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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/theory-of-survival-fabrications/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘Theory of Survival: Fabrications’\u003c/h4>\n\u003cdiv class=\"event-desc\">Pop-up bazaars weave culture, history, and reflection.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 5 – Oct. 25, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Southern Exposure\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/theory-of-survival-fabrications/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Racks and shelves of colorful clothing, textiles, tchotchkes, tote bags, tea, cassette tapes and records fill the stalls that occupy Southern Exposure’s spacious gallery. But these are not your typical wares; fists clenched in protest emblazon enough of the goods to start a rhythm and printed blood pours down the sides of throw pillows. \u003cb>Theory of Survival: Fabrications\u003c/b> (September 5-October 25), organized by artist Taraneh Hemami, brings together twelve local Iranian artists to grapple with the politics and visual language of dissent. This gallery-turned-bazaar is full of goods to buy and sell, but like any marketplace it is also a site for much cultural exchange.\u003c/p>\n\u003cfigure id=\"attachment_10142494\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/tosmarket-e1410991407323.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142494\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/tosmarket-e1410991407323.jpg\" alt=\"Theory of Survival at Southern Exposure\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cb>Theory of Survival\u003c/b> at Southern Exposure\u003c/figcaption>\u003c/figure>\n\u003cp>Each artist was designated their own booth to populate with artistic goods, so the range of work is vast in content and form. In painter Taravat Talepasand’s stall, shirts are folded neatly on shelves and hang for sale. One set of shirts has been printed with an image that riffs off of Raymond Pettibon’s illustration for the 1990 Sonic Youth album \u003ci>Goo\u003c/i>. Pettibon’s drawing of Maureen Hindley and David Smith on their way to the Moors murders serial killer trial of 1966 is reimaged by Talepasand as two women in sunglasses and traditional chadors smoking. Across the way, painter Amir Fallah’s booth features chadors and headscarves hanging solemnly against a white wall. Like the name of his booth \u003cem>Failure\u003c/em>, these garments appear to do just that. Fallah bleached the heavy fabric with a deliberate fury reminiscent of 1980s acid wash, discoloring the dark cloth with chaotic blotches and streams that seem to whip the pigment from the material. Both artists confront a post-revolution Iran intersecting with American pop culture, illuminating how pop culture itself can be appropriated to become a pastiche language of dissent.\u003c/p>\n\u003cfigure id=\"attachment_10142495\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/talepasand.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142495\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/talepasand.jpg\" alt=\"Taravat Talepasand, <i>Islamic Youth</i> installation view, 2014\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/talepasand.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/talepasand-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/talepasand-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Taravat Talepasand, \u003ci>Islamic Youth\u003c/i> installation view, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>The space as a whole resembles an art fair as much as any bazaar or marketplace. Each “stall” is partitioned by drywall, painted white and built to temporarily and hastily divide. Most of the artists treat their sections like an exhibition space, employing the vernacular of the art world. Art fairs highlight art as a commodity — a connection to mainstream consumerism that is highly debated in the arts. So here, the structure of commonplace bazaar flirts with art fair white cube; there may not be any red dots on the wall, but there are price lists in plastic sheet protectors. You can definitely touch the art, but prices range from $10 to thousands: after all, this is no average store.\u003c/p>\n\u003cp>Hemami embraces this tension, especially after the troubling experience of seeing her work, and other art that was political in nature, exhibited in Dubai against the backdrop of the hungry consumption of international art fairs and exhibitions. She noticed that as viewers interacted with the art they also allowed themselves to engage with the works’ politics in a way they weren’t necessarily doing within their own lives or cultural spaces. Art added another layer and made it more comfortable to discuss contentious political and social topics. \u003cb>Fabrications\u003c/b> attempts to create a space for both the broader public and Iranians to get closer to these politics and histories. Hemami notes, “For many Iranians of my generation, or younger, there is a huge silence around this political time and the revolution. There is a lot of conflict around how people view the political dissent of that time [just after the 1979 Iranian Revolution]. It’s a very uncomfortable subject to talk about.”\u003c/p>\n\u003cfigure id=\"attachment_10142496\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/seraj.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142496\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/seraj.jpg\" alt=\"Azin Seraj, <i>Concurrency</i> installation view, 2014\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/seraj.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/seraj-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/seraj-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Azin Seraj, \u003ci>Concurrency\u003c/i> installation view, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>So the idea to wrap these ideas in consumer culture was born. \u003cb>Fabrications\u003c/b> is a part of a larger project, \u003ca href=\"http://www.taranehhemami.com\" target=\"_blank\" rel=\"noopener\">\u003cb>Theory of Survival\u003c/b>,\u003c/a> which began while Hemami was doing research in an archive of politically dissident publications from Iran that is housed in the library of the Iranian Students Association of Northern California.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many of the works boldly confront the ubiquity of latent Orientalism, which manifests unmistakably today through the consumption of cultural practices and good. Ali Dadgar’s wall of handmade protest signs shout slogans of dissent loudly from the back of the gallery. Tiled and stacked from the floor up are messages screenprinted and spray-painted on wood that trumpet slogans such as: “Your Democracy Hurts,” “Fuck Orientalism,” “No War,” and “Solidarity.” Nearby is a bin of wooden sticks so that one could rip a sign off the wall and take it to the streets.\u003c/p>\n\u003cp>Across the room, Hushidar Mortezaie’s stall titled \u003cem>Dozd Bazaar: Bootleg Identities\u003c/em> displays over-the-top costumes with images of heroes from ’60s and ’70s Iran, many who died mysteriously and became martyrs for the revolution. The costumes and goods on display are the tension between gruesome, flamboyant and kitsch. “Team Orientalism” is emblazoned across the chest of a soccer jersey with the contorted image of Golamreza Takhti, an Olympic gold medal wrestler who joined the Tudeh movement. A soccer ball is branded with “Orientalism sells.” And everything is for sale. While the project openly critiques Orientalism, it also relies on it: anticipating viewers who may fetishize the politics, social practices, cultural accoutrement or even the critical discourse of Iran, the so-called “East” or “Middle East” and the “global.”\u003c/p>\n\u003cp>Since much of the audience is not from Iran, Hemami acknowledges that many people may come to the politics of the show with limited, borrowed or even false knowledge of Iran’s complicated history of dissent. In this case, art and by default its meaning becomes what Hemami suggests is “an object to possess” and suddenly the viewer is consuming this dissent, whether they know it or not. Viewers take home the work as art objects but also the meaning and intention it contends with.\u003c/p>\n\u003cfigure id=\"attachment_10142497\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ebtakar.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142497\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ebtakar.jpg\" alt=\"Ala Ebtekar, <i>MIXTAPES: VOL. I & II</i> installation view, 2014\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ebtakar.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ebtakar-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ebtakar-200x300.jpg 200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ala Ebtekar, \u003ci>MIXTAPES: VOL. I & II\u003c/i> installation view, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>Morehshin Allahyari’s records give voice to the most re-tweeted Twitter posts from Iran’s Green Movement in response to the 2009 presidential election. Pressed into vinyl, Allahyari gives form to the way social media has become the platform of dissent and the key tool for communicating rebellion in Iran — a collision of the newest technology with the nostalgia for the past.\u003c/p>\n\u003cp>\u003cb>Fabrications \u003c/b>may risk tempting Orientalist fancy, yet it is inherently rooted in the exchange of political discourse and the language of dissent in Iran and within its diaspora. Consumers here in San Francisco are far from the underground networks of dissent or the on-the-ground fights in the streets, but are provided the opportunity for what Hemami calls, “added knowledge.” This is the possibility to learn more about the past and strategies for one’s own dissent, but also to rethink what it is exactly that is being consumed.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Theory of Survival: Fabrications\u003c/b> is on view until October 25, 2014 with Saturday Bazaars and Night Market events throughout the month. For \u003ca href=\"http://https://www.soex.org/projects-exhibitions/theory-survival-fabrications\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit soex.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/theory-of-survival-fabrications/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘Theory of Survival: Fabrications’\u003c/h4>\n\u003cdiv class=\"event-desc\">Pop-up bazaars weave culture, history, and reflection.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 5 – Oct. 25, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Southern Exposure\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/theory-of-survival-fabrications/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Racks and shelves of colorful clothing, textiles, tchotchkes, tote bags, tea, cassette tapes and records fill the stalls that occupy Southern Exposure’s spacious gallery. But these are not your typical wares; fists clenched in protest emblazon enough of the goods to start a rhythm and printed blood pours down the sides of throw pillows. \u003cb>Theory of Survival: Fabrications\u003c/b> (September 5-October 25), organized by artist Taraneh Hemami, brings together twelve local Iranian artists to grapple with the politics and visual language of dissent. This gallery-turned-bazaar is full of goods to buy and sell, but like any marketplace it is also a site for much cultural exchange.\u003c/p>\n\u003cfigure id=\"attachment_10142494\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/tosmarket-e1410991407323.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142494\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/tosmarket-e1410991407323.jpg\" alt=\"Theory of Survival at Southern Exposure\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cb>Theory of Survival\u003c/b> at Southern Exposure\u003c/figcaption>\u003c/figure>\n\u003cp>Each artist was designated their own booth to populate with artistic goods, so the range of work is vast in content and form. In painter Taravat Talepasand’s stall, shirts are folded neatly on shelves and hang for sale. One set of shirts has been printed with an image that riffs off of Raymond Pettibon’s illustration for the 1990 Sonic Youth album \u003ci>Goo\u003c/i>. Pettibon’s drawing of Maureen Hindley and David Smith on their way to the Moors murders serial killer trial of 1966 is reimaged by Talepasand as two women in sunglasses and traditional chadors smoking. Across the way, painter Amir Fallah’s booth features chadors and headscarves hanging solemnly against a white wall. Like the name of his booth \u003cem>Failure\u003c/em>, these garments appear to do just that. Fallah bleached the heavy fabric with a deliberate fury reminiscent of 1980s acid wash, discoloring the dark cloth with chaotic blotches and streams that seem to whip the pigment from the material. Both artists confront a post-revolution Iran intersecting with American pop culture, illuminating how pop culture itself can be appropriated to become a pastiche language of dissent.\u003c/p>\n\u003cfigure id=\"attachment_10142495\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/talepasand.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142495\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/talepasand.jpg\" alt=\"Taravat Talepasand, <i>Islamic Youth</i> installation view, 2014\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/talepasand.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/talepasand-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/talepasand-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Taravat Talepasand, \u003ci>Islamic Youth\u003c/i> installation view, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>The space as a whole resembles an art fair as much as any bazaar or marketplace. Each “stall” is partitioned by drywall, painted white and built to temporarily and hastily divide. Most of the artists treat their sections like an exhibition space, employing the vernacular of the art world. Art fairs highlight art as a commodity — a connection to mainstream consumerism that is highly debated in the arts. So here, the structure of commonplace bazaar flirts with art fair white cube; there may not be any red dots on the wall, but there are price lists in plastic sheet protectors. You can definitely touch the art, but prices range from $10 to thousands: after all, this is no average store.\u003c/p>\n\u003cp>Hemami embraces this tension, especially after the troubling experience of seeing her work, and other art that was political in nature, exhibited in Dubai against the backdrop of the hungry consumption of international art fairs and exhibitions. She noticed that as viewers interacted with the art they also allowed themselves to engage with the works’ politics in a way they weren’t necessarily doing within their own lives or cultural spaces. Art added another layer and made it more comfortable to discuss contentious political and social topics. \u003cb>Fabrications\u003c/b> attempts to create a space for both the broader public and Iranians to get closer to these politics and histories. Hemami notes, “For many Iranians of my generation, or younger, there is a huge silence around this political time and the revolution. There is a lot of conflict around how people view the political dissent of that time [just after the 1979 Iranian Revolution]. It’s a very uncomfortable subject to talk about.”\u003c/p>\n\u003cfigure id=\"attachment_10142496\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/seraj.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142496\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/seraj.jpg\" alt=\"Azin Seraj, <i>Concurrency</i> installation view, 2014\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/seraj.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/seraj-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/seraj-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Azin Seraj, \u003ci>Concurrency\u003c/i> installation view, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>So the idea to wrap these ideas in consumer culture was born. \u003cb>Fabrications\u003c/b> is a part of a larger project, \u003ca href=\"http://www.taranehhemami.com\" target=\"_blank\" rel=\"noopener\">\u003cb>Theory of Survival\u003c/b>,\u003c/a> which began while Hemami was doing research in an archive of politically dissident publications from Iran that is housed in the library of the Iranian Students Association of Northern California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the works boldly confront the ubiquity of latent Orientalism, which manifests unmistakably today through the consumption of cultural practices and good. Ali Dadgar’s wall of handmade protest signs shout slogans of dissent loudly from the back of the gallery. Tiled and stacked from the floor up are messages screenprinted and spray-painted on wood that trumpet slogans such as: “Your Democracy Hurts,” “Fuck Orientalism,” “No War,” and “Solidarity.” Nearby is a bin of wooden sticks so that one could rip a sign off the wall and take it to the streets.\u003c/p>\n\u003cp>Across the room, Hushidar Mortezaie’s stall titled \u003cem>Dozd Bazaar: Bootleg Identities\u003c/em> displays over-the-top costumes with images of heroes from ’60s and ’70s Iran, many who died mysteriously and became martyrs for the revolution. The costumes and goods on display are the tension between gruesome, flamboyant and kitsch. “Team Orientalism” is emblazoned across the chest of a soccer jersey with the contorted image of Golamreza Takhti, an Olympic gold medal wrestler who joined the Tudeh movement. A soccer ball is branded with “Orientalism sells.” And everything is for sale. While the project openly critiques Orientalism, it also relies on it: anticipating viewers who may fetishize the politics, social practices, cultural accoutrement or even the critical discourse of Iran, the so-called “East” or “Middle East” and the “global.”\u003c/p>\n\u003cp>Since much of the audience is not from Iran, Hemami acknowledges that many people may come to the politics of the show with limited, borrowed or even false knowledge of Iran’s complicated history of dissent. In this case, art and by default its meaning becomes what Hemami suggests is “an object to possess” and suddenly the viewer is consuming this dissent, whether they know it or not. Viewers take home the work as art objects but also the meaning and intention it contends with.\u003c/p>\n\u003cfigure id=\"attachment_10142497\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ebtakar.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142497\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ebtakar.jpg\" alt=\"Ala Ebtekar, <i>MIXTAPES: VOL. I & II</i> installation view, 2014\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ebtakar.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ebtakar-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ebtakar-200x300.jpg 200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ala Ebtekar, \u003ci>MIXTAPES: VOL. I & II\u003c/i> installation view, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>Morehshin Allahyari’s records give voice to the most re-tweeted Twitter posts from Iran’s Green Movement in response to the 2009 presidential election. Pressed into vinyl, Allahyari gives form to the way social media has become the platform of dissent and the key tool for communicating rebellion in Iran — a collision of the newest technology with the nostalgia for the past.\u003c/p>\n\u003cp>\u003cb>Fabrications \u003c/b>may risk tempting Orientalist fancy, yet it is inherently rooted in the exchange of political discourse and the language of dissent in Iran and within its diaspora. Consumers here in San Francisco are far from the underground networks of dissent or the on-the-ground fights in the streets, but are provided the opportunity for what Hemami calls, “added knowledge.” This is the possibility to learn more about the past and strategies for one’s own dissent, but also to rethink what it is exactly that is being consumed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Theory of Survival: Fabrications\u003c/b> is on view until October 25, 2014 with Saturday Bazaars and Night Market events throughout the month. For \u003ca href=\"http://https://www.soex.org/projects-exhibitions/theory-survival-fabrications\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit soex.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Continue gaining fluency in the language of the Arts with the second installment in our \u003ca title=\"Elements of Art Playlist\" href=\"https://www.youtube.com/watch?v=BDePyEFT1gQ&list=PLiOil1qP-cMURN_8baOr3QWfySmIjqKIj\" target=\"_blank\">\u003cem>Elements of Art\u003c/em>\u003c/a> series. Shape is one of the seven basic building blocks of art along with Line, Form, Texture, Value, Space, and Color. Using still life paintings of fruit, we look into how artists' create their individual style and develop a unique approach to making shapes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Chinese contemporary artist Ai Weiwei’s prominence in the public eye is largely fueled by his absence. Unable to leave China since 2011 — after being held in detention for 81 days on tax evasion charges, following his extended inquiry into the Chinese government’s involvement in poor construction that contributed to the deaths of more than 5,000 schoolchildren in the 2008 Sichuan earthquake — Ai has since advanced his public profile with a number of international exhibitions and projects executed remotely. On September 27, \u003cem>@Large: Ai Weiwei on Alcatraz\u003c/em>, a series of site-specific commissions within the historic former Alcatraz Federal Penitentiary will debut. Don’t expect to see the artist; he remains unable to travel, though his ideas will be everywhere.