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"title": "The Complex Life of 'California's Heartland' On View at SF City Hall",
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"content": "\u003caside class=\"event-info alignright\">\n\u003ch3>Event Information\u003c/h3>\n\u003cdiv class=\"event-map\">[googlemaps https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d3153.4574480558626!2d-122.41913999999997!3d37.77931800000002!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x80858096cf66e387%3A0xdbd835d0e8505e8e!2sSan+Francisco+City+Hall!5e0!3m2!1sen!2sus!4v1404864919017&w=400&h=300]\u003c/div>\n\u003cdiv class=\"event-desc\">\nThe San Francisco Arts Commission’s \u003cb>The Valley/El Valle: Photo-essays from California’s Heartland\u003c/b> runs through September 19, 2014 at San Francisco’s City Hall. For more information visit: \u003ca href=\"http://www.sfartscommission.org/gallery/2014/9463/\" target=\"_blank\" rel=\"noopener\">sfartscommission.org\u003c/a>.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 17-September 19, 2014\u003c/h4>\n\u003cdiv class=\"event-venue\">San Francisco City Hall\u003cbr>\n1 Dr Carlton B Goodlett Pl\u003cbr>\nSan Francisco, California\u003cbr>\n\u003ca href=\"https://goo.gl/maps/N5isE\" target=\"_blank\" rel=\"noopener\">MAP\u003c/a>\u003c/div>\n\n\u003cp>Unless you’re from California’s Central Valley, you may rarely think about it; it might just be the scenery that flies by as you drive to Los Angeles. However, the Valley is where some of California’s most complicated issues are in play, which is what makes the San Francisco Arts Commission’s \u003cb>The Valley/El Valle: Photo-essays from California’s Heartland\u003c/b> exhibition at City Hall so compelling. It provides a seldom-seen and much-needed view of everyday life, work, love, politics, hardship and celebration, along with a brief history of the place that produces two thirds of America’s table food.\u003c/p>\n\u003cp>When this show’s postcard came across my desk, I was captivated. It features Sam Comen’s stunning photograph of a couple dancing, and the emotional impact of that photo is just as the gallery describes, “full of all the hope and power of youth.” It made me want to learn more about a region that has remained mysterious and unknown to me. Sam Comen’s goal with his photo essay about the Valley is to “cement [his] subjects’ place in American History.”\u003c/p>\n\u003cfigure id=\"attachment_10138874\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Black.Matt_.Sheep_.At_.Dawn_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Black.Matt_.Sheep_.At_.Dawn_.jpg\" alt=\"Matt Black, Sheep at dawn. Firebaugh, California.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10138874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Black.Matt_.Sheep_.At_.Dawn_.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Black.Matt_.Sheep_.At_.Dawn_-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Black.Matt_.Sheep_.At_.Dawn_-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Matt Black, \u003ci>Sheep at dawn. Firebaugh, California\u003c/i>; Courtesy of the Artist and SFAC Galleries\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The Valley/El Valle\u003c/b> highlights documentation from photographers who share Comen’s sentiment of wanting to capture the humanity of the region. In the exhibit, you will see excellent photographs of celebrations juxtaposed with hard work. You will see images of cracked earth, dancers, fighters, parades, backyards, borders, families, and immigration issues poignantly represented. You will see historical images of the farm labor movement, and a thorough portrait of life in the Central Valley today. \u003c/p>\n\u003cp>Despite growing most of the food we eat, farm workers in the Central Valley face food justice issues; many can’t afford the food they harvest. You can read more sobering facts about this crisis in the KQED News collection, \u003ci>\u003ca href=\"http://www.kqed.org/news/specialcoverage/hungerinthevalleyofplenty/\">Hunger in the Valley of Plenty\u003c/a>\u003c/i>. Hunger is just one of the insurmountable problems caused by the complicated politics in the region. Birth defects from pesticides, air pollution, fertile land destruction, environmental ruins, poverty… the list goes sickeningly on. \u003c/p>\n\u003cfigure id=\"attachment_10138872\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/FranciscoDominguez.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/FranciscoDominguez.jpg\" alt=\"Francisco Dominguez, Pepper Spray, 2011\" width=\"640\" height=\"452\" class=\"size-full wp-image-10138872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/FranciscoDominguez.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/FranciscoDominguez-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/FranciscoDominguez-300x211.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Francisco Dominguez, \u003ci>Pepper Spray\u003c/i>, 2011; Courtesy of the artist and SFAC Galleries\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition, curated by Rayko’s Ann Jastrab, features nine photo essays about the Central Valley, two of them historical, by nine photographers and a collection of images from the \u003ci>San Francisco Chronicle\u003c/i> archive. There are 100 photos in the show that represent the diverse nature and culture of the state’s breadbasket.