as introductory classes in many other circus arts, like contortion, tight rope walking, trampoline, and tissu. \u003ca title=\"Athletic Playground\" href=\"http://www.athleticplayground.com/schedule.html\" target=\"_blank\" rel=\"noopener\">Athletic Playground\u003c/a> in Emeryville also offers beginning classes in acrobatics, aerial skills, and acroyoga. For the adrenaline junkie, check out trapeze classes at the \u003ca title=\"Circus Center\" href=\"http://circuscenter.org/class-descriptions/\" target=\"_blank\" rel=\"noopener\">Circus Center\u003c/a> or at \u003ca title=\"Kinetic Arts\" href=\"http://www.kineticartscenter.com/classes/\" target=\"_blank\" rel=\"noopener\">Kinetic Arts\u003c/a> in Oakland.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Dance-Pop:\u003c/h3>\n\u003cp>To be honest, before writing this article I didn’t know that “\u003ca title=\"Wikipedia\" href=\"http://en.wikipedia.org/wiki/Dance-pop\" target=\"_blank\" rel=\"noopener\">dance-pop\u003c/a>” was the terminology used for the choreography that one tends to see in popular music videos from the likes of Lady Gaga and Britney Spears. It’s ironic since it is one of my favorite genres! Both \u003ca title=\"ODC\" href=\"https://clients.mindbodyonline.com/classic/home?studioid=2717\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a> and \u003ca title=\"Dance Mission\" href=\"http://www.dancemission.com/adult_program/index.html\" target=\"_blank\" rel=\"noopener\">Dance Mission\u003c/a> offer a Vogue and Tone class — yes, we are talking about Vogueing a la Madonna-style. And there’s a group out there, called \u003ca href=\"http://www.popstartechnique.com/#!classes/cwlb\" title=\"Pop Star Technique\" target=\"_blank\" rel=\"noopener\">Pop Star Technique\u003c/a> that teaches a Beyonce-inspired dance class, which we hear might be hard to get into (since it fills up quickly and is not offered regularly), but is worth the effort if you can get a coveted spot. Read more about it on \u003ca href=\"http://ww2.kqed.org/pop/2014/09/19/learn-how-to-move-like-beyonce-thanks-to-bay-area-dance-teacher/\">KQED Pop.\u003c/a>\u003c/p>\n\u003cp>But wait, there’s more… Yes, that same group is dedicated to choreographing to crowd favorites like Michael Jackson and Justin Timberlake, rehearsing for weeks, and then performing the routines as the \u003ca title=\"Bay Area Flash Mob\" href=\"http://www.bayareaflashmob.com/\" target=\"_blank\" rel=\"noopener\">Bay Area Flash Mob\u003c/a>. They are always looking for more dancers. Here’s one their performances:\u003c/p>\u003c/li>\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/gA5dFHHHHic'\n title='//www.youtube.com/embed/gA5dFHHHHic'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cli>\n\u003ch3>Fire Performance:\u003c/h3>\n\u003cp> For those with tendencies towards pyromania, you can build up to dancing with fire at \u003ca title=\"Temple of Poi\" href=\"http://templeofpoi.wordpress.com/schedule/\" target=\"_blank\" rel=\"noopener\">Temple of Poi\u003c/a>, starting with a 6-week series for absolute beginners. \u003ca title=\"The Crucible\" href=\"http://thecrucible.org/classes/departments/fire-performance/\" target=\"_blank\" rel=\"noopener\">The Crucible\u003c/a> in Oakland also offers classes in a variety of genres, including poi, fire staff, and fire eating.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Hip Hop and Break Dancing:\u003c/h3>\n\u003cp>Have you seen this KQED video yet?\u003cbr>\nhttp://youtu.be/pLVGrZGSFXg\u003cbr>\nIf that inspired you to do some popping and locking in front of the mirror, then head over to \u003ca title=\"City Dance\" href=\"http://www.citydance.org/\" target=\"_blank\" rel=\"noopener\">City Dance\u003c/a>, where they offer weekly classes devoted to both of these classic moves. They also offer beginning break dancing and hip hop. \u003ca title=\"Acrosports\" href=\"http://www.acrosports.org/classes/teen-adult-classes/\" target=\"_blank\" rel=\"noopener\">Acrosports\u003c/a> offers a beginning break dancing class as well, but in a room that has a decent supply of padding should you be brave enough to try something more ambitious, like wind milling or the worm. And for those who just want plain old, hip hop classes, you can find them at a variety of places including \u003ca title=\"ODC\" href=\"https://clients.mindbodyonline.com/classic/home?studioid=2717\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>, \u003ca title=\"Dance Mission\" href=\"http://www.dancemission.com/adult_program/index.html\" target=\"_blank\" rel=\"noopener\">Dance Mission\u003c/a>, and the \u003ca title=\"Malonga\" href=\"http://mccatheater.com/class-schedule/\" target=\"_blank\" rel=\"noopener\">Malonga Casquelourd Center for the Arts\u003c/a> in Oakland.