\u003c/p>\n\u003cp>It is fitting that Ai should explore the contours of history and personal freedom through a series of artworks in an infamous prison, site-unseen. He spent his childhood living with his family in exile, after his father, the poet Ai Qing, was sent to a labor camp for opposing the Chinese government. Following the Cultural Revolution, his family returned to Beijing and shortly thereafter, Ai began to explore his ideas as an artist.\u003c/p>\n\u003cp>For more than a decade he lived in New York’s East Village, studying at Parsons School of Design and the Art Students League of New York, before returning to China in the early ’90s. Mounting tensions around government restrictions began to fuel an underlying anger in his work — \u003cem>Dropping a Han Dynasty Urn\u003c/em> 1995, a series of stop-motion photographs of the artist dropping an ancient relic, embody Ai’s frustrations with revisionism and censorship in governance.\u003c/p>\n\u003cp>In 2005 Ai began to experiment with blogging and offered daily doses of cultural criticism online for several years before Chinese authorities shut down his blog, following his outspoken criticism of the government in the wake of the Beijing Olympics (he was lead artistic consultant on the design of the Bird’s Nest stadium) and the Sichuan earthquake. Selected writings from his blog were later compiled into \u003cem>Ai Weiwei’s Blog: Writings, Interviews, and Digital Rants, 2006 – 2009\u003c/em>, published by MIT Press. Since May 2009, he has been active on Twitter, as @aiww, and more recently on Instagram.\u003c/p>\n\u003cp>Social media, in many respects, has not only enabled Ai to continue his outspoken criticism, it has allowed him to gain further international recognition. In a 2010 \u003ca href=\"http://www.theguardian.com/artanddesign/video/2010/mar/18/ai-weiwei-turbine-hall-tate\" target=\"_blank\" rel=\"noopener\">video interview\u003c/a> with \u003cem>The Guardian\u003c/em>, he noted, “People often say that I started to become well spoken after a certain period, but it is all because of the Internet. If we didn’t have this technology, I would be the same as anybody else: I could not really amplify my voice.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Following his illegal detention — he was held without charges for six weeks — social media might have also saved his life. Secondary protest strategies initiated by thousands of supporters online are largely credited with creating the sustained international attention that resulted in his release. \u003ca href=\"http://www.artpractical.com/feature/secondary_protest_strategies_for_ai_weiwei/\" target=\"_blank\" rel=\"noopener\">I wrote about many of these gestures\u003c/a>, from online petitions to fliers to videos to public actions, for \u003cem>Art Practical\u003c/em> in 2011. The plight of Ai Weiwei was covered by news outlets the world over and it was an illuminating early example of social media-fueled globalized protest.\u003c/p>\n\u003cp>Today the Internet enables Ai to continue to remain connected and to produce ambitious international projects at a remove, even while he is still restricted from travel. “I may not be the best artist,” he said in an \u003ca href=\"http://www.timeoutshanghai.com/features/Art-Art_Features/21018/Interview-Ai-Weiwei.html\">interview\u003c/a> with Aaron Fox Lerner in \u003cem>Time Out Shanghai\u003c/em>, but I really am the best remote control artist. I use the Internet, use Skype, and just use communication.”\u003c/p>\n\u003cp>His output is decidedly political, by version of his mechanisms, but it can also be unexpected and, at times, humorous. In 2012, at the height of the Gangnam Style craze, he released a music video produced with his studio crew. In it, Ai appears to refute authority by enthusiastically dancing handcuffed. In the last year he has also organized major exhibitions in Berlin, Ontario, and Venice; produced a \u003ca href=\"http://www.youtube.com/watch?v=lyQZ-oLshOQ\" target=\"_blank\" rel=\"noopener\">metal music video\u003c/a> — no, really — and was featured in a Kickstarter-funded short film that \u003ca href=\"https://docs.google.com/file/d/0B4qvsKb092NHYnVTaE1LY0wtWHp4N0xNdl8yNWN3Mndfc2pr/edit?pli=1\" target=\"_blank\" rel=\"noopener\">he later renounced\u003c/a> via a Google doc that he posted on Twitter. He was also \u003ca href=\"http://www.pusspussmagazine.com/ai-weiwei-%E2%80%A8talks-%E2%80%A8art-activism-%E2%80%A8and-cats/\">highlighted\u003c/a> with his thirty studio cats in the new feline-themed \u003cem>Puss Puss \u003c/em>magazine, among many other seemingly nonstop activities online and in print media.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=n281GWfT1E8\u003c/p>\n\u003cp>It has been noted that the constancy of his efforts to stay publicly visible is in itself a political strategy; he simply cannot afford to be forgotten. As he is one of China’s most vocal advocates for human rights and freedom of expression, the stakes around his publicity are high, extending perhaps far beyond his own survival.\u003c/p>\n\u003cp>For this reason, many artists from wide ranging disciplines have been vocally supportive of him. In April a group of \u003ca href=\"http://www.pen.org/press-release/2014/04/11/pen-american-center-defies-chinese-government-brings-ai-weiwei-new-york\" target=\"_blank\" rel=\"noopener\">200 writers gathered\u003c/a> at the invitation of PEN America Center to demonstrate solidarity with Ai and other persecuted Chinese artists, on the occasion of Ai’s major exhibition opening at the Brooklyn Museum. “Freedom of Expression is to encourage every individual to question authority and to become more creative,” Ai said in a message projected onto the museum’s exterior. “It will never come as a gift but rather through our artworks.”\u003c/p>\n\u003cp>Later this month, Ai will take over Alcatraz by remote control. What the work will be is anyone’s guess — everyone involved is lip-locked so far as I’ve been able to tell. He has always delivered on visual spectacle, so grand visual gestures are highly anticipated. Surely the space itself will deliver its own impressions and previously unseen rooms are also promised. With these revelations, Ai Weiwei’s unique ability to work across the Internet to open doors, within and beyond locked-down facilities, will be on very public display, here and, as is always his goal, at large.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>@Large: Ai Weiwei on Alcatraz\u003c/em> opens September 27, 2014; it is organized by FOR-SITE Foundation in partnership with the National Park Service and the Golden Gate National Parks Conservancy. For \u003ca href=\"http://www.for-site.org/project/ai-weiwei-alcatraz/\">tickets and information\u003c/a> visit for-site.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Following his illegal detention — he was held without charges for six weeks — social media might have also saved his life. Secondary protest strategies initiated by thousands of supporters online are largely credited with creating the sustained international attention that resulted in his release. \u003ca href=\"http://www.artpractical.com/feature/secondary_protest_strategies_for_ai_weiwei/\" target=\"_blank\" rel=\"noopener\">I wrote about many of these gestures\u003c/a>, from online petitions to fliers to videos to public actions, for \u003cem>Art Practical\u003c/em> in 2011. The plight of Ai Weiwei was covered by news outlets the world over and it was an illuminating early example of social media-fueled globalized protest.\u003c/p>\n\u003cp>Today the Internet enables Ai to continue to remain connected and to produce ambitious international projects at a remove, even while he is still restricted from travel. “I may not be the best artist,” he said in an \u003ca href=\"http://www.timeoutshanghai.com/features/Art-Art_Features/21018/Interview-Ai-Weiwei.html\">interview\u003c/a> with Aaron Fox Lerner in \u003cem>Time Out Shanghai\u003c/em>, but I really am the best remote control artist. I use the Internet, use Skype, and just use communication.”\u003c/p>\n\u003cp>His output is decidedly political, by version of his mechanisms, but it can also be unexpected and, at times, humorous. In 2012, at the height of the Gangnam Style craze, he released a music video produced with his studio crew. In it, Ai appears to refute authority by enthusiastically dancing handcuffed. In the last year he has also organized major exhibitions in Berlin, Ontario, and Venice; produced a \u003ca href=\"http://www.youtube.com/watch?v=lyQZ-oLshOQ\" target=\"_blank\" rel=\"noopener\">metal music video\u003c/a> — no, really — and was featured in a Kickstarter-funded short film that \u003ca href=\"https://docs.google.com/file/d/0B4qvsKb092NHYnVTaE1LY0wtWHp4N0xNdl8yNWN3Mndfc2pr/edit?pli=1\" target=\"_blank\" rel=\"noopener\">he later renounced\u003c/a> via a Google doc that he posted on Twitter. He was also \u003ca href=\"http://www.pusspussmagazine.com/ai-weiwei-%E2%80%A8talks-%E2%80%A8art-activism-%E2%80%A8and-cats/\">highlighted\u003c/a> with his thirty studio cats in the new feline-themed \u003cem>Puss Puss \u003c/em>magazine, among many other seemingly nonstop activities online and in print media.\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/n281GWfT1E8'\n title='//www.youtube.com/embed/n281GWfT1E8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It has been noted that the constancy of his efforts to stay publicly visible is in itself a political strategy; he simply cannot afford to be forgotten. As he is one of China’s most vocal advocates for human rights and freedom of expression, the stakes around his publicity are high, extending perhaps far beyond his own survival.\u003c/p>\n\u003cp>For this reason, many artists from wide ranging disciplines have been vocally supportive of him. In April a group of \u003ca href=\"http://www.pen.org/press-release/2014/04/11/pen-american-center-defies-chinese-government-brings-ai-weiwei-new-york\" target=\"_blank\" rel=\"noopener\">200 writers gathered\u003c/a> at the invitation of PEN America Center to demonstrate solidarity with Ai and other persecuted Chinese artists, on the occasion of Ai’s major exhibition opening at the Brooklyn Museum. “Freedom of Expression is to encourage every individual to question authority and to become more creative,” Ai said in a message projected onto the museum’s exterior. “It will never come as a gift but rather through our artworks.”\u003c/p>\n\u003cp>Later this month, Ai will take over Alcatraz by remote control. What the work will be is anyone’s guess — everyone involved is lip-locked so far as I’ve been able to tell. He has always delivered on visual spectacle, so grand visual gestures are highly anticipated. Surely the space itself will deliver its own impressions and previously unseen rooms are also promised. With these revelations, Ai Weiwei’s unique ability to work across the Internet to open doors, within and beyond locked-down facilities, will be on very public display, here and, as is always his goal, at large.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>@Large: Ai Weiwei on Alcatraz\u003c/em> opens September 27, 2014; it is organized by FOR-SITE Foundation in partnership with the National Park Service and the Golden Gate National Parks Conservancy. For \u003ca href=\"http://www.for-site.org/project/ai-weiwei-alcatraz/\">tickets and information\u003c/a> visit for-site.org.\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/\">\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/events/pick/robert-frank-in-america/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘Robert Frank in America’\u003c/h4>\n\u003cdiv class=\"event-desc\">Exhibit of photographer’s rare images.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 10, 2014-Jan. 5, 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/events/pick/robert-frank-in-america/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>The 1959 publication of photographer Robert Frank’s \u003cem>The Americans\u003c/em> was one of the milestones of 20th-century art – a creation that changed the world’s perception both of art photography and of America itself. \u003c/p>\n\u003cp>Now, an exhibit at the Cantor Arts Center at Stanford University provides new insight into this seminal work, offering a look at dozens of rarely-seen images made by Frank during the time he was shooting \u003cem>The Americans\u003c/em> but not included in the book. KQED \u003cem>Newsroom’s\u003c/em> Thuy Vu visited the Cantor to see what new light the exhibit, \u003cem>Robert Frank in America,\u003c/em> sheds on the artist and his process.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Timothy Buckwalter Lives the Dream at NIAD",
"headTitle": "Timothy Buckwalter Lives the Dream at NIAD | KQED",
"content": "\u003cfigure id=\"attachment_10142246\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/buckwalter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/buckwalter-400x384.jpg\" alt=\"Portrait of Timothy Buckwalter by Tony Datillo\" width=\"400\" height=\"384\" class=\"size-thumbnail wp-image-10142246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/buckwalter-400x384.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/buckwalter-300x288.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/buckwalter-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/buckwalter.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Portrait of Timothy Buckwalter by Tony Datillo\u003c/figcaption>\u003c/figure>\n\u003cp>A couple years ago, Timothy Buckwalter began to proclaim — loudly — on Facebook that he had landed his “dream job.” Then, in the weeks following this announcement, he shared — often, and to an annoying degree for those of us in the coalmines — how happy he was in it. This habit has persisted to the present day. The dream job in question is Gallery Director and Director of Marketing at NIAD (National Institute of Art & Disabilities) Art Center in Richmond. So, I suppose he can be excused when the surplus joy he feels working with a group of talented and productive artists spills into his Facebook status. Buckwalter is the kind of guy who has always fed off of and then feeds back into creative communities. \u003c/p>\n\u003cp>I have known Tim for decades, and seen him operate in various capacities within the Bay Area art world. I am a fan of his art (he is a painter, collage and archive artist), and of his work promoting other artists. For a much-too-brief period about five years back he also contributed to KQED Arts. Last spring, Buckwalter asked me and my partner, ceramic artist James Aarons, to curate a show, \u003cb>I Have Always Been a Storm\u003c/b>, of recent work by NIAD artists, which opens this Saturday. \u003c/p>\n\u003cfigure id=\"attachment_10142252\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/snakes.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/snakes.jpg\" alt=\"Jonathan Velazquez, <i>Snakes & Buildings</i> featured in <b>I Have Always Been a Storm</b> exhibition; Photo by Katie Johnson/NIAD Art Center\" width=\"640\" height=\"835\" class=\"size-full wp-image-10142252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/snakes.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/snakes-400x521.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/snakes-229x300.jpg 229w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jonathan Velazquez, \u003ci>Snakes & Buildings\u003c/i> featured in \u003cb>I Have Always Been a Storm\u003c/b> exhibition; Photo by Katie Johnson/NIAD Art Center\u003c/figcaption>\u003c/figure>\n\u003cp>Having visited him at NIAD, I can easily understand why managing the art center’s exhibition and publicity programs would be Buckwalter’s dream job. There is an incredibly active studio and what appears to be a surplus of formal and conceptual genius there. It’s also a bit of a scam if you ask me; I never visit without being fleeced. I think they pump something into the air that fills me with want at the sight of so many great pieces of art. I know I have a problem and should probably learn to forget my wallet before going. \u003c/p>\n\u003cp>NIAD was founded in 1982 to “promote meaningful independent living by artists with disabilities.” Aided by top-notch instructors and studio helpers, artists work in various media (painting, ceramics, printmaking, sculpture, collage, textiles, etc.) in a large, active, open studio, which occupies about half of its Richmond location. The other half is storage space, a kitchen, a large gallery and a storefront. There is also a courtyard populated with umbrella-shaded lunch tables and large ceramic sculptures. \u003c/p>\n\u003cp>Buckwalter has been a contemporary artist since 1988, when he graduated from the Tyler School of Art in Philadelphia. He moved to the Bay Area in 1992 and began engaging with the art scene here, showing in various galleries around the Bay. In 2006, he lost the lease on the Berkeley warehouse where his studio was located and started working at home, where he developed a serious case of “artist’s block.” He started writing about art (for KQED, \u003ci>East Bay Monthly\u003c/i>, \u003ci>SF Chronicle\u003c/i>, etc.) and first came into contact with NIAD when then-gallery director Brian Stechschulte encouraged him to come to Richmond after reading a profile Buckwalter had written about Creative Growth, a similar kind of space operating out of Oakland. He later included some of the people he encountered at NIAD in a group show of Bay Area artists he curated for a Los Angeles gallery, which ended up selling some of the work. When NIAD asked him to organize a show from the archive for its 25th anniversary, Buckwalter invited a group of artists and arts professionals (including me) to organize the show. The success of that exhibition led to more opportunities and the partnership kept growing.\u003c/p>\n\u003cfigure id=\"attachment_10142247\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/weather.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/weather.jpg\" alt=\"Luis Estrada, <i>Weather Report</i>; Photo by Katie Johnson/NIAD Art Center\" width=\"640\" height=\"490\" class=\"size-full wp-image-10142247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/weather.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/weather-400x306.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/weather-300x229.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Luis Estrada, \u003ci>Weather Report\u003c/i>; Photo by Katie Johnson/NIAD Art Center\u003c/figcaption>\u003c/figure>\n\u003cp>Buckwalter was unemployed and helping his wife, Nell Bernstein, research her book, \u003ca href=\"http://www.npr.org/2014/06/04/318801651/burning-down-the-house-makes-the-case-against-juvenile-incarceration\" target=\"_blank\" rel=\"noopener\">\u003ci>Burning Down the House: The End of Juvenile Prison\u003c/i>\u003c/a>, when he got an email from Stechschulte saying he was leaving his position at NIAD and asking if he could think of anyone who might want the job. He could. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When I ask what, beside the obvious, makes this his dream job, Buckwalter responds, “I’ve got to be honest. I never had any interest in the art world outside of creating art. Eight years ago, that changed. I then had an interest in writing about art. Now, it’s changed again where I have an interest in selling art.”\u003c/p>\n\u003cp>“I actually love organizing stuff. I’m a collector. I collect art. I collect records. So having the opportunity to organize stuff is super-exciting to me. Every two months — in 2015 we are going to do it every month — I get to organize a show.” But Buckwalter quickly realized that, in order to have an exhibition program that truly represented what was going on in the studio, he would need to invite other people in to curate. He says, “I have specific artists I like or whose work I relate to. I look at it and there’s a connection, or I have a connection with that person and maybe I’m not crazy about their work, but I think they’re great and I want to sell their work. Inviting other people in helps me look at the work differently. It helps me get out of my head and see NIAD anew.” \u003c/p>\n\u003cfigure id=\"attachment_10142248\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/elena.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/elena.jpg\" alt=\"Elena Rossi, <i>Untitled</i>, featured in <b>I Have Always Been a Storm</b> exhibition; Photo by Katie Johnson/NIAD Art Center\" width=\"640\" height=\"487\" class=\"size-full wp-image-10142248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/elena.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/elena-400x304.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/elena-300x228.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Elena Rossi, \u003ci>Untitled\u003c/i>, featured in \u003cb>I Have Always Been a Storm\u003c/b> exhibition; Photo by Katie Johnson/NIAD Art Center\u003c/figcaption>\u003c/figure>\n\u003cp>But, from the perspective of a guest curator who is also an artist, the experience can be a little intimidating. Some artists struggle to free themselves more than others. Every time I go to NIAD I am faced with my inhibitions, my inability to let go of insecurities or certain ideas or ambitions for my work, which prevent me from creating or stop me from following the work where it is trying to lead me. \u003c/p>\n\u003cp>Buckwalter tries to console me in a way that makes it seem like this is a familiar refrain; contemporary artists come into the space and feel humbled. He says there are several magical elements at work at NIAD. “I don’t know where creativity lurks in anybody’s brain, but a number of NIAD artists are able to tap into that creative energy and make astonishing pieces. They’re able to do it frequently. They’re able to do it more frequently than me.” \u003c/p>\n\u003cp>“Here’s the darker secret,” he says. “You and I throw up limits to what we do and the limits are often economically based. I would love to hang a train from a crane in front of LACMA like Jeff Koons can, but I can’t afford that so I don’t even think that way. But at NIAD we provide the materials; we provide the space and the technical know-how. So, in a way, this frees the artists to be able to do more. I don’t have a benefactor saying here’s $3,000 for the next two months, do what you want. That’s one thing the NIAD artists don’t have to consider when they make their art. We explain to them that they shouldn’t lay down a monochrome field of oil stick and then try and put acrylic on top. We discourage them from wasting materials, but we encourage experimentation as much as we can. And that’s something that frees them up.”