\u003c/p>\n\u003cp>The San Francisco Arts Commission Gallery programmed the exhibition on the ground floor of City Hall, and it can feel hidden away in the white-tiled hallway. Of the few people that cruise through the space while on other City Hall business, most don’t even realize they’re walking through an art exhibit. But, as evidenced in \u003cb>The Valley/El Valle\u003c/b>, some of the most important and educational exhibits are mounted there. A few more large-scale landscape photos from the the show are hanging upstairs in City Hall’s North Light Court.\u003c/p>\n\u003cfigure id=\"attachment_10138873\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/LouDematteis.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/LouDematteis.jpg\" alt=\"Lou Dematteis, UFW March, 1975\" width=\"640\" height=\"425\" class=\"size-full wp-image-10138873\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/LouDematteis.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/LouDematteis-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/LouDematteis-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lou Dematteis, \u003ci>UFW March\u003c/i>, 1975; Courtesy of the artist and SFAC Galleries\u003c/figcaption>\u003c/figure>\n\u003cp>Melanie and Ken Light spent five years documenting the region for their book \u003ci>Valley of Shadows and Dreams\u003c/i>, which examines lasting, historical struggles. Her writing and his photos are featured in the exhibit. Melanie writes about Ken’s reaction to seeing a sign for man-made waterfront property “in a drought-stricken state where farmers are up in arms about decreased allotments of water.” The issue compelled the photographer to capture these “manifestations of the lack of any sustainable or sensible water policy in the valley.”\u003c/p>\n\u003cfigure id=\"attachment_10138871\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/AntonioOlmos.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/AntonioOlmos.jpg\" alt=\"Photo by Antonio Olmos\" width=\"640\" height=\"424\" class=\"size-full wp-image-10138871\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/AntonioOlmos.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/AntonioOlmos-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/AntonioOlmos-300x198.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Antonio Olmos; Courtesy of the artist and SFAC Galleries\u003c/figcaption>\u003c/figure>\n\u003cp>Battles over water have been a constant in California, recently exacerbated by the drought. The Lights present their work as a call to action. Melanie sums it up when she asks, “How will the pressure between a growing population and the limits of the earth unfold?” She continues, “Already there are very few, if any workable solutions left… At the core of our citizenship, politicking and simple living, we must care for others’ well-being. We must care about creating opportunity for individuals most in need.”\u003c/p>\n\u003cp>If the art does its job, you’ll find a way to shout about injustices that we are all responsible for. You can no longer throw your groceries into your reusable shopping bags without considering where that food came from, and at what cost to human rights. \u003cb>The Valley/El Valle\u003c/b> is an exhibit of political art that has the potential to affect change.\u003c/p>\n\u003cp>\u003cb>The Valley/El Valle\u003c/b> is on view through September 19, 2014. For \u003ca href=\"http://www.sfartscommission.org/gallery/2014/9463/\">more information\u003c/a>, visit sfartscommission.org.\u003c/p>\n\u003c/div>\u003c/aside>\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003ch3>Event Information\u003c/h3>\n\u003cdiv class=\"event-map\">\u003c/p>\u003cp>\u003ciframe\n src='https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d3153.4574480558626!2d-122.41913999999997!3d37.77931800000002!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x80858096cf66e387%3A0xdbd835d0e8505e8e!2sSan+Francisco+City+Hall!5e0!3m2!1sen!2sus!4v1404864919017&w=400&h=300'\n title='https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d3153.4574480558626!2d-122.41913999999997!3d37.77931800000002!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x80858096cf66e387%3A0xdbd835d0e8505e8e!2sSan+Francisco+City+Hall!5e0!3m2!1sen!2sus!4v1404864919017&w=400&h=300'\n width='400'\n height='300'\n scrolling='no'\n frameborder='no'>\u003c/iframe>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"event-desc\">\nThe San Francisco Arts Commission’s \u003cb>The Valley/El Valle: Photo-essays from California’s Heartland\u003c/b> runs through September 19, 2014 at San Francisco’s City Hall. For more information visit: \u003ca href=\"http://www.sfartscommission.org/gallery/2014/9463/\" target=\"_blank\" rel=\"noopener\">sfartscommission.org\u003c/a>.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 17-September 19, 2014\u003c/h4>\n\u003cdiv class=\"event-venue\">San Francisco City Hall\u003cbr>\n1 Dr Carlton B Goodlett Pl\u003cbr>\nSan Francisco, California\u003cbr>\n\u003ca href=\"https://goo.gl/maps/N5isE\" target=\"_blank\" rel=\"noopener\">MAP\u003c/a>\u003c/div>\n\n\u003cp>Unless you’re from California’s Central Valley, you may rarely think about it; it might just be the scenery that flies by as you drive to Los Angeles. However, the Valley is where some of California’s most complicated issues are in play, which is what makes the San Francisco Arts Commission’s \u003cb>The Valley/El Valle: Photo-essays from California’s Heartland\u003c/b> exhibition at City Hall so compelling. It provides a seldom-seen and much-needed view of everyday life, work, love, politics, hardship and celebration, along with a brief history of the place that produces two thirds of America’s table food.