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Hula Hooping:\u003c/h3>\n\u003cp>Battling muffin-top? Want to look cool on The Playa? Then check out a workshop series with \u003ca title=\"Cherry Hoops\" href=\"http://www.cherryhoops.com/Services.html\" target=\"_blank\" rel=\"noopener\">Cherry Hoop\u003c/a> or at \u003ca title=\"Hoop the Flow\" href=\"http://www.hooptheflow.com\" target=\"_blank\" rel=\"noopener\">Hoop the Flow\u003c/a>. If you are feeling particularly hardcore, \u003ca title=\"The Crucible\" href=\"http://thecrucible.org/classes/departments/fire-performance/\" target=\"_blank\" rel=\"noopener\">The Crucible\u003c/a> offers a fire hooping class. Hot.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Roller Skating:\u003c/h3>\n\u003cp>Is retro more your thing? Disco skaters have been gathering in Golden Gate Park (near 6th Avenue and JKF Drive) weekly since the ’70s. Why not join them? You can also take lessons or just practice at \u003ca title=\"Church of 8 Wheels\" href=\"http://www.churchof8wheels.com/\" target=\"_blank\" rel=\"noopener\">The Church of 8 Wheels\u003c/a>. They are open to the public Tuesday through Saturday. Plus, they have a roller disco themed camp at Burning Man.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>World Dance:\u003c/h3>\n\u003cp> Are you a world traveler? Indulge in the wide variety of world dance classes around the Bay Area while you daydream about your next trip. You can learn Mexican folk dance, Argentine tango, or Brazilian samba at the \u003ca title=\"Mission Cultural Center\" href=\"http://www.missionculturalcenter.org/MCCLA_New/classes.html\" target=\"_blank\" rel=\"noopener\">Mission Cultural Center\u003c/a>. \u003ca title=\"ODC\" href=\"https://clients.mindbodyonline.com/classic/home?studioid=2717\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a> also offers samba, along with flamenco, hula, and many more. Live in the East Bay? Then why not try Balkan dance, Cape Breton Scottish-style step, or Egyptian belly dancing at \u003ca title=\"Ashkenaz\" href=\"http://www.ashkenaz.com/classes.php\" target=\"_blank\" rel=\"noopener\">Ashkenaz\u003c/a> in Berkeley? Or Congolese dance, Chicago stepping, or Haitian folkoric dance at the \u003ca title=\"Malonga\" href=\"http://mccatheater.com/class-schedule/\" target=\"_blank\" rel=\"noopener\">Malonga Casquelourd Center for the Arts\u003c/a>?\u003c/p>\u003c/li>\n\u003c/ol>\n\u003cp>If you have any other ideas of fun ways to get in shape while supporting our vibrant art scene, please include suggestions in the comments below.\u003c/p>\n\u003cp>\u003cstrong>Editor’s Note: The following changes were made to this post: On January, 7, 2015: Dyon Lain was replaced with Pop Star Technique; On January 22, 2015: “… take classes with Cheryl Burke” was replaced with “… take classes at the studio founded by Cheryl Burke.”\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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",
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"officialWebsiteLink": "/californiareportmagazine",
"meta": {
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"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",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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}
},
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"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.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"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.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"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": {
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"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",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"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",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"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)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"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",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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