\u003c/p>\n\u003cfigure id=\"attachment_10142250\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/demi.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/demi.jpg\" alt=\"Demi Petropoulos, <i>Untitled</i>, featured in <b>I Have Always Been a Storm</b> exhibition; Photo by Katie Johnson/NIAD Art Center\" width=\"640\" height=\"504\" class=\"size-full wp-image-10142250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/demi.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/demi-400x315.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/demi-300x236.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Demi Petropoulos, \u003ci>Untitled\u003c/i>, featured in \u003cb>I Have Always Been a Storm\u003c/b> exhibition; Photo by Katie Johnson/NIAD Art Center\u003c/figcaption>\u003c/figure>\n\u003cp>I keep struggling with how often I see things at NIAD that I think have a bold use of color or a particularly brilliant conceptualization. \u003c/p>\n\u003cp>“We have 35 artists working in the studio every day. Is there any other place that you can go,” Buckwalter asks, “outside of Creative Growth or Creativity Explored where you can experience that much creative energy at one time? There’s not. So, just by sheer number, you’re going to experience something that’s just ‘Wow!’ If you and I rounded up 35 of our friends and put them into a space together, we would have a similar experience. It just happens that at NIAD we have so many creative people working together, including the teachers and studio volunteers, you can’t go wrong. \u003c/p>\n\u003cp>“Then there is the whole other magical part. The part that really draws me to NIAD’s art and our artists is how different their take on reality is from mine. I’m not the kind of person that likes to hear the same thing over and over. I don’t take comfort when people have the same opinions as me. I don’t want to round up a posse of like-minded individuals and go do something. I like it when everything’s different and I can experience something I never even dreamed of or thought about. And that’s the great strength of NIAD’s art, when you look at it you get this totally other take on reality.”\u003c/p>\n\u003cp>Buckwalter importantly rejects the term “outsider art,” which has been used to label and promote the work of artists like those at NIAD. He says, “Our artists are informed. They look at \u003ci>Art In America\u003c/i>, they experience art (in field trips to Bay Area galleries and museums), and we bring work in from the outside for them to see. They’re not outside of anything anymore. I think that NIAD artists are commenting on the current moment as much as anybody else is.” \u003c/p>\n\u003cfigure id=\"attachment_10142251\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ericainside.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ericainside.jpg\" alt=\"Erica Martinez, <i>Untitled</i> featured in <b>I Have Always Been a Storm</b> exhibition; Photo by Katie Johnson/NIAD Art Center\" width=\"640\" height=\"492\" class=\"size-full wp-image-10142251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ericainside.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ericainside-400x307.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ericainside-300x230.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erica Martinez, \u003ci>Untitled\u003c/i> featured in \u003cb>I Have Always Been a Storm\u003c/b> exhibition; Photo by Katie Johnson/NIAD Art Center\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, one of Buckwalter’s early realizations was that while some of NIAD’s artists were functional enough to go on field trips and see contemporary art in galleries and museums, three quarters of the artists weren’t, for whatever reason, able to do that. He says, “They experience contemporary art in magazines or books or newspapers. I went to art school and I know that the reality is when you experience art that way you don’t actually experience the scale of it or the tactile part of art. In your mind, you imagine it probably as the same size [as the reproduction]. Looking at a Clyfford Still painting in \u003ci>Art In America\u003c/i>, the photograph is 4″ x 6″. You don’t realize that those things engulf you when you’re close to them, cause they’re gigantic. So I came up with the idea to invite contemporary artists into NIAD and use part of the gallery space to put their work up. When the studio’s artists come in every day they can experience some form of contemporary art in the physical world. They can get a sense of scale; they can get a sense of texture. Having the opportunity to introduce artists to other artists… I love it.” \u003c/p>\n\u003cp>This program gets strong reaction from the artists in the studio. In some cases it has changed the course of their work. For example, in a recent exhibition, Mercury 20 artist Kathleen King had a show of works she made from found pieces of scrap wood. Buckwalter describes them as “almost like Sean Scully paintings as wooden objects.” One of the NIAD artists, Jonathan Valdivias, looked at them for many weeks and then started to make his own version, which looks nothing like King’s. Buckwalter says, “I like the way that he filtered her work in a totally different way.”\u003c/p>\n\u003cp>So every couple of months, alongside a freshly curated show of NIAD artists’ work there is also a small show — often great — featuring the work of a non-NIAD contemporary artist. The dialogue inside the gallery is often amazing. If only people would go and check it out. \u003c/p>\n\u003cp>Buckwalter admits that one of the main obstacles he has experienced with the gallery is that Richmond as an idea is scary to people interested in art. “So, to get around that,” he says, “we’ve tried to stress that we aren’t part of the ‘Iron Triangle’ (the area of Richmond between two sets of train tracks where the majority of the city’s violent crime takes place). We also put everything up online so that people can see what NIAD is about. They can experience the personal stories of the artists and see them working. They can see the gallery. Now we’re doing online shows as well. Starting last week and it will be every week, I am inviting people in to organize a show of 12 pieces from our inventory of works on paper. It’s another way to get people engaged.”\u003c/p>\n\u003cp>The integrated program has paid off nicely. NIAD sells a lot of its artists’ work online and several of the studio’s artists have devoted collectors. Similar to most other gallery/artist arrangements, NIAD’s artists get half the money from sales of their work. A handful have also shown internationally. “Marlon Mullen is in the collection of The Studio Museum of Harlem and is in a group show there now. He has shown everywhere. Sylvia Fragoso is having a solo show in an outsider art museum in a suburb of Paris.” Don’t check your own C.V. against these accomplishments; it won’t do you any good. Just revel in your fellow Bay Area artists’ good fortune, and go to Richmond to see the art. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>I Have Always Been a Storm\u003c/b> runs September 13 – October 24, 2014 at NIAD Art Center, 551 23rd Street, Richmond, CA. The opening reception is Saturday, September 13, 12:30pm – 3pm. A That’s My Dog food truck will be in the courtyard serving sausages, chili dogs and more. For \u003ca href=\"http://niadart.org/current-exhibitions/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit niadart.org.\u003c/p>\n\n",
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"excerpt": "The National Institute of Art & Disabilities' Gallery Director talks about the joys of bringing contemporary artists together in Richmond.",
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"description": "The National Institute of Art & Disabilities' Gallery Director talks about the joys of bringing contemporary artists together in Richmond.",
"title": "Timothy Buckwalter Lives the Dream at NIAD | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10142246\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/buckwalter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/buckwalter-400x384.jpg\" alt=\"Portrait of Timothy Buckwalter by Tony Datillo\" width=\"400\" height=\"384\" class=\"size-thumbnail wp-image-10142246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/buckwalter-400x384.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/buckwalter-300x288.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/buckwalter-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/buckwalter.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Portrait of Timothy Buckwalter by Tony Datillo\u003c/figcaption>\u003c/figure>\n\u003cp>A couple years ago, Timothy Buckwalter began to proclaim — loudly — on Facebook that he had landed his “dream job.” Then, in the weeks following this announcement, he shared — often, and to an annoying degree for those of us in the coalmines — how happy he was in it. This habit has persisted to the present day. The dream job in question is Gallery Director and Director of Marketing at NIAD (National Institute of Art & Disabilities) Art Center in Richmond. So, I suppose he can be excused when the surplus joy he feels working with a group of talented and productive artists spills into his Facebook status. Buckwalter is the kind of guy who has always fed off of and then feeds back into creative communities. \u003c/p>\n\u003cp>I have known Tim for decades, and seen him operate in various capacities within the Bay Area art world. I am a fan of his art (he is a painter, collage and archive artist), and of his work promoting other artists. For a much-too-brief period about five years back he also contributed to KQED Arts. Last spring, Buckwalter asked me and my partner, ceramic artist James Aarons, to curate a show, \u003cb>I Have Always Been a Storm\u003c/b>, of recent work by NIAD artists, which opens this Saturday. \u003c/p>\n\u003cfigure id=\"attachment_10142252\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/snakes.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/snakes.jpg\" alt=\"Jonathan Velazquez, <i>Snakes & Buildings</i> featured in <b>I Have Always Been a Storm</b> exhibition; Photo by Katie Johnson/NIAD Art Center\" width=\"640\" height=\"835\" class=\"size-full wp-image-10142252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/snakes.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/snakes-400x521.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/snakes-229x300.jpg 229w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jonathan Velazquez, \u003ci>Snakes & Buildings\u003c/i> featured in \u003cb>I Have Always Been a Storm\u003c/b> exhibition; Photo by Katie Johnson/NIAD Art Center\u003c/figcaption>\u003c/figure>\n\u003cp>Having visited him at NIAD, I can easily understand why managing the art center’s exhibition and publicity programs would be Buckwalter’s dream job. There is an incredibly active studio and what appears to be a surplus of formal and conceptual genius there. It’s also a bit of a scam if you ask me; I never visit without being fleeced. I think they pump something into the air that fills me with want at the sight of so many great pieces of art. I know I have a problem and should probably learn to forget my wallet before going. \u003c/p>\n\u003cp>NIAD was founded in 1982 to “promote meaningful independent living by artists with disabilities.” Aided by top-notch instructors and studio helpers, artists work in various media (painting, ceramics, printmaking, sculpture, collage, textiles, etc.) in a large, active, open studio, which occupies about half of its Richmond location. The other half is storage space, a kitchen, a large gallery and a storefront. There is also a courtyard populated with umbrella-shaded lunch tables and large ceramic sculptures. \u003c/p>\n\u003cp>Buckwalter has been a contemporary artist since 1988, when he graduated from the Tyler School of Art in Philadelphia. He moved to the Bay Area in 1992 and began engaging with the art scene here, showing in various galleries around the Bay. In 2006, he lost the lease on the Berkeley warehouse where his studio was located and started working at home, where he developed a serious case of “artist’s block.” He started writing about art (for KQED, \u003ci>East Bay Monthly\u003c/i>, \u003ci>SF Chronicle\u003c/i>, etc.) and first came into contact with NIAD when then-gallery director Brian Stechschulte encouraged him to come to Richmond after reading a profile Buckwalter had written about Creative Growth, a similar kind of space operating out of Oakland. He later included some of the people he encountered at NIAD in a group show of Bay Area artists he curated for a Los Angeles gallery, which ended up selling some of the work. When NIAD asked him to organize a show from the archive for its 25th anniversary, Buckwalter invited a group of artists and arts professionals (including me) to organize the show. The success of that exhibition led to more opportunities and the partnership kept growing.\u003c/p>\n\u003cfigure id=\"attachment_10142247\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/weather.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/weather.jpg\" alt=\"Luis Estrada, <i>Weather Report</i>; Photo by Katie Johnson/NIAD Art Center\" width=\"640\" height=\"490\" class=\"size-full wp-image-10142247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/weather.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/weather-400x306.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/weather-300x229.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Luis Estrada, \u003ci>Weather Report\u003c/i>; Photo by Katie Johnson/NIAD Art Center\u003c/figcaption>\u003c/figure>\n\u003cp>Buckwalter was unemployed and helping his wife, Nell Bernstein, research her book, \u003ca href=\"http://www.npr.org/2014/06/04/318801651/burning-down-the-house-makes-the-case-against-juvenile-incarceration\" target=\"_blank\" rel=\"noopener\">\u003ci>Burning Down the House: The End of Juvenile Prison\u003c/i>\u003c/a>, when he got an email from Stechschulte saying he was leaving his position at NIAD and asking if he could think of anyone who might want the job. He could. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I ask what, beside the obvious, makes this his dream job, Buckwalter responds, “I’ve got to be honest. I never had any interest in the art world outside of creating art. Eight years ago, that changed. I then had an interest in writing about art. Now, it’s changed again where I have an interest in selling art.”\u003c/p>\n\u003cp>“I actually love organizing stuff. I’m a collector. I collect art. I collect records. So having the opportunity to organize stuff is super-exciting to me. Every two months — in 2015 we are going to do it every month — I get to organize a show.” But Buckwalter quickly realized that, in order to have an exhibition program that truly represented what was going on in the studio, he would need to invite other people in to curate. He says, “I have specific artists I like or whose work I relate to. I look at it and there’s a connection, or I have a connection with that person and maybe I’m not crazy about their work, but I think they’re great and I want to sell their work. Inviting other people in helps me look at the work differently. It helps me get out of my head and see NIAD anew.” \u003c/p>\n\u003cfigure id=\"attachment_10142248\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/elena.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/elena.jpg\" alt=\"Elena Rossi, <i>Untitled</i>, featured in <b>I Have Always Been a Storm</b> exhibition; Photo by Katie Johnson/NIAD Art Center\" width=\"640\" height=\"487\" class=\"size-full wp-image-10142248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/elena.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/elena-400x304.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/elena-300x228.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Elena Rossi, \u003ci>Untitled\u003c/i>, featured in \u003cb>I Have Always Been a Storm\u003c/b> exhibition; Photo by Katie Johnson/NIAD Art Center\u003c/figcaption>\u003c/figure>\n\u003cp>But, from the perspective of a guest curator who is also an artist, the experience can be a little intimidating. Some artists struggle to free themselves more than others. Every time I go to NIAD I am faced with my inhibitions, my inability to let go of insecurities or certain ideas or ambitions for my work, which prevent me from creating or stop me from following the work where it is trying to lead me. \u003c/p>\n\u003cp>Buckwalter tries to console me in a way that makes it seem like this is a familiar refrain; contemporary artists come into the space and feel humbled. He says there are several magical elements at work at NIAD. “I don’t know where creativity lurks in anybody’s brain, but a number of NIAD artists are able to tap into that creative energy and make astonishing pieces. They’re able to do it frequently. They’re able to do it more frequently than me.” \u003c/p>\n\u003cp>“Here’s the darker secret,” he says. “You and I throw up limits to what we do and the limits are often economically based. I would love to hang a train from a crane in front of LACMA like Jeff Koons can, but I can’t afford that so I don’t even think that way. But at NIAD we provide the materials; we provide the space and the technical know-how. So, in a way, this frees the artists to be able to do more. I don’t have a benefactor saying here’s $3,000 for the next two months, do what you want. That’s one thing the NIAD artists don’t have to consider when they make their art. We explain to them that they shouldn’t lay down a monochrome field of oil stick and then try and put acrylic on top. We discourage them from wasting materials, but we encourage experimentation as much as we can. And that’s something that frees them up.”\u003c/p>\n\u003cfigure id=\"attachment_10142250\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/demi.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/demi.jpg\" alt=\"Demi Petropoulos, <i>Untitled</i>, featured in <b>I Have Always Been a Storm</b> exhibition; Photo by Katie Johnson/NIAD Art Center\" width=\"640\" height=\"504\" class=\"size-full wp-image-10142250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/demi.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/demi-400x315.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/demi-300x236.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Demi Petropoulos, \u003ci>Untitled\u003c/i>, featured in \u003cb>I Have Always Been a Storm\u003c/b> exhibition; Photo by Katie Johnson/NIAD Art Center\u003c/figcaption>\u003c/figure>\n\u003cp>I keep struggling with how often I see things at NIAD that I think have a bold use of color or a particularly brilliant conceptualization. \u003c/p>\n\u003cp>“We have 35 artists working in the studio every day. Is there any other place that you can go,” Buckwalter asks, “outside of Creative Growth or Creativity Explored where you can experience that much creative energy at one time? There’s not. So, just by sheer number, you’re going to experience something that’s just ‘Wow!’ If you and I rounded up 35 of our friends and put them into a space together, we would have a similar experience. It just happens that at NIAD we have so many creative people working together, including the teachers and studio volunteers, you can’t go wrong. \u003c/p>\n\u003cp>“Then there is the whole other magical part. The part that really draws me to NIAD’s art and our artists is how different their take on reality is from mine. I’m not the kind of person that likes to hear the same thing over and over. I don’t take comfort when people have the same opinions as me. I don’t want to round up a posse of like-minded individuals and go do something. I like it when everything’s different and I can experience something I never even dreamed of or thought about. And that’s the great strength of NIAD’s art, when you look at it you get this totally other take on reality.”\u003c/p>\n\u003cp>Buckwalter importantly rejects the term “outsider art,” which has been used to label and promote the work of artists like those at NIAD. He says, “Our artists are informed. They look at \u003ci>Art In America\u003c/i>, they experience art (in field trips to Bay Area galleries and museums), and we bring work in from the outside for them to see. They’re not outside of anything anymore. I think that NIAD artists are commenting on the current moment as much as anybody else is.” \u003c/p>\n\u003cfigure id=\"attachment_10142251\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ericainside.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ericainside.jpg\" alt=\"Erica Martinez, <i>Untitled</i> featured in <b>I Have Always Been a Storm</b> exhibition; Photo by Katie Johnson/NIAD Art Center\" width=\"640\" height=\"492\" class=\"size-full wp-image-10142251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ericainside.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ericainside-400x307.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ericainside-300x230.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erica Martinez, \u003ci>Untitled\u003c/i> featured in \u003cb>I Have Always Been a Storm\u003c/b> exhibition; Photo by Katie Johnson/NIAD Art Center\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, one of Buckwalter’s early realizations was that while some of NIAD’s artists were functional enough to go on field trips and see contemporary art in galleries and museums, three quarters of the artists weren’t, for whatever reason, able to do that. He says, “They experience contemporary art in magazines or books or newspapers. I went to art school and I know that the reality is when you experience art that way you don’t actually experience the scale of it or the tactile part of art. In your mind, you imagine it probably as the same size [as the reproduction]. Looking at a Clyfford Still painting in \u003ci>Art In America\u003c/i>, the photograph is 4″ x 6″. You don’t realize that those things engulf you when you’re close to them, cause they’re gigantic. So I came up with the idea to invite contemporary artists into NIAD and use part of the gallery space to put their work up. When the studio’s artists come in every day they can experience some form of contemporary art in the physical world. They can get a sense of scale; they can get a sense of texture. Having the opportunity to introduce artists to other artists… I love it.” \u003c/p>\n\u003cp>This program gets strong reaction from the artists in the studio. In some cases it has changed the course of their work. For example, in a recent exhibition, Mercury 20 artist Kathleen King had a show of works she made from found pieces of scrap wood. Buckwalter describes them as “almost like Sean Scully paintings as wooden objects.” One of the NIAD artists, Jonathan Valdivias, looked at them for many weeks and then started to make his own version, which looks nothing like King’s. Buckwalter says, “I like the way that he filtered her work in a totally different way.”\u003c/p>\n\u003cp>So every couple of months, alongside a freshly curated show of NIAD artists’ work there is also a small show — often great — featuring the work of a non-NIAD contemporary artist. The dialogue inside the gallery is often amazing. If only people would go and check it out. \u003c/p>\n\u003cp>Buckwalter admits that one of the main obstacles he has experienced with the gallery is that Richmond as an idea is scary to people interested in art. “So, to get around that,” he says, “we’ve tried to stress that we aren’t part of the ‘Iron Triangle’ (the area of Richmond between two sets of train tracks where the majority of the city’s violent crime takes place). We also put everything up online so that people can see what NIAD is about. They can experience the personal stories of the artists and see them working. They can see the gallery. Now we’re doing online shows as well. Starting last week and it will be every week, I am inviting people in to organize a show of 12 pieces from our inventory of works on paper. It’s another way to get people engaged.”\u003c/p>\n\u003cp>The integrated program has paid off nicely. NIAD sells a lot of its artists’ work online and several of the studio’s artists have devoted collectors. Similar to most other gallery/artist arrangements, NIAD’s artists get half the money from sales of their work. A handful have also shown internationally. “Marlon Mullen is in the collection of The Studio Museum of Harlem and is in a group show there now. He has shown everywhere. Sylvia Fragoso is having a solo show in an outsider art museum in a suburb of Paris.” Don’t check your own C.V. against these accomplishments; it won’t do you any good. Just revel in your fellow Bay Area artists’ good fortune, and go to Richmond to see the art. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>I Have Always Been a Storm\u003c/b> runs September 13 – October 24, 2014 at NIAD Art Center, 551 23rd Street, Richmond, CA. The opening reception is Saturday, September 13, 12:30pm – 3pm. A That’s My Dog food truck will be in the courtyard serving sausages, chili dogs and more. For \u003ca href=\"http://niadart.org/current-exhibitions/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit niadart.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_10142042\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Install2-e1410199963308.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142042\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Install2-e1410199963308.jpeg\" alt=\"Installation shot of Proud To Be a Hero at Fouladi Projects; Photo by Kristen Farr\" width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Installation shot of \u003cb>Proud To Be a Hero\u003c/b> at Fouladi Projects; Photo by Kristen Farr\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been five years since \u003ca href=\"http://www.laurinapaperina.com/\">Laurina Paperina\u003c/a> has exhibited her work in San Francisco, and boy, did we miss her. As an artist, her attitude is refreshing: “I don’t want to make serious art, you know, the world is bad enough to make sad art. I want to have fun, make people smile and to entertain people with my works.” And she puts her money where her mouth is by toying with the serious art world in her humorous, cartoon style.\u003c/p>\n\u003cfigure id=\"attachment_10142054\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/murakami.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/murakami.jpg\" alt=\"Laurina Paperina, <i>Takashi Murakami</i>; Courtesy Fouladi Projects, SF\" width=\"640\" height=\"641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/murakami.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/murakami-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/murakami-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/murakami-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/murakami-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/murakami-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/murakami-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/murakami-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Laurina Paperina, \u003ci>Takashi Murakami\u003c/i>; Courtesy Fouladi Projects, SF\u003c/figcaption>\u003c/figure>\n\u003cp>I caught up with Paperina as she was putting the finishing touches on her show and got the scoop, “It’s a mix of paintings, drawings, video animation and photos representing ‘loser contemporary heroes.’ In fact, the show is called \u003ci>Proud to be a Hero\u003c/i>,” she says. Paperina also painted a large raccoon on the wall of the gallery, and says her show is about showing the human side of heroes.\u003c/p>\n\u003cp>“Usually the victims of my works are famous-rich-cool artists and celebrities,” Paperina explains. “So it’s like saying, ‘Yes, I love you, but I kill you!’ Maybe it’s a little bit of a Freudian meaning. My works about the art world are an encyclopedia of the possible deaths of artists at the hands of their own practices or artworks.” A few of the local San Francisco artists that Paperina loves and jokingly also wants to kill (presumably out of good-natured envy) are Barry McGee, Jeremy Fish and Mike Giant.\u003c/p>\n\u003cfigure id=\"attachment_10142056\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/selfportrait.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142056\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/selfportrait.jpg\" alt=\"Laurina Paperina, <i>Self Portrait</i>; Courtesy Fouladi Projects, SF\" width=\"640\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/selfportrait.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/selfportrait-400x399.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/selfportrait-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/selfportrait-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/selfportrait-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/selfportrait-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/selfportrait-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/selfportrait-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Laurina Paperina, \u003ci>Self Portrait\u003c/i>; Courtesy Fouladi Projects, SF\u003c/figcaption>\u003c/figure>\n\u003cp>Paperina has drawn her whole life, growing up in a small town in Italy where she was inspired by comics. She later “transformed” into her art persona, Laurina Paperina, which translates to “Little Laura, Little Duck,” and claims to be a “strange mutant with human body and duck feet. I have no super power, so I am a fake superhero.”\u003c/p>\n\u003cp>The artist sums up her work by saying it is “an ironic commentary in response to current events. The pop culture is part of me.” She is full of surprises and her work is a ton of snarky fun. She says her creative endeavors are her “food,” and it shows. You can feel her humor radiate from her work. Paperina lives in New York, so don’t miss this opportunity to check out her show at \u003ca href=\"http://www.fouladiprojects.com/\">Fouladi Projects\u003c/a> through October 18, 2014. Get a taste of Paperina’s twisted humor in the very short animation below. As you will see, even the artist can’t escape her own wrath.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>http://youtu.be/xCiX2Z9zODM\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10142042\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Install2-e1410199963308.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142042\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Install2-e1410199963308.jpeg\" alt=\"Installation shot of Proud To Be a Hero at Fouladi Projects; Photo by Kristen Farr\" width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Installation shot of \u003cb>Proud To Be a Hero\u003c/b> at Fouladi Projects; Photo by Kristen Farr\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been five years since \u003ca href=\"http://www.laurinapaperina.com/\">Laurina Paperina\u003c/a> has exhibited her work in San Francisco, and boy, did we miss her. As an artist, her attitude is refreshing: “I don’t want to make serious art, you know, the world is bad enough to make sad art. I want to have fun, make people smile and to entertain people with my works.” And she puts her money where her mouth is by toying with the serious art world in her humorous, cartoon style.\u003c/p>\n\u003cfigure id=\"attachment_10142054\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/murakami.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/murakami.jpg\" alt=\"Laurina Paperina, <i>Takashi Murakami</i>; Courtesy Fouladi Projects, SF\" width=\"640\" height=\"641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/murakami.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/murakami-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/murakami-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/murakami-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/murakami-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/murakami-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/murakami-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/murakami-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Laurina Paperina, \u003ci>Takashi Murakami\u003c/i>; Courtesy Fouladi Projects, SF\u003c/figcaption>\u003c/figure>\n\u003cp>I caught up with Paperina as she was putting the finishing touches on her show and got the scoop, “It’s a mix of paintings, drawings, video animation and photos representing ‘loser contemporary heroes.’ In fact, the show is called \u003ci>Proud to be a Hero\u003c/i>,” she says. Paperina also painted a large raccoon on the wall of the gallery, and says her show is about showing the human side of heroes.\u003c/p>\n\u003cp>“Usually the victims of my works are famous-rich-cool artists and celebrities,” Paperina explains. “So it’s like saying, ‘Yes, I love you, but I kill you!’ Maybe it’s a little bit of a Freudian meaning. My works about the art world are an encyclopedia of the possible deaths of artists at the hands of their own practices or artworks.” A few of the local San Francisco artists that Paperina loves and jokingly also wants to kill (presumably out of good-natured envy) are Barry McGee, Jeremy Fish and Mike Giant.\u003c/p>\n\u003cfigure id=\"attachment_10142056\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/selfportrait.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10142056\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/selfportrait.jpg\" alt=\"Laurina Paperina, <i>Self Portrait</i>; Courtesy Fouladi Projects, SF\" width=\"640\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/selfportrait.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/selfportrait-400x399.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/selfportrait-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/selfportrait-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/selfportrait-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/selfportrait-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/selfportrait-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/selfportrait-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Laurina Paperina, \u003ci>Self Portrait\u003c/i>; Courtesy Fouladi Projects, SF\u003c/figcaption>\u003c/figure>\n\u003cp>Paperina has drawn her whole life, growing up in a small town in Italy where she was inspired by comics. She later “transformed” into her art persona, Laurina Paperina, which translates to “Little Laura, Little Duck,” and claims to be a “strange mutant with human body and duck feet. I have no super power, so I am a fake superhero.”\u003c/p>\n\u003cp>The artist sums up her work by saying it is “an ironic commentary in response to current events. The pop culture is part of me.” She is full of surprises and her work is a ton of snarky fun. She says her creative endeavors are her “food,” and it shows. You can feel her humor radiate from her work. Paperina lives in New York, so don’t miss this opportunity to check out her show at \u003ca href=\"http://www.fouladiprojects.com/\">Fouladi Projects\u003c/a> through October 18, 2014. Get a taste of Paperina’s twisted humor in the very short animation below. As you will see, even the artist can’t escape her own wrath.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "When Earthquakes Aren't Really Earthquakes",
"headTitle": "When Earthquakes Aren’t Really Earthquakes | 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/events/pick/the-reflector-project/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘The Reflector Project’\u003c/h4>\n\u003cdiv class=\"event-desc\">Unique interactive exhibit showing human-based seismic activity in real time.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 12-Oct. 18, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Luggage Store Gallery\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/the-reflector-project/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Many in the Bay Area were jolted awake last month by the 6.0 earthquake in Napa County, and longtime locals remember all too well exactly where they were when the 6.9 Loma Prieta quake struck in 1989. But what about seismic activity that isn’t tectonic? What about those times when the quaking of the earth isn’t an earthquake?\u003c/p>\n\u003cp>David Gurman’s timely new show at the Luggage Gallery, \u003cem>The Reflector Project\u003c/em>, explores this very question. He calls it “a real-time memorial to landscapes where human intervention registers as earthquakes”—an exhibit that offers a unique interaction with the bombings, mining explosions and other human causes of seismic activity. Standing near three circular pools of water, viewers choose on an iPad from different locations around the globe: Syria, South Dakota, Antarctica, southern Israel, Nevada, South Dakota, Kabul, or Central Park. The pools then ripple and shake with the seismic activity of the selected area, utilizing real-time scientific data from the IRIS Data Management Center.\u003c/p>\n\u003cp>If a bomb goes off at a test site in Nevada, for example, the viewer witnesses it shaking the earth in real time via the exhibit’s reflecting pool. If miners in South Dakota set off an explosion, the pools rumble accordingly. Sites seem to have been chosen with an eye to humankind’s destruction; in war as in environmental ruination, there’s a lot of quaking going on. (The calm serenity of Central Park appears to be the control group here, although if King Kong returns to New York City, all bets are off.)\u003c/p>\n\u003cp>\u003cem>Reflector\u003c/em> serves as a unique exhibit of science, technology, and the human impulse; for more insight into the piece, mark your calendar for an artist talk with Gurman himself on Wednesday, Sept. 24, from 6-8pm at the gallery.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/the-reflector-project/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘The Reflector Project’\u003c/h4>\n\u003cdiv class=\"event-desc\">Unique interactive exhibit showing human-based seismic activity in real time.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 12-Oct. 18, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Luggage Store Gallery\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/the-reflector-project/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Many in the Bay Area were jolted awake last month by the 6.0 earthquake in Napa County, and longtime locals remember all too well exactly where they were when the 6.9 Loma Prieta quake struck in 1989. But what about seismic activity that isn’t tectonic? What about those times when the quaking of the earth isn’t an earthquake?\u003c/p>\n\u003cp>David Gurman’s timely new show at the Luggage Gallery, \u003cem>The Reflector Project\u003c/em>, explores this very question. He calls it “a real-time memorial to landscapes where human intervention registers as earthquakes”—an exhibit that offers a unique interaction with the bombings, mining explosions and other human causes of seismic activity. Standing near three circular pools of water, viewers choose on an iPad from different locations around the globe: Syria, South Dakota, Antarctica, southern Israel, Nevada, South Dakota, Kabul, or Central Park. The pools then ripple and shake with the seismic activity of the selected area, utilizing real-time scientific data from the IRIS Data Management Center.\u003c/p>\n\u003cp>If a bomb goes off at a test site in Nevada, for example, the viewer witnesses it shaking the earth in real time via the exhibit’s reflecting pool. If miners in South Dakota set off an explosion, the pools rumble accordingly. Sites seem to have been chosen with an eye to humankind’s destruction; in war as in environmental ruination, there’s a lot of quaking going on. (The calm serenity of Central Park appears to be the control group here, although if King Kong returns to New York City, all bets are off.)\u003c/p>\n\u003cp>\u003cem>Reflector\u003c/em> serves as a unique exhibit of science, technology, and the human impulse; for more insight into the piece, mark your calendar for an artist talk with Gurman himself on Wednesday, Sept. 24, from 6-8pm at the gallery.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "what-to-do-this-fall-from-who-else-the-do-list-hosts",
"title": "Arts Preview: What To Do this Fall from (Who Else?) the 'Do List' Hosts",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Cy Musiker and David Wiegand discuss their lists on \u003ci>Forum\u003c/i>, which aired on Sept. 3, 2014\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/forum/2014/09/20140903bforum.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/fall-arts-preview-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/FallArtsPreview-300x250-3.png\" alt=\"FAll arts preview 2014\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>As co-hosts of \u003cem>The Do List\u003c/em> – KQED’s weekly radio arts-calendar program — Cy Musiker and David Wiegand are masters at reading through reams of press releases, announcements and listings to find the Bay Area’s gold-star arts and entertainment events.\u003c/p>\n\u003cp>Each September, as theaters, arts organizations and artists of all kinds roll out their schedules of some of the year’s most important offerings, Cy and David each compile their own must-see lists. Below are the \u003cem>Do List\u003c/em> hosts’ picks for fall’s top shows and events.\u003c/p>\n\u003ch2>DAVID WIEGAND’S LIST\u003c/h2>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141671\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141671\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1-400x266.jpg\" alt=\"Audra McDonald will perform at Weill Hall\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Audra McDonald will perform at Weill Hall\u003c/figcaption>\u003c/figure>\n\u003ch3>Weill Hall, Schroeder Hall, Green Music Center\u003c/h3>\n\u003ch5>Sept. 3, Sonoma State University, Rohnert Park\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Weill Hall and the Green Music Center have become a major Bay Area venue, as evidenced by this year’s offerings: Elvis Costello and the Imposters (Sept 3, Weill); the intriguing singer Storm Large, with her band, Le Bonheur (Oct. 5, Schroeder); San Francisco Symphony (Oct. 16, Weill); Laurie Anderson (Oct. 25, Weill) and the great Audra McDonald (Dec. 5, Weill) are just part of the rich mix of pop, jazz, classical and country music you’ll find in the North Bay.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141666\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pippin_ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141666 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pippin_ed-400x266.jpg\" alt='The cast of \"Pippin\"' width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pippin_ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pippin_ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pippin_ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The cast of \u003cem>Pippin\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Pippin\u003c/i>\u003c/h3>\n\u003ch5>Sept. 23 to Oct. 19,\u003cbr>\nGolden Gate Theatre, San Francisco\u003cbr>\n\u003ca href=\"http://www.san-francisco-theater.com/theaters/golden-gate-theater/pippin.php\" target=\"_blank\" rel=\"noopener\">Information and Tickets\u003c/a>\u003c/h5>\n\u003cp>Stephen Schwartz’s endearingly weird musical about Charles the X won some Tonys when it premiered on Broadway with a cast that included Jill Clayburgh, Ben Vereen and Irene “Granny Clampett” Ryan. It is a true charmer by the composer of \u003cem>Wicked\u003c/em> and was long overdue for the Broadway revival of last year, which settles in for almost a month at the Golden Gate. Grab your own “Little Corner of the Sky” and get your ticket now.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141665\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141665\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed-400x266.jpg\" alt=\"Photo, Amber Star Merkens\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo, Amber Star Merkens\u003c/figcaption>\u003c/figure>\n\u003ch3>Mark Morris Dance Group and Music Ensemble\u003c/h3>\n\u003ch5>Sept. 25-28,\u003cbr>\nCal Performances, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/dance/mark-morris-dance-group.php\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>The Bay Area is Mark Morris’ home away from home, but it’s rare for him to bring his company here with two mixed rep programs. In addition, only one of the dances has been seen before in our neck of the woods, his wonderfully loopy take on \u003cem>The Rite of Spring, \u003c/em> \u003cem>Spring, Spring, Spring,\u003c/em> with Stravinsky’s music reconceived by jazz trio The Bad Plus. Morris remains one of the most vital forces in dance, as both a modernist and an adoring classicist.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141673\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Sam-smith.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141673\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Sam-smith-400x266.jpg\" alt=\"Sam Smith\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Sam-smith-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Sam-smith-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Sam-smith.jpg 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sam Smith\u003c/figcaption>\u003c/figure>\n\u003ch3>Sam Smith\u003c/h3>\n\u003ch5>Sept. 28,\u003cbr>\nFox Theatre, Oakland\u003c/h5>\n\u003cp>Yes, it’s sold out, but if you can snag a ticket, take out a second mortgage to pay for it. Or at least download his CD. His appearance on \u003cem>Saturday Night Live\u003c/em> this year confirmed he is one of the most gifted, original talents in pop music in quite some time. His other-worldly vocals combined with the heartbreaking lyricism of his songwriting make Smith the voice of the year. Any year, for that matter.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141667\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pixies-black-francis.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141667\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pixies-black-francis-400x266.jpg\" alt=\"Black Francis of The Pixies\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pixies-black-francis-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pixies-black-francis-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pixies-black-francis.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Pixies’ Black Francis\u003c/figcaption>\u003c/figure>\n\u003ch3>The Pixies\u003c/h3>\n\u003ch5>Sept. 30,\u003cbr>\nMasonic Auditorium, San Francisco\u003cbr>\n\u003ca href=\"http://www.livenation.com/events/361743-sep-30-2014-pixies\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Talk about Boston strong — the Pixies have been going strong since 1986 (despite a hiatus from 1993-2004). Bassist Kim Deal is no longer with the band, but Black Francis is and they still put on one of the best live shows you’ll ever attend. You can also check out the newly revamped Masonic, which now becomes a major venue in the Bay Area pop music scene.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141663\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141663\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed-400x266.jpg\" alt=\"Lucinda Williams \" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lucinda Williams will play Hardly Strictly\u003c/figcaption>\u003c/figure>\n\u003ch3>Hardly Strictly Bluegrass 2014\u003c/h3>\n\u003ch5>Oct. 3-5,\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\n\u003ca href=\"http://www.hardlystrictlybluegrass.com/2014/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>The late Warren Hellman’s greatest gift to the city he loved remains the Hardly Strictly Bluegrass Festival, which is not only a jaw-dropping showcase for great music — not to mention free of charge — but remains the best-organized annual outdoor concert in San Francisco. The 14th edition of the festival includes Lucinda Williams, Ralph Stanley, Ryan Adams, Yo La Tengo, Cibo Matto, X, Chris Isaak and, of course, the silver-haired, golden-voiced Emmylou Harris.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141685\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141685\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-400x406.jpg\" alt=\"Keith Haring, Untitled, 1982\" width=\"400\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-400x406.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Keith Haring, Untitled, 1982\u003c/figcaption>\u003c/figure>\n\u003ch3>Keith Haring, \u003ci>The Political Line\u003c/i>\u003c/h3>\n\u003ch5>Nov. 8 to Feb. 16,\u003cbr>\nDe Young Museum, San Francisco\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/press-room/keith-haring-political-line\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Although Keith Haring rose to prominence in the 1980s and died in 1990, to view his art only in historical context is to miss its timeless value. Haring, who brought street art into galleries and public consciousness in an unprecedented way, endures. The show at the de Young marks the first major exhibit of Haring’s work on the West Coast in 20 years. The 130 paintings, sculptures and drawings it comprises tell us not only how much we’ve evolved over the last 30 years, but how relevant his sensibility remains to our lives today.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141662\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Curlew-River-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141662\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Curlew-River-ed-400x266.jpg\" alt=\"Photo courtesy Cal Performances\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Curlew-River-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Curlew-River-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Curlew-River-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo courtesy Cal Performances\u003c/figcaption>\u003c/figure>\n\u003ch3>Benjamin Britten, \u003ci>Curlew River\u003c/i>\u003c/h3>\n\u003ch5>Nov. 14 and 15,\u003cbr>\nBarbican Centre and Cal Performances, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/special-events/britten-curlew-river.php\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>The centennial of Benjamin Britten’s birth in 2013 reminded us of his artistic greatness — and that there is so much more to him than the \u003cem>War Requiem\u003c/em> and \u003cem>Peter Grimes.\u003c/em> Britten wrote \u003cem>Curlew River\u003c/em> as a so-called “church parable” after he traveled to Japan with singer (and life partner) Peter Pears and witnessed Noh theatre. This Cal Performances co-production with the Barbican Theatre is the first major Bay Area production of the brilliantly disturbing work since Chantlicleer staged it at Theatre Artaud in 1995. British tenor Ian Bostridge will play the lead role of the Madwoman, created for Pears.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141668\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/promises-promises-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141668\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/promises-promises-ed-400x266.jpg\" alt=\"Poster for <i>Promises, Promises</i>\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/promises-promises-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/promises-promises-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/promises-promises-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poster for \u003ci>Promises, Promises\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Promises, Promises\u003c/em>\u003c/h3>\n\u003ch5>Nov. 18 to Jan. 10,\u003cbr>\nSF Playhouse, San Francisco\u003cbr>\n\u003ca href=\"http://sfplayhouse.org/sfph/promises-promises/\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>The 1968 musical represented a kind of bookend with another show of its era, \u003cem>Hair.\u003c/em> In their way, both shows represented attempts by Broadway to become more with it, as we said in the day. \u003cem>Hair\u003c/em> got naked, \u003cem>Promises, Promises\u003c/em> got Burt Bacharach and Hal David, who created the music for a stage treatment of Billy Wilder’s \u003cem>The Apartment.\u003c/em> You know the title song; other hits from the show were “I Say a Little Prayer,” “A House Is Not a Home” and “I’ll Never Fall in Love Again.” How groovy for SF Playhouse to revive this \u003cem>Mad Men\u003c/em>-era benchmark.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141687\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141687\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail-400x266.jpg\" alt=\"Photo Courtesy Cal Performances\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo Courtesy Cal Performances\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Old Woman\u003c/i>\u003c/h3>\n\u003ch5>Nov. 21-23,\u003cbr>\nCal Performances, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/special-events/robert-wilson-mikhail-baryshnikov-willem-dafoe-the-old-woman.php\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Put legendary avant-garde director Robert Wilson together with Mikhail Baryshnikov and Willem Dafoe and you’re not in for a revival of \u003cem>Charley’s Aunt.\u003c/em> Wilson oversees the production of Russian poet Daniil Kharms’ take on a surreal, disorienting world invaded by an unwanted houseguest. The producers bill it as a black comedy with envelope-pushing elements of vaudeville and abstract storytelling.\u003c/p>\n\u003c/div>\n\u003ch2>CY MUSIKER’S LIST\u003c/h2>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141691\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141691\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed-400x285.jpg\" alt=\"Photo by David Allen\" width=\"400\" height=\"285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed-400x285.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed-300x214.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by David Allen\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Rapture, Blister, Burn\u003c/em>\u003c/h3>\n\u003ch5>Aug. 29 to Sept. 28,\u003cbr>\nAurora Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=99\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Gina Gionfriddo wrote the sexually provocative and funny-as-hell Pulitzer Prize nominee \u003cem>Becky Shaw,\u003c/em> which got a terrific mounting at San Francisco Playhouse a few years ago. In \u003cem>Rapture, Blister, Burn\u003c/em> (a finalist for the 2013 Pulitzer), she offers theme and variations on modern feminism, the role of a wife and mother and what director Desdemona Chiang calls the stigma of spinsterhood. Chiang praises Gionfriddo’s writing as “effortless dialogue” – and she’s funny.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141692\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/MTT-20th-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141692\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/MTT-20th-ed-400x266.jpg\" alt=\"Michael Tilson Thomas with the SF Symphony\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MTT-20th-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MTT-20th-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MTT-20th-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas with the SF Symphony\u003c/figcaption>\u003c/figure>\n\u003ch3>MTT’s 20th Year with San Francisco Symphony\u003c/h3>\n\u003ch5>Season opens Sept. 3,\u003cbr>\nDavies Hall, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>San Francisco Symphony Music Director Michael Tilson Thomas, who turns 70 in December, has led the company since 1995, and it’s been an exciting and enlightening time. He’s brought contemporary works to Davies Hall on a regular basis, still a rare thing for mainstream orchestras, and produced Grammy winning recordings of Mahler. And MTT somehow managed to avoid any taint from the bitter labor strife of last spring. MTT has programmed lots of Beethoven this season, but also a John Adams commission. And the SFS will record Mason Bates’ \u003cem>Alternative Energy\u003c/em> during live performances Sept. 9 to 13. The colossal piece for orchestra and sampled sound was fabulous when the Chicago Symphony performed it here in 2012.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141693\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/robert-frank-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141693 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/robert-frank-ed-400x266.jpg\" alt='Robert Frank. \"Detroit, 1955\"' width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/robert-frank-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/robert-frank-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/robert-frank-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robert Frank. “Detroit, 1955”\u003c/figcaption>\u003c/figure>\n\u003ch3>The Anderson Collection and Robert Frank\u003c/h3>\n\u003ch5>\u003cem>Robert Frank in America,\u003c/em>\u003cbr>\nSept. 10 to Jan. 5\u003cbr>\n\u003ca href=\"http://museum.stanford.edu/news_room/frank.html\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003cbr>\nAnderson Collection opening day,\u003cbr>\nSept. 21\u003cbr>\n\u003ca href=\"https://anderson.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>On Sept. 21, Stanford University opens a new museum devoted to the Anderson Collection, a jaw-droppingly fine selection of contemporary art by the likes of Rothko, Diebenkorn, de Kooning, Mitchell and Pollock, donated to the school by its Palo Alto neighbors Harry and Mary Anderson. Then go next door to the Cantor for the photo exhibit \u003cem>Robert Frank in America.\u003c/em> The photographs, largely drawn from the Cantor’s own permanent collection, form a vital addendum to Frank’s seminal 1959 photo essay, \u003cem>The Americans.\u003c/em> That book’s honest recording of American faces and scenes threw a shadow on the idea that America was a land of suburban bliss. Stanford is offering timed tickets for the Anderson collection, to avoid crowds, but admission to the new museum and the Cantor is, as always, free.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141694\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141694\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed-400x266.jpg\" alt=\"Joshua Redman. Photo, Richard Conde\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joshua Redman. Photo, Richard Conde\u003c/figcaption>\u003c/figure>\n\u003ch3>SFJAZZ Season 3\u003c/h3>\n\u003ch5>Sept. 11,\u003cbr>\nSFJAZZ Center, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Season 3 at the center offers some shows that should dazzle: the thoughtful saxophonist Joshua Redman, a founding member of the SFJAZZ Collective, brings his trio to play Oct. 2-5; tabla master Zakir Hussain reunites with Charles Lloyd and Eric Harland Oct 9-12; and Ravi Coltrane and a handpicked ensemble do a tribute to Coltrane senior’s seminal \u003cem>A Love Supreme.\u003c/em> Wow.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141695\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141695\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed-400x266.jpg\" alt=\"Brandy Clark. Photo Becky Fluke\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandy Clark. Photo Becky Fluke\u003c/figcaption>\u003c/figure>\n\u003ch3>Jennifer Nettles with Brandy Clark\u003c/h3>\n\u003ch5>Sept. 11,\u003cbr>\nWells Fargo Center, Santa Rosa\u003cbr>\n\u003ca href=\"http://tickets.wellsfargocenterarts.org/single/eventDetail.aspx?p=1433\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>No one puts stories to country music better than Brandy Clark. Every song on her debut album last year, \u003cem>12 Stories,\u003c/em> was a winner, full of humor and heartache. She’s touring in support of country star Jennifer Nettles, for whom Clark wrote a number about an abusive husband called “His Hands.” It should be a great show and a chance to support the stirrings of a feminist wave in country music.\u003c/p>\n\u003c/div>\n\u003cp>http://youtu.be/xySHuL7hDEk\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141717\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141717\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop-400x264.jpg\" alt=\"Patricia Lockwood\" width=\"400\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop-300x198.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop.jpg 524w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Patricia Lockwood \u003ccite>(Courtesy of Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Patricia Lockwood\u003c/h3>\n\u003ch5>Sept. 22,\u003cbr>\nJewish Community Center, San Francisco\u003cbr>\n\u003ca href=\"https://www.jccsf.org/arts-ideas/lectures/literary/patricia-lockwood/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Lockwood has become famous for “Rape Joke,” a not-at-all funny poem that reads like a series of brilliant and disturbing tweets exploring the often twisted relations between a rapist and his victim. Her most recent book of poems, \u003cem>Motherland Fatherland Homelandsexuals,\u003c/em> is full of odd and sexually explicit ideas that include a deer that does porn, a talking basketball and the Loch Ness Monster. A literary event that’s likely to sell out — for a poet who’s anything but.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141054\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/AiWeiWei.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/AiWeiWei-400x200.jpg\" alt=\"Ai Weiwei in the elevator when taken into custody by the police, Sichuan, China, 2009; Courtesy the artist\" width=\"400\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/AiWeiWei-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/AiWeiWei-300x150.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/AiWeiWei.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei in the elevator when taken into custody by the police, Sichuan, China, 2009; Courtesy the artist\u003c/figcaption>\u003c/figure>\n\u003ch3>@Large: Ai Weiwei on Alcatraz\u003c/h3>\n\u003ch5>Sept. 27 to April 26,\u003cbr>\nAlcatraz Island\u003cbr>\n\u003ca href=\"http://www.for-site.org/project/ai-weiwei-alcatraz/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Beijing’s Ai Weiwei is one of the world’s foremost artists and human-rights activists. The Chinese government once jailed him for 81 days and currently limits his travel. Now he’s overseeing a set of art installations on the meaning of confinement and political speech in what was once America’s most formidable military and federal prison. Kudos to San Francisco’s For-Site Foundation for commissioning the work, (Ai is taking no fee), and to the administrators at the Golden Gate National Recreation Area for giving Ai artistic freedom. Getting to Alcatraz will be half the fun and half the battle. Admission will be free, but you’ll have to ride the heavily booked \u003ca href=\"http://www.alcatrazislandtickets.com/\" target=\"_blank\" rel=\"noopener\">Alcatraz Ferry\u003c/a> to the island (adults $38.00). Best to reserve a full 90 days in advance (the furthest ahead you can book).\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141697\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Bengsons-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141697\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Bengsons-ed-400x266.jpg\" alt=\"Photo, Mark Leialoha\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Bengsons-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Bengsons-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Bengsons-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo, Mark Leialoha\u003c/figcaption>\u003c/figure>\n\u003ch3>The Bengsons\u003c/h3>\n\u003ch5>Sept. 29,\u003cbr>\nFreight and Salvage, Berkeley\u003cbr>\n\u003ca href=\"http://www.thefreight.org/bengsons-shaina-taub-friends\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Shaun and Abigail Bengson have carved out a unique niche that combines experimental, folk-alt-art-rock and musical theatre. Their \u003cem>Hundred Days\u003c/em> at Z Space early this year tenderly wedded lush folk-rock with a gender-reversed take on La Boheme. Brilliant.\u003c/p>\n\u003c/div>\n\u003cp>http://youtu.be/a3dg-3EXBag\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141698\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Stlawrence-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141698\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Stlawrence-ed-400x266.jpg\" alt=\"Photo, Eric Cheng\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Stlawrence-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Stlawrence-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Stlawrence-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo, Eric Cheng\u003c/figcaption>\u003c/figure>\n\u003ch3>St Lawrence String Quartet\u003c/h3>\n\u003ch5>Starting Oct. 10,\u003cbr>\nVarious locations\u003cbr>\n\u003ca href=\"http://www.slsq.com/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Stanford’s resident St. Lawrence String Quartet is one of the best in the world. This fall the group, led by the charming Geoff Nuttall, is continuing the celebration of its 25th anniversary with a series of concerts at Stanford and around the Bay, including new work written for the quartet by Berkeley’s John Adams and Stanford composers Jonathan Berger and Jaroslaw Kapuscinski. \u003ca href=\"https://live.stanford.edu/calendar/october-2014/st-lawrence-string-quartet\" target=\"_blank\" rel=\"noopener\">Local concerts begin Oct. 19\u003c/a> with one at Bing Hall, and \u003ca href=\"http://calperformances.org/performances/2014-15/chamber-orchestra/st-lawrence-string-quartet.php\" target=\"_blank\" rel=\"noopener\">another Nov. 23\u003c/a> at UC Berkeley’s Hertz Hall.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140839\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/fall014-partyppl.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140839 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/fall014-partyppl-400x266.jpg\" alt=\"Party People; photo: Jenny Graham\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/fall014-partyppl-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/fall014-partyppl-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/fall014-partyppl.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Party People\u003c/i>; photo: Jenny Graham\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Party People\u003c/i>\u003c/h3>\n\u003ch5>Oct. 17 to Nov. 16,\u003cbr>\nBerkeley Rep, Berkeley\u003cbr>\n\u003ca href=\"http://www.berkeleyrep.org/season/1415/8235.asp\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>The NYC troupe Universes debuted this show about the Black Panthers and the Young Lords at the Oregon Shakespeare Festival in 2012. It’s based on interviews with leaders and rank-and-file members of the two radical groups. The formidable Liesl Tommy, Berkeley Rep’s assistant artistic director, is directing as she did in 2012, and she says she’s helping Universes polish the script for an audience that will include some who know the Panthers’ story firsthand. And it’s a musical, filled with jazz, blues, hip-hop, boleros and salsa. A great prelude for the 50th anniversary (1966) of the founding of the Black Panthers in Oakland.\u003c/p>\n\u003c/div>\n\u003cp>http://youtu.be/1QgK7HEZrng\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Each September, as theaters, arts organizations and artists of all kinds roll out schedules of the year’s most important shows, Cy Musiker and David Wiegand — hosts of KQED’s \u003cem>The Do List\u003c/em> -- compile their own lists of gold-star arts and entertainment events.",
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"title": "Arts Preview: What To Do this Fall from (Who Else?) the 'Do List' Hosts | KQED",
"description": "Each September, as theaters, arts organizations and artists of all kinds roll out schedules of the year’s most important shows, Cy Musiker and David Wiegand — hosts of KQED’s The Do List -- compile their own lists of gold-star arts and entertainment events.",
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"headline": "Arts Preview: What To Do this Fall from (Who Else?) the 'Do List' Hosts",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Cy Musiker and David Wiegand discuss their lists on \u003ci>Forum\u003c/i>, which aired on Sept. 3, 2014\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/forum/2014/09/20140903bforum.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/fall-arts-preview-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/FallArtsPreview-300x250-3.png\" alt=\"FAll arts preview 2014\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>As co-hosts of \u003cem>The Do List\u003c/em> – KQED’s weekly radio arts-calendar program — Cy Musiker and David Wiegand are masters at reading through reams of press releases, announcements and listings to find the Bay Area’s gold-star arts and entertainment events.\u003c/p>\n\u003cp>Each September, as theaters, arts organizations and artists of all kinds roll out their schedules of some of the year’s most important offerings, Cy and David each compile their own must-see lists. Below are the \u003cem>Do List\u003c/em> hosts’ picks for fall’s top shows and events.\u003c/p>\n\u003ch2>DAVID WIEGAND’S LIST\u003c/h2>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141671\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141671\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1-400x266.jpg\" alt=\"Audra McDonald will perform at Weill Hall\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Audra McDonald will perform at Weill Hall\u003c/figcaption>\u003c/figure>\n\u003ch3>Weill Hall, Schroeder Hall, Green Music Center\u003c/h3>\n\u003ch5>Sept. 3, Sonoma State University, Rohnert Park\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Weill Hall and the Green Music Center have become a major Bay Area venue, as evidenced by this year’s offerings: Elvis Costello and the Imposters (Sept 3, Weill); the intriguing singer Storm Large, with her band, Le Bonheur (Oct. 5, Schroeder); San Francisco Symphony (Oct. 16, Weill); Laurie Anderson (Oct. 25, Weill) and the great Audra McDonald (Dec. 5, Weill) are just part of the rich mix of pop, jazz, classical and country music you’ll find in the North Bay.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141666\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pippin_ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141666 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pippin_ed-400x266.jpg\" alt='The cast of \"Pippin\"' width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pippin_ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pippin_ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pippin_ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The cast of \u003cem>Pippin\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Pippin\u003c/i>\u003c/h3>\n\u003ch5>Sept. 23 to Oct. 19,\u003cbr>\nGolden Gate Theatre, San Francisco\u003cbr>\n\u003ca href=\"http://www.san-francisco-theater.com/theaters/golden-gate-theater/pippin.php\" target=\"_blank\" rel=\"noopener\">Information and Tickets\u003c/a>\u003c/h5>\n\u003cp>Stephen Schwartz’s endearingly weird musical about Charles the X won some Tonys when it premiered on Broadway with a cast that included Jill Clayburgh, Ben Vereen and Irene “Granny Clampett” Ryan. It is a true charmer by the composer of \u003cem>Wicked\u003c/em> and was long overdue for the Broadway revival of last year, which settles in for almost a month at the Golden Gate. Grab your own “Little Corner of the Sky” and get your ticket now.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141665\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141665\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed-400x266.jpg\" alt=\"Photo, Amber Star Merkens\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo, Amber Star Merkens\u003c/figcaption>\u003c/figure>\n\u003ch3>Mark Morris Dance Group and Music Ensemble\u003c/h3>\n\u003ch5>Sept. 25-28,\u003cbr>\nCal Performances, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/dance/mark-morris-dance-group.php\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>The Bay Area is Mark Morris’ home away from home, but it’s rare for him to bring his company here with two mixed rep programs. In addition, only one of the dances has been seen before in our neck of the woods, his wonderfully loopy take on \u003cem>The Rite of Spring, \u003c/em> \u003cem>Spring, Spring, Spring,\u003c/em> with Stravinsky’s music reconceived by jazz trio The Bad Plus. Morris remains one of the most vital forces in dance, as both a modernist and an adoring classicist.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141673\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Sam-smith.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141673\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Sam-smith-400x266.jpg\" alt=\"Sam Smith\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Sam-smith-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Sam-smith-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Sam-smith.jpg 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sam Smith\u003c/figcaption>\u003c/figure>\n\u003ch3>Sam Smith\u003c/h3>\n\u003ch5>Sept. 28,\u003cbr>\nFox Theatre, Oakland\u003c/h5>\n\u003cp>Yes, it’s sold out, but if you can snag a ticket, take out a second mortgage to pay for it. Or at least download his CD. His appearance on \u003cem>Saturday Night Live\u003c/em> this year confirmed he is one of the most gifted, original talents in pop music in quite some time. His other-worldly vocals combined with the heartbreaking lyricism of his songwriting make Smith the voice of the year. Any year, for that matter.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141667\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pixies-black-francis.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141667\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pixies-black-francis-400x266.jpg\" alt=\"Black Francis of The Pixies\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pixies-black-francis-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pixies-black-francis-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pixies-black-francis.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Pixies’ Black Francis\u003c/figcaption>\u003c/figure>\n\u003ch3>The Pixies\u003c/h3>\n\u003ch5>Sept. 30,\u003cbr>\nMasonic Auditorium, San Francisco\u003cbr>\n\u003ca href=\"http://www.livenation.com/events/361743-sep-30-2014-pixies\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Talk about Boston strong — the Pixies have been going strong since 1986 (despite a hiatus from 1993-2004). Bassist Kim Deal is no longer with the band, but Black Francis is and they still put on one of the best live shows you’ll ever attend. You can also check out the newly revamped Masonic, which now becomes a major venue in the Bay Area pop music scene.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141663\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141663\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed-400x266.jpg\" alt=\"Lucinda Williams \" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lucinda Williams will play Hardly Strictly\u003c/figcaption>\u003c/figure>\n\u003ch3>Hardly Strictly Bluegrass 2014\u003c/h3>\n\u003ch5>Oct. 3-5,\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\n\u003ca href=\"http://www.hardlystrictlybluegrass.com/2014/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>The late Warren Hellman’s greatest gift to the city he loved remains the Hardly Strictly Bluegrass Festival, which is not only a jaw-dropping showcase for great music — not to mention free of charge — but remains the best-organized annual outdoor concert in San Francisco. The 14th edition of the festival includes Lucinda Williams, Ralph Stanley, Ryan Adams, Yo La Tengo, Cibo Matto, X, Chris Isaak and, of course, the silver-haired, golden-voiced Emmylou Harris.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141685\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141685\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-400x406.jpg\" alt=\"Keith Haring, Untitled, 1982\" width=\"400\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-400x406.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Keith Haring, Untitled, 1982\u003c/figcaption>\u003c/figure>\n\u003ch3>Keith Haring, \u003ci>The Political Line\u003c/i>\u003c/h3>\n\u003ch5>Nov. 8 to Feb. 16,\u003cbr>\nDe Young Museum, San Francisco\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/press-room/keith-haring-political-line\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Although Keith Haring rose to prominence in the 1980s and died in 1990, to view his art only in historical context is to miss its timeless value. Haring, who brought street art into galleries and public consciousness in an unprecedented way, endures. The show at the de Young marks the first major exhibit of Haring’s work on the West Coast in 20 years. The 130 paintings, sculptures and drawings it comprises tell us not only how much we’ve evolved over the last 30 years, but how relevant his sensibility remains to our lives today.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141662\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Curlew-River-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141662\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Curlew-River-ed-400x266.jpg\" alt=\"Photo courtesy Cal Performances\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Curlew-River-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Curlew-River-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Curlew-River-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo courtesy Cal Performances\u003c/figcaption>\u003c/figure>\n\u003ch3>Benjamin Britten, \u003ci>Curlew River\u003c/i>\u003c/h3>\n\u003ch5>Nov. 14 and 15,\u003cbr>\nBarbican Centre and Cal Performances, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/special-events/britten-curlew-river.php\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>The centennial of Benjamin Britten’s birth in 2013 reminded us of his artistic greatness — and that there is so much more to him than the \u003cem>War Requiem\u003c/em> and \u003cem>Peter Grimes.\u003c/em> Britten wrote \u003cem>Curlew River\u003c/em> as a so-called “church parable” after he traveled to Japan with singer (and life partner) Peter Pears and witnessed Noh theatre. This Cal Performances co-production with the Barbican Theatre is the first major Bay Area production of the brilliantly disturbing work since Chantlicleer staged it at Theatre Artaud in 1995. British tenor Ian Bostridge will play the lead role of the Madwoman, created for Pears.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141668\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/promises-promises-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141668\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/promises-promises-ed-400x266.jpg\" alt=\"Poster for <i>Promises, Promises</i>\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/promises-promises-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/promises-promises-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/promises-promises-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poster for \u003ci>Promises, Promises\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Promises, Promises\u003c/em>\u003c/h3>\n\u003ch5>Nov. 18 to Jan. 10,\u003cbr>\nSF Playhouse, San Francisco\u003cbr>\n\u003ca href=\"http://sfplayhouse.org/sfph/promises-promises/\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>The 1968 musical represented a kind of bookend with another show of its era, \u003cem>Hair.\u003c/em> In their way, both shows represented attempts by Broadway to become more with it, as we said in the day. \u003cem>Hair\u003c/em> got naked, \u003cem>Promises, Promises\u003c/em> got Burt Bacharach and Hal David, who created the music for a stage treatment of Billy Wilder’s \u003cem>The Apartment.\u003c/em> You know the title song; other hits from the show were “I Say a Little Prayer,” “A House Is Not a Home” and “I’ll Never Fall in Love Again.” How groovy for SF Playhouse to revive this \u003cem>Mad Men\u003c/em>-era benchmark.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141687\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141687\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail-400x266.jpg\" alt=\"Photo Courtesy Cal Performances\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo Courtesy Cal Performances\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Old Woman\u003c/i>\u003c/h3>\n\u003ch5>Nov. 21-23,\u003cbr>\nCal Performances, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/special-events/robert-wilson-mikhail-baryshnikov-willem-dafoe-the-old-woman.php\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Put legendary avant-garde director Robert Wilson together with Mikhail Baryshnikov and Willem Dafoe and you’re not in for a revival of \u003cem>Charley’s Aunt.\u003c/em> Wilson oversees the production of Russian poet Daniil Kharms’ take on a surreal, disorienting world invaded by an unwanted houseguest. The producers bill it as a black comedy with envelope-pushing elements of vaudeville and abstract storytelling.\u003c/p>\n\u003c/div>\n\u003ch2>CY MUSIKER’S LIST\u003c/h2>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141691\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141691\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed-400x285.jpg\" alt=\"Photo by David Allen\" width=\"400\" height=\"285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed-400x285.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed-300x214.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by David Allen\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Rapture, Blister, Burn\u003c/em>\u003c/h3>\n\u003ch5>Aug. 29 to Sept. 28,\u003cbr>\nAurora Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=99\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Gina Gionfriddo wrote the sexually provocative and funny-as-hell Pulitzer Prize nominee \u003cem>Becky Shaw,\u003c/em> which got a terrific mounting at San Francisco Playhouse a few years ago. In \u003cem>Rapture, Blister, Burn\u003c/em> (a finalist for the 2013 Pulitzer), she offers theme and variations on modern feminism, the role of a wife and mother and what director Desdemona Chiang calls the stigma of spinsterhood. Chiang praises Gionfriddo’s writing as “effortless dialogue” – and she’s funny.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141692\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/MTT-20th-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141692\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/MTT-20th-ed-400x266.jpg\" alt=\"Michael Tilson Thomas with the SF Symphony\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MTT-20th-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MTT-20th-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MTT-20th-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas with the SF Symphony\u003c/figcaption>\u003c/figure>\n\u003ch3>MTT’s 20th Year with San Francisco Symphony\u003c/h3>\n\u003ch5>Season opens Sept. 3,\u003cbr>\nDavies Hall, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>San Francisco Symphony Music Director Michael Tilson Thomas, who turns 70 in December, has led the company since 1995, and it’s been an exciting and enlightening time. He’s brought contemporary works to Davies Hall on a regular basis, still a rare thing for mainstream orchestras, and produced Grammy winning recordings of Mahler. And MTT somehow managed to avoid any taint from the bitter labor strife of last spring. MTT has programmed lots of Beethoven this season, but also a John Adams commission. And the SFS will record Mason Bates’ \u003cem>Alternative Energy\u003c/em> during live performances Sept. 9 to 13. The colossal piece for orchestra and sampled sound was fabulous when the Chicago Symphony performed it here in 2012.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141693\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/robert-frank-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141693 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/robert-frank-ed-400x266.jpg\" alt='Robert Frank. \"Detroit, 1955\"' width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/robert-frank-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/robert-frank-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/robert-frank-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robert Frank. “Detroit, 1955”\u003c/figcaption>\u003c/figure>\n\u003ch3>The Anderson Collection and Robert Frank\u003c/h3>\n\u003ch5>\u003cem>Robert Frank in America,\u003c/em>\u003cbr>\nSept. 10 to Jan. 5\u003cbr>\n\u003ca href=\"http://museum.stanford.edu/news_room/frank.html\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003cbr>\nAnderson Collection opening day,\u003cbr>\nSept. 21\u003cbr>\n\u003ca href=\"https://anderson.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>On Sept. 21, Stanford University opens a new museum devoted to the Anderson Collection, a jaw-droppingly fine selection of contemporary art by the likes of Rothko, Diebenkorn, de Kooning, Mitchell and Pollock, donated to the school by its Palo Alto neighbors Harry and Mary Anderson. Then go next door to the Cantor for the photo exhibit \u003cem>Robert Frank in America.\u003c/em> The photographs, largely drawn from the Cantor’s own permanent collection, form a vital addendum to Frank’s seminal 1959 photo essay, \u003cem>The Americans.\u003c/em> That book’s honest recording of American faces and scenes threw a shadow on the idea that America was a land of suburban bliss. Stanford is offering timed tickets for the Anderson collection, to avoid crowds, but admission to the new museum and the Cantor is, as always, free.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141694\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141694\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed-400x266.jpg\" alt=\"Joshua Redman. Photo, Richard Conde\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joshua Redman. Photo, Richard Conde\u003c/figcaption>\u003c/figure>\n\u003ch3>SFJAZZ Season 3\u003c/h3>\n\u003ch5>Sept. 11,\u003cbr>\nSFJAZZ Center, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Season 3 at the center offers some shows that should dazzle: the thoughtful saxophonist Joshua Redman, a founding member of the SFJAZZ Collective, brings his trio to play Oct. 2-5; tabla master Zakir Hussain reunites with Charles Lloyd and Eric Harland Oct 9-12; and Ravi Coltrane and a handpicked ensemble do a tribute to Coltrane senior’s seminal \u003cem>A Love Supreme.\u003c/em> Wow.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141695\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141695\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed-400x266.jpg\" alt=\"Brandy Clark. Photo Becky Fluke\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandy Clark. Photo Becky Fluke\u003c/figcaption>\u003c/figure>\n\u003ch3>Jennifer Nettles with Brandy Clark\u003c/h3>\n\u003ch5>Sept. 11,\u003cbr>\nWells Fargo Center, Santa Rosa\u003cbr>\n\u003ca href=\"http://tickets.wellsfargocenterarts.org/single/eventDetail.aspx?p=1433\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>No one puts stories to country music better than Brandy Clark. Every song on her debut album last year, \u003cem>12 Stories,\u003c/em> was a winner, full of humor and heartache. She’s touring in support of country star Jennifer Nettles, for whom Clark wrote a number about an abusive husband called “His Hands.” It should be a great show and a chance to support the stirrings of a feminist wave in country music.\u003c/p>\n\u003c/div>\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/xySHuL7hDEk'\n title='//www.youtube.com/embed/xySHuL7hDEk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141717\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141717\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop-400x264.jpg\" alt=\"Patricia Lockwood\" width=\"400\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop-300x198.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop.jpg 524w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Patricia Lockwood \u003ccite>(Courtesy of Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Patricia Lockwood\u003c/h3>\n\u003ch5>Sept. 22,\u003cbr>\nJewish Community Center, San Francisco\u003cbr>\n\u003ca href=\"https://www.jccsf.org/arts-ideas/lectures/literary/patricia-lockwood/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Lockwood has become famous for “Rape Joke,” a not-at-all funny poem that reads like a series of brilliant and disturbing tweets exploring the often twisted relations between a rapist and his victim. Her most recent book of poems, \u003cem>Motherland Fatherland Homelandsexuals,\u003c/em> is full of odd and sexually explicit ideas that include a deer that does porn, a talking basketball and the Loch Ness Monster. A literary event that’s likely to sell out — for a poet who’s anything but.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141054\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/AiWeiWei.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/AiWeiWei-400x200.jpg\" alt=\"Ai Weiwei in the elevator when taken into custody by the police, Sichuan, China, 2009; Courtesy the artist\" width=\"400\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/AiWeiWei-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/AiWeiWei-300x150.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/AiWeiWei.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei in the elevator when taken into custody by the police, Sichuan, China, 2009; Courtesy the artist\u003c/figcaption>\u003c/figure>\n\u003ch3>@Large: Ai Weiwei on Alcatraz\u003c/h3>\n\u003ch5>Sept. 27 to April 26,\u003cbr>\nAlcatraz Island\u003cbr>\n\u003ca href=\"http://www.for-site.org/project/ai-weiwei-alcatraz/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Beijing’s Ai Weiwei is one of the world’s foremost artists and human-rights activists. The Chinese government once jailed him for 81 days and currently limits his travel. Now he’s overseeing a set of art installations on the meaning of confinement and political speech in what was once America’s most formidable military and federal prison. Kudos to San Francisco’s For-Site Foundation for commissioning the work, (Ai is taking no fee), and to the administrators at the Golden Gate National Recreation Area for giving Ai artistic freedom. Getting to Alcatraz will be half the fun and half the battle. Admission will be free, but you’ll have to ride the heavily booked \u003ca href=\"http://www.alcatrazislandtickets.com/\" target=\"_blank\" rel=\"noopener\">Alcatraz Ferry\u003c/a> to the island (adults $38.00). Best to reserve a full 90 days in advance (the furthest ahead you can book).\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141697\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Bengsons-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141697\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Bengsons-ed-400x266.jpg\" alt=\"Photo, Mark Leialoha\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Bengsons-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Bengsons-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Bengsons-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo, Mark Leialoha\u003c/figcaption>\u003c/figure>\n\u003ch3>The Bengsons\u003c/h3>\n\u003ch5>Sept. 29,\u003cbr>\nFreight and Salvage, Berkeley\u003cbr>\n\u003ca href=\"http://www.thefreight.org/bengsons-shaina-taub-friends\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Shaun and Abigail Bengson have carved out a unique niche that combines experimental, folk-alt-art-rock and musical theatre. Their \u003cem>Hundred Days\u003c/em> at Z Space early this year tenderly wedded lush folk-rock with a gender-reversed take on La Boheme. Brilliant.\u003c/p>\n\u003c/div>\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/a3dg-3EXBag'\n title='//www.youtube.com/embed/a3dg-3EXBag'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141698\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Stlawrence-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141698\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Stlawrence-ed-400x266.jpg\" alt=\"Photo, Eric Cheng\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Stlawrence-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Stlawrence-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Stlawrence-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo, Eric Cheng\u003c/figcaption>\u003c/figure>\n\u003ch3>St Lawrence String Quartet\u003c/h3>\n\u003ch5>Starting Oct. 10,\u003cbr>\nVarious locations\u003cbr>\n\u003ca href=\"http://www.slsq.com/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Stanford’s resident St. Lawrence String Quartet is one of the best in the world. 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"publishDate": 1409576422,
"format": "standard",
"headTitle": "Stay in the East Bay for Art and Music this Fall | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/fall-arts-preview-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/FallArtsPreview-300x250-3.png\" alt=\"FAll arts preview 2014\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>If you don’t already live in the East Bay, your friends probably do, and it might be time to consider a move over the bridge anyway. There are endless opportunities for fall entertainment in the East Bay, so those of us who live here can stay put and avoid parking nightmares and tourists in SF. Many of us have to work in The City, so we appreciate being able to stay on the east side for spectacular weekend fun.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141336\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Lorde.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141336\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Lorde-400x264.png\" alt=\"Lorde\" width=\"400\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Lorde-400x264.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Lorde-300x198.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Lorde.png 580w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lorde\u003c/figcaption>\u003c/figure>\n\u003ch3>Lorde\u003c/h3>\n\u003ch5>Oct. 2\u003cbr>\nGreek Theatre, UC Berkeley\u003cbr>\n\u003ca href=\"http://www.thegreektheatreberkeley.com/events/lorde/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you’re kind of over getting told to throw your hands up in the air like Lorde claims to be, then you can both happily keep your hands down during her show at The Greek on Oct. 2. Find your darkest lipstick and moodiest moves. You will never be royal, but you will be vibing out in a charming local outdoor venue while teenager Lorde perfects her stage presence.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141348\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Mavis-Staples.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141348\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Mavis-Staples.png\" alt=\"Mavis Staples\" width=\"400\" height=\"327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mavis-Staples.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mavis-Staples-300x245.png 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mavis Staples\u003c/figcaption>\u003c/figure>\n\u003ch3>Mavis Staples\u003c/h3>\n\u003ch5>Oct. 30\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/jazz/mavis-staples.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Mavis Staples was the youngest member of the Staple Singers, who were famous for “Respect Yourself” and lending their talents to the Free Speech movement. Mavis funny as hell and she’ll be performing, as she has been her entire life, with her whole heart and soul, at Cal Performances. And listen to some great storytelling by Mavis on a recent episode of \u003ca href=\"http://www.npr.org/2014/08/16/340647455/not-my-job-mavis-staples-gets-quizzed-on-office-supples\" target=\"_blank\" rel=\"noopener\">Wait, wait… Don’t Tell Me\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141363\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141363\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder.jpg\" alt='\"Portrait of a Boy in Green\" by Brewster, John, Jr. ' width=\"400\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder-293x300.jpg 293w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder-64x64.jpg 64w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Portrait of a Boy in Green” by Brewster, John, Jr.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>American Wonder: Folk Art from the Collection\u003c/b>\u003c/h3>\n\u003ch5>Oct. 1\u003cbr>\nBerkeley Art Museum, Berkeley\u003cbr>\n\u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/americanwonder\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>I love folk art. Folk art reminds us that anyone can make art, and you don’t need a fancy MFA degree to do it. The Berkeley Art Museum is dusting off their collection of American Folk Art for a new exhibit. Check it out before heading to the PFA’s outdoor movie screenings nearby.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141337\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141337\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title-400x300.jpg\" alt=\"<i>Pee-Wee's Big Adventure</i>\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Pee-Wee’s Big Adventure\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Endless Summer Cinema\u003c/h3>\n\u003ch5>Oct. 3 & 10\u003cbr>\nPacific Film Archive\u003cbr>\n\u003ca href=\"http://bampfa.berkeley.edu/filmseries/endlesssummer\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The Pacific Film Archive will present outdoor screenings of two classics, \u003ci>Pee-wee’s Big Adventure\u003c/i> and \u003ci>This is Spinal Tap\u003c/i> . Bring a blanket and some snacks, and it’ll feel like the good old days when you could always watch movies outdoors and Netflix didn’t exist.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141368\" class=\"wp-caption alignleft\" style=\"max-width: 399px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Oakland-Underground-Film-Fest-e1409181810925.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141368 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Oakland-Underground-Film-Fest-e1409181810925.png\" alt=\"Oakland Underground Film Festival\" width=\"399\" height=\"321\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland Underground Film Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>Oakland Underground Film Festival\u003c/h3>\n\u003ch5>Sept. 25-28\u003cbr>\nGrand Lake Theater and Humanist Hall, Oakland\u003cbr>\n\u003ca href=\"http://www.oakuff.org/index.html\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you’d rather catch films of a different nature, check out the Oakland Underground Film Festival. The festival defines underground as “unconventional, bottom-up, misfit, badass, outsider, outlaw, rebel, underdog, minority, local, urban, green, and revolutionary.” So you know what you’re in for.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141343\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Sedaris.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Sedaris-400x315.png\" alt=\"David Sedaris\" width=\"400\" height=\"315\" class=\"size-thumbnail wp-image-10141343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sedaris-400x315.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sedaris-300x236.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sedaris.png 410w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Sedaris\u003c/figcaption>\u003c/figure>\n\u003ch3>David Sedaris\u003c/h3>\n\u003ch5>Nov. 15\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/berkeley-talks/david-sedaris.php\" target=\"_blank\" rel=\"noopener\">Tickets and Informatiuon\u003c/a>\u003c/h5>\n\u003cp>David Sedaris never disappoints and he’s making a classy appearance at Cal Performances where he’ll be in conversation with UC Berkeley chancellor Nicholas Dirks. Read Sedaris’s latest book, \u003ci>Let’s Explore Diabetes with Owls\u003c/i> before you head over the Zellerbach Hall to see the man himself.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141334\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground-400x265.jpg\" alt=\"An example of one of the pieces in Fertile Ground\" width=\"400\" height=\"265\" class=\"size-thumbnail wp-image-10141334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A work by Margaret Kilgallen in \u003cb>Fertile Ground\u003c/b>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Fertile Ground\u003c/b>\u003c/h3>\n\u003ch5>Sept. 20-April 12\u003cbr>\nOakland Museum of California\u003cbr>\n\u003ca href=\"http://www.museumca.org/exhibit/fertile-ground-art-and-community-california\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>\u003cstrong>Fertile Ground\u003c/strong> is a joint exhibition organized by SFMOMA and the Oakland Museum featuring well-known schools of artists who lived, worked or studied in California. Highlighting art from both museums’ collections, the exhibit aims to expose the “relationships, breakthroughs and transformative social change” that make up the landscape of contemporary California art. You’ll see the usual suspects like Diebenkorn, Arneson and Thiebaud, along with artists who became known in the ‘90s Mission scene, including several of my favorite female painters, Margaret Kilgallen, Alicia McCarthy and Ruby Neri, along with recent Art School alum, \u003ca href=\"http://ww2.kqed.org/artschool/2014/02/22/at-adobe-books-with-chris-johanson/\" target=\"_blank\" rel=\"noopener\">Chris Johanson\u003c/a>, and another local hero, Barry McGee.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141333\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn-400x247.jpg\" alt=\"An example of Diebenkorn's work\" width=\"400\" height=\"247\" class=\"size-thumbnail wp-image-10141333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn-300x185.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn.jpg 613w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An example of Diebenkorn’s work\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Closely Considered: Diebenkorn in Berkeley\u003c/b>\u003c/h3>\n\u003ch5>Sept. 14-Nov. 16\u003cbr>\nRichmond Art Center, Richmond\u003cbr>\n\u003ca href=\"http://www.therac.org/html/exhibitions.html#diebenkorn\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you want more Diebenkorn, especially drawings from his Berkeley years, head to the Richmond Art Center for \u003cstrong>Closely Considered\u003c/strong>, an exhibit that will focus on Diebenkorn, but also feature his pals from the Bay Area Figurative art movement. The Art Center is close to Richmond BART and is worth the trip. You can even sign up for an art class if you’re feeling inspired after diving into Diebenkorn.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141341\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/misako.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/misako-400x298.png\" alt=\"An example of Misako Inaoka's work for <b>Fractured Fauna</b>\" width=\"400\" height=\"298\" class=\"size-thumbnail wp-image-10141341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/misako-400x298.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/misako-300x224.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/misako.png 443w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Misako Inaoka\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Fractured Fauna\u003c/b> featuring Misako Inaoka\u003c/h3>\n\u003ch5>Sept. 5\u003cbr>\nJohansson Projects\u003cbr>\n\u003ca href=\"http://johanssonprojects.com/shows/inaoka14_show.html\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Misako Inaoka creates curious, foreboding creatures out of unusual materials, and her latest mysterious menagerie is crafted with upholstery. See her latest series, \u003cstrong>Fractured Fauna,\u003c/strong> at Johansson Projects. The show opens Aug. 23 and the official reception, where you can meet the artist, is in early September.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141335\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery-400x148.jpg\" alt=\"One of the pieces in Kim Miskowicz's <b>Formation</b>\" width=\"400\" height=\"148\" class=\"size-thumbnail wp-image-10141335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery-400x148.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery-300x111.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery.jpg 808w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the pieces in Kim Miskowicz’s \u003cb>Formation\u003c/b>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Miscowicz: Formation\u003c/h3>\n\u003ch5>Sept. 5- Oct. 11\u003cbr>\nKrowswork, Oakland\u003cbr>\n\u003ca href=\"http://www.krowswork.com/kimmiskowicz.html\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Not far from Johansson projects, Krowswork features ambitious art and film projects in their Oakland space. Kim Miscowicz opens a new show at Krowswork called \u003ci>Formation.\u003c/i> Her dreamy landscapes, created by melding video and painting together, are difficult to imagine. Clearly, they need to be seen in person.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141338\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum-400x600.jpg\" alt=\"An example of Applebaum's worth\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-10141338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum-200x300.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Sarah Applebaum\u003c/figcaption>\u003c/figure>\n\u003ch3>The Way Somewhere\u003c/h3>\n\u003ch5>Sept. 5-Oct.5\u003cbr>\nRoyal Nonesuch Gallery, Oakland\u003cbr>\n\u003ca href=\"http://www.royalnonesuchgallery.com/index.php?/exhibitions/upcoming/2/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>A group show at Royal Nonesuch Gallery opens on Sept. 5 with four artists, including \u003ca href=\"http://bessmakhalaf.com/\" target=\"_blank\" rel=\"noopener\">Bessma Khalaf\u003c/a>, whose video work is mesmerizing and abruptly stunning, and Sarah Applebaum, who I befriended after covering \u003ca href=\"http://ww2.kqed.org/arts/2009/05/28/sarah_applebaum_is_soft_core/\" target=\"_blank\" rel=\"noopener\">one of her shows in 2009\u003c/a> in SF. Applebaum has narrowed her color palette over the last five years. Her new work is heavy with meaning and she always wows the crowd. Abraham McNally and Adam Thorman will also be exhibiting new work in this show.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141164\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/interpol.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/interpol-400x225.jpg\" alt=\"Interpol's new album, El Pintor, comes out on Sept. 9.\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10141164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interpol-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interpol-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interpol.jpg 1120w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Interpol’s new album, El Pintor, comes out on Sept. 9. \u003ccite>(Courtesy of the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Fall Lineup at The Fox\u003c/h3>\n\u003ch5>Sept. & Oct.\u003cbr>\nThe Fox Theater, Oakland\u003cbr>\n\u003ca href=\"http://www.thefoxoakland.com/calendar.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Let’s get back to the music. If you want to dance or rage, you can see Sam Smith (9/28), Thievery Corporation (10/2), Lykke Li (9/21) and Die Antwoord (9/25) at the Fox Theater this fall, or you can chill with the 30-something crowd and catch Interpol (9/20) after some artisan drinks at \u003ca href=\"http://www.yelp.com/biz/flora-restaurant-and-bar-oakland\" target=\"_blank\" rel=\"noopener\">Flora\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141339\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters-400x266.jpg\" alt=\"Dead Winter Carpenters\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10141339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters.jpg 625w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dead Winter Carpenters\u003c/figcaption>\u003c/figure>\n\u003ch3>Fall Lineup at The New Parrish\u003c/h3>\n\u003ch5>Sept. & Oct.\u003cbr>\nThe New Parrish, Oakland\u003cbr>\n\u003ca href=\"http://www.thenewparish.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If mainstream music isn’t your jam, head over to the New Parrish. The fall lineup includes Kyrsten Bean (9/10), a local singer-songwriter who will appear in the upcoming documentary \u003ci>Clean and Sober Punx\u003c/i>. And Dead Winter Carpenters (9/5), who hail from Tahoe, are also on tap. Sample their album on \u003ca href=\"http://deadwintercarpenters.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a> to see if you dig their fast, folky rock tunes.\n\u003c/p>\u003c/div>\n\u003cp>And there you have it—13+ reasons to stay in the East Bay this fall. Enjoy your arty adventures and leave a comment if you have a recommendation for this list.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Sick of dealing with finding parking in the city? Lucky for you there are endless opportunities for entertainment in the East Bay.",
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"headline": "Stay in the East Bay for Art and Music this Fall",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/fall-arts-preview-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/FallArtsPreview-300x250-3.png\" alt=\"FAll arts preview 2014\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>If you don’t already live in the East Bay, your friends probably do, and it might be time to consider a move over the bridge anyway. There are endless opportunities for fall entertainment in the East Bay, so those of us who live here can stay put and avoid parking nightmares and tourists in SF. Many of us have to work in The City, so we appreciate being able to stay on the east side for spectacular weekend fun.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141336\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Lorde.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141336\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Lorde-400x264.png\" alt=\"Lorde\" width=\"400\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Lorde-400x264.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Lorde-300x198.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Lorde.png 580w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lorde\u003c/figcaption>\u003c/figure>\n\u003ch3>Lorde\u003c/h3>\n\u003ch5>Oct. 2\u003cbr>\nGreek Theatre, UC Berkeley\u003cbr>\n\u003ca href=\"http://www.thegreektheatreberkeley.com/events/lorde/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you’re kind of over getting told to throw your hands up in the air like Lorde claims to be, then you can both happily keep your hands down during her show at The Greek on Oct. 2. Find your darkest lipstick and moodiest moves. You will never be royal, but you will be vibing out in a charming local outdoor venue while teenager Lorde perfects her stage presence.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141348\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Mavis-Staples.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141348\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Mavis-Staples.png\" alt=\"Mavis Staples\" width=\"400\" height=\"327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mavis-Staples.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mavis-Staples-300x245.png 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mavis Staples\u003c/figcaption>\u003c/figure>\n\u003ch3>Mavis Staples\u003c/h3>\n\u003ch5>Oct. 30\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/jazz/mavis-staples.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Mavis Staples was the youngest member of the Staple Singers, who were famous for “Respect Yourself” and lending their talents to the Free Speech movement. Mavis funny as hell and she’ll be performing, as she has been her entire life, with her whole heart and soul, at Cal Performances. And listen to some great storytelling by Mavis on a recent episode of \u003ca href=\"http://www.npr.org/2014/08/16/340647455/not-my-job-mavis-staples-gets-quizzed-on-office-supples\" target=\"_blank\" rel=\"noopener\">Wait, wait… Don’t Tell Me\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141363\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141363\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder.jpg\" alt='\"Portrait of a Boy in Green\" by Brewster, John, Jr. ' width=\"400\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder-293x300.jpg 293w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder-64x64.jpg 64w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Portrait of a Boy in Green” by Brewster, John, Jr.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>American Wonder: Folk Art from the Collection\u003c/b>\u003c/h3>\n\u003ch5>Oct. 1\u003cbr>\nBerkeley Art Museum, Berkeley\u003cbr>\n\u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/americanwonder\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>I love folk art. Folk art reminds us that anyone can make art, and you don’t need a fancy MFA degree to do it. The Berkeley Art Museum is dusting off their collection of American Folk Art for a new exhibit. Check it out before heading to the PFA’s outdoor movie screenings nearby.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141337\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141337\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title-400x300.jpg\" alt=\"<i>Pee-Wee's Big Adventure</i>\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Pee-Wee’s Big Adventure\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Endless Summer Cinema\u003c/h3>\n\u003ch5>Oct. 3 & 10\u003cbr>\nPacific Film Archive\u003cbr>\n\u003ca href=\"http://bampfa.berkeley.edu/filmseries/endlesssummer\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The Pacific Film Archive will present outdoor screenings of two classics, \u003ci>Pee-wee’s Big Adventure\u003c/i> and \u003ci>This is Spinal Tap\u003c/i> . Bring a blanket and some snacks, and it’ll feel like the good old days when you could always watch movies outdoors and Netflix didn’t exist.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141368\" class=\"wp-caption alignleft\" style=\"max-width: 399px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Oakland-Underground-Film-Fest-e1409181810925.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141368 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Oakland-Underground-Film-Fest-e1409181810925.png\" alt=\"Oakland Underground Film Festival\" width=\"399\" height=\"321\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland Underground Film Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>Oakland Underground Film Festival\u003c/h3>\n\u003ch5>Sept. 25-28\u003cbr>\nGrand Lake Theater and Humanist Hall, Oakland\u003cbr>\n\u003ca href=\"http://www.oakuff.org/index.html\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you’d rather catch films of a different nature, check out the Oakland Underground Film Festival. The festival defines underground as “unconventional, bottom-up, misfit, badass, outsider, outlaw, rebel, underdog, minority, local, urban, green, and revolutionary.” So you know what you’re in for.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141343\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Sedaris.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Sedaris-400x315.png\" alt=\"David Sedaris\" width=\"400\" height=\"315\" class=\"size-thumbnail wp-image-10141343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sedaris-400x315.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sedaris-300x236.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sedaris.png 410w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Sedaris\u003c/figcaption>\u003c/figure>\n\u003ch3>David Sedaris\u003c/h3>\n\u003ch5>Nov. 15\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/berkeley-talks/david-sedaris.php\" target=\"_blank\" rel=\"noopener\">Tickets and Informatiuon\u003c/a>\u003c/h5>\n\u003cp>David Sedaris never disappoints and he’s making a classy appearance at Cal Performances where he’ll be in conversation with UC Berkeley chancellor Nicholas Dirks. Read Sedaris’s latest book, \u003ci>Let’s Explore Diabetes with Owls\u003c/i> before you head over the Zellerbach Hall to see the man himself.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141334\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground-400x265.jpg\" alt=\"An example of one of the pieces in Fertile Ground\" width=\"400\" height=\"265\" class=\"size-thumbnail wp-image-10141334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A work by Margaret Kilgallen in \u003cb>Fertile Ground\u003c/b>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Fertile Ground\u003c/b>\u003c/h3>\n\u003ch5>Sept. 20-April 12\u003cbr>\nOakland Museum of California\u003cbr>\n\u003ca href=\"http://www.museumca.org/exhibit/fertile-ground-art-and-community-california\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>\u003cstrong>Fertile Ground\u003c/strong> is a joint exhibition organized by SFMOMA and the Oakland Museum featuring well-known schools of artists who lived, worked or studied in California. Highlighting art from both museums’ collections, the exhibit aims to expose the “relationships, breakthroughs and transformative social change” that make up the landscape of contemporary California art. You’ll see the usual suspects like Diebenkorn, Arneson and Thiebaud, along with artists who became known in the ‘90s Mission scene, including several of my favorite female painters, Margaret Kilgallen, Alicia McCarthy and Ruby Neri, along with recent Art School alum, \u003ca href=\"http://ww2.kqed.org/artschool/2014/02/22/at-adobe-books-with-chris-johanson/\" target=\"_blank\" rel=\"noopener\">Chris Johanson\u003c/a>, and another local hero, Barry McGee.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141333\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn-400x247.jpg\" alt=\"An example of Diebenkorn's work\" width=\"400\" height=\"247\" class=\"size-thumbnail wp-image-10141333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn-300x185.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn.jpg 613w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An example of Diebenkorn’s work\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Closely Considered: Diebenkorn in Berkeley\u003c/b>\u003c/h3>\n\u003ch5>Sept. 14-Nov. 16\u003cbr>\nRichmond Art Center, Richmond\u003cbr>\n\u003ca href=\"http://www.therac.org/html/exhibitions.html#diebenkorn\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you want more Diebenkorn, especially drawings from his Berkeley years, head to the Richmond Art Center for \u003cstrong>Closely Considered\u003c/strong>, an exhibit that will focus on Diebenkorn, but also feature his pals from the Bay Area Figurative art movement. The Art Center is close to Richmond BART and is worth the trip. You can even sign up for an art class if you’re feeling inspired after diving into Diebenkorn.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141341\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/misako.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/misako-400x298.png\" alt=\"An example of Misako Inaoka's work for <b>Fractured Fauna</b>\" width=\"400\" height=\"298\" class=\"size-thumbnail wp-image-10141341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/misako-400x298.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/misako-300x224.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/misako.png 443w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Misako Inaoka\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Fractured Fauna\u003c/b> featuring Misako Inaoka\u003c/h3>\n\u003ch5>Sept. 5\u003cbr>\nJohansson Projects\u003cbr>\n\u003ca href=\"http://johanssonprojects.com/shows/inaoka14_show.html\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Misako Inaoka creates curious, foreboding creatures out of unusual materials, and her latest mysterious menagerie is crafted with upholstery. See her latest series, \u003cstrong>Fractured Fauna,\u003c/strong> at Johansson Projects. The show opens Aug. 23 and the official reception, where you can meet the artist, is in early September.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141335\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery-400x148.jpg\" alt=\"One of the pieces in Kim Miskowicz's <b>Formation</b>\" width=\"400\" height=\"148\" class=\"size-thumbnail wp-image-10141335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery-400x148.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery-300x111.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery.jpg 808w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the pieces in Kim Miskowicz’s \u003cb>Formation\u003c/b>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Miscowicz: Formation\u003c/h3>\n\u003ch5>Sept. 5- Oct. 11\u003cbr>\nKrowswork, Oakland\u003cbr>\n\u003ca href=\"http://www.krowswork.com/kimmiskowicz.html\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Not far from Johansson projects, Krowswork features ambitious art and film projects in their Oakland space. Kim Miscowicz opens a new show at Krowswork called \u003ci>Formation.\u003c/i> Her dreamy landscapes, created by melding video and painting together, are difficult to imagine. Clearly, they need to be seen in person.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141338\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum-400x600.jpg\" alt=\"An example of Applebaum's worth\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-10141338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum-200x300.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Sarah Applebaum\u003c/figcaption>\u003c/figure>\n\u003ch3>The Way Somewhere\u003c/h3>\n\u003ch5>Sept. 5-Oct.5\u003cbr>\nRoyal Nonesuch Gallery, Oakland\u003cbr>\n\u003ca href=\"http://www.royalnonesuchgallery.com/index.php?/exhibitions/upcoming/2/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>A group show at Royal Nonesuch Gallery opens on Sept. 5 with four artists, including \u003ca href=\"http://bessmakhalaf.com/\" target=\"_blank\" rel=\"noopener\">Bessma Khalaf\u003c/a>, whose video work is mesmerizing and abruptly stunning, and Sarah Applebaum, who I befriended after covering \u003ca href=\"http://ww2.kqed.org/arts/2009/05/28/sarah_applebaum_is_soft_core/\" target=\"_blank\" rel=\"noopener\">one of her shows in 2009\u003c/a> in SF. Applebaum has narrowed her color palette over the last five years. Her new work is heavy with meaning and she always wows the crowd. Abraham McNally and Adam Thorman will also be exhibiting new work in this show.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141164\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/interpol.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/interpol-400x225.jpg\" alt=\"Interpol's new album, El Pintor, comes out on Sept. 9.\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10141164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interpol-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interpol-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interpol.jpg 1120w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Interpol’s new album, El Pintor, comes out on Sept. 9. \u003ccite>(Courtesy of the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Fall Lineup at The Fox\u003c/h3>\n\u003ch5>Sept. & Oct.\u003cbr>\nThe Fox Theater, Oakland\u003cbr>\n\u003ca href=\"http://www.thefoxoakland.com/calendar.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Let’s get back to the music. If you want to dance or rage, you can see Sam Smith (9/28), Thievery Corporation (10/2), Lykke Li (9/21) and Die Antwoord (9/25) at the Fox Theater this fall, or you can chill with the 30-something crowd and catch Interpol (9/20) after some artisan drinks at \u003ca href=\"http://www.yelp.com/biz/flora-restaurant-and-bar-oakland\" target=\"_blank\" rel=\"noopener\">Flora\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141339\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters-400x266.jpg\" alt=\"Dead Winter Carpenters\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10141339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters.jpg 625w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dead Winter Carpenters\u003c/figcaption>\u003c/figure>\n\u003ch3>Fall Lineup at The New Parrish\u003c/h3>\n\u003ch5>Sept. & Oct.\u003cbr>\nThe New Parrish, Oakland\u003cbr>\n\u003ca href=\"http://www.thenewparish.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If mainstream music isn’t your jam, head over to the New Parrish. The fall lineup includes Kyrsten Bean (9/10), a local singer-songwriter who will appear in the upcoming documentary \u003ci>Clean and Sober Punx\u003c/i>. And Dead Winter Carpenters (9/5), who hail from Tahoe, are also on tap. Sample their album on \u003ca href=\"http://deadwintercarpenters.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a> to see if you dig their fast, folky rock tunes.\n\u003c/p>\u003c/div>\n\u003cp>And there you have it—13+ reasons to stay in the East Bay this fall. Enjoy your arty adventures and leave a comment if you have a recommendation for this list.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Dream But Don't Sleep: Remembering Mike 'Dream' Francisco",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he first time \u003ca href=\"http://ogtoldme.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a> ever cruised through the 23rd St. train yard in Oakland, he was just a kid from the Dubbs riding his bike with friends around the neighborhood. “And we had no idea that that was \u003cem>the\u003c/em> legendary 23rd St. yard,” Harshaw tells me of the famed graffiti spot. “We’d hang out in that area all the time, but we never knew the magnitude of it.”\u003c/p>\n\u003cp>That magnitude is the subject of \u003ca href=\"https://www.youtube.com/watch?v=cDp38sltic8\" rel=\"noopener noreferrer\" target=\"_blank\">Harshaw’s documentary \u003cem>The Dream Kontinues\u003c/em>\u003c/a>, a short film about late Bay Area graffiti pioneer Mike “Dream” Francisco, who was shot in an attempted robbery in 2000. The king of the train yard in the ’80s and ’90s, Dream’s influence presides over the spot, which today still serves as a hub of Bay Area graffiti writers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cDp38sltic8\u003c/p>\n\u003cp>A scholar of graffiti history, a creative stylist with an aerosol can, a Filipino embraced by the black community and a mentor to dozens, Dream is an icon of East Oakland. Tribute events honoring his influence are held annually. His remaining murals are strictly off-limits to tagging and throw-ups by other graffiti writers. And finally, with Harshaw’s film, the result of a thesis at UC Berkeley, a documentary collects archival footage of Dream with current-day interviews with those from his TDK crew.\u003c/p>\n\u003cp>The tragedy of Dream’s death is underscored by the maturation of his outlook over time. His artwork became more political and community-minded in nature. He taught young aspiring upstarts line and shadow skills at his tattoo shop. He even changed the meaning of the acronym “TDK,” which initially stood for “Those Damn Kids” due to the crew’s hooliganism, to “Tax Dollars Kill,” and then, “Teach Dem Kulture.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even Harshaw says he was surprised at the depth of Dream’s story.\u003c/p>\n\u003cp>“When I started, I thought I was gonna tell a story that bumped up against how police couldn’t control certain aspects of graffiti, or how there’s no art in schools,” Harshaw says. “I ended up having a documentary that really questions, ‘What is art?’ That’s an urban philosophical debate, of sorts, but with Dream and TDK, their story, there’s so many layers of it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he first time \u003ca href=\"http://ogtoldme.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a> ever cruised through the 23rd St. train yard in Oakland, he was just a kid from the Dubbs riding his bike with friends around the neighborhood. “And we had no idea that that was \u003cem>the\u003c/em> legendary 23rd St. yard,” Harshaw tells me of the famed graffiti spot. “We’d hang out in that area all the time, but we never knew the magnitude of it.”\u003c/p>\n\u003cp>That magnitude is the subject of \u003ca href=\"https://www.youtube.com/watch?v=cDp38sltic8\" rel=\"noopener noreferrer\" target=\"_blank\">Harshaw’s documentary \u003cem>The Dream Kontinues\u003c/em>\u003c/a>, a short film about late Bay Area graffiti pioneer Mike “Dream” Francisco, who was shot in an attempted robbery in 2000. The king of the train yard in the ’80s and ’90s, Dream’s influence presides over the spot, which today still serves as a hub of Bay Area graffiti writers.\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/cDp38sltic8'\n title='//www.youtube.com/embed/cDp38sltic8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A scholar of graffiti history, a creative stylist with an aerosol can, a Filipino embraced by the black community and a mentor to dozens, Dream is an icon of East Oakland. Tribute events honoring his influence are held annually. His remaining murals are strictly off-limits to tagging and throw-ups by other graffiti writers. And finally, with Harshaw’s film, the result of a thesis at UC Berkeley, a documentary collects archival footage of Dream with current-day interviews with those from his TDK crew.\u003c/p>\n\u003cp>The tragedy of Dream’s death is underscored by the maturation of his outlook over time. His artwork became more political and community-minded in nature. He taught young aspiring upstarts line and shadow skills at his tattoo shop. He even changed the meaning of the acronym “TDK,” which initially stood for “Those Damn Kids” due to the crew’s hooliganism, to “Tax Dollars Kill,” and then, “Teach Dem Kulture.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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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": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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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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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"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"
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},
"fresh-air": {
"id": "fresh-air",
"title": "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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"here-and-now": {
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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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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"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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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"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",
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"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",
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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": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"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",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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