\u003c/p>\n\u003cp>When this show’s postcard came across my desk, I was captivated. It features Sam Comen’s stunning photograph of a couple dancing, and the emotional impact of that photo is just as the gallery describes, “full of all the hope and power of youth.” It made me want to learn more about a region that has remained mysterious and unknown to me. Sam Comen’s goal with his photo essay about the Valley is to “cement [his] subjects’ place in American History.”\u003c/p>\n\u003cfigure id=\"attachment_10138874\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Black.Matt_.Sheep_.At_.Dawn_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Black.Matt_.Sheep_.At_.Dawn_.jpg\" alt=\"Matt Black, Sheep at dawn. Firebaugh, California.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10138874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Black.Matt_.Sheep_.At_.Dawn_.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Black.Matt_.Sheep_.At_.Dawn_-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Black.Matt_.Sheep_.At_.Dawn_-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Matt Black, \u003ci>Sheep at dawn. Firebaugh, California\u003c/i>; Courtesy of the Artist and SFAC Galleries\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The Valley/El Valle\u003c/b> highlights documentation from photographers who share Comen’s sentiment of wanting to capture the humanity of the region. In the exhibit, you will see excellent photographs of celebrations juxtaposed with hard work. You will see images of cracked earth, dancers, fighters, parades, backyards, borders, families, and immigration issues poignantly represented. You will see historical images of the farm labor movement, and a thorough portrait of life in the Central Valley today. \u003c/p>\n\u003cp>Despite growing most of the food we eat, farm workers in the Central Valley face food justice issues; many can’t afford the food they harvest. You can read more sobering facts about this crisis in the KQED News collection, \u003ci>\u003ca href=\"http://www.kqed.org/news/specialcoverage/hungerinthevalleyofplenty/\">Hunger in the Valley of Plenty\u003c/a>\u003c/i>. Hunger is just one of the insurmountable problems caused by the complicated politics in the region. Birth defects from pesticides, air pollution, fertile land destruction, environmental ruins, poverty… the list goes sickeningly on. \u003c/p>\n\u003cfigure id=\"attachment_10138872\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/FranciscoDominguez.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/FranciscoDominguez.jpg\" alt=\"Francisco Dominguez, Pepper Spray, 2011\" width=\"640\" height=\"452\" class=\"size-full wp-image-10138872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/FranciscoDominguez.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/FranciscoDominguez-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/FranciscoDominguez-300x211.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Francisco Dominguez, \u003ci>Pepper Spray\u003c/i>, 2011; Courtesy of the artist and SFAC Galleries\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition, curated by Rayko’s Ann Jastrab, features nine photo essays about the Central Valley, two of them historical, by nine photographers and a collection of images from the \u003ci>San Francisco Chronicle\u003c/i> archive. There are 100 photos in the show that represent the diverse nature and culture of the state’s breadbasket.\u003c/p>\n\u003cp>The San Francisco Arts Commission Gallery programmed the exhibition on the ground floor of City Hall, and it can feel hidden away in the white-tiled hallway. Of the few people that cruise through the space while on other City Hall business, most don’t even realize they’re walking through an art exhibit. But, as evidenced in \u003cb>The Valley/El Valle\u003c/b>, some of the most important and educational exhibits are mounted there. A few more large-scale landscape photos from the the show are hanging upstairs in City Hall’s North Light Court.\u003c/p>\n\u003cfigure id=\"attachment_10138873\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/LouDematteis.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/LouDematteis.jpg\" alt=\"Lou Dematteis, UFW March, 1975\" width=\"640\" height=\"425\" class=\"size-full wp-image-10138873\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/LouDematteis.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/LouDematteis-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/LouDematteis-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lou Dematteis, \u003ci>UFW March\u003c/i>, 1975; Courtesy of the artist and SFAC Galleries\u003c/figcaption>\u003c/figure>\n\u003cp>Melanie and Ken Light spent five years documenting the region for their book \u003ci>Valley of Shadows and Dreams\u003c/i>, which examines lasting, historical struggles. Her writing and his photos are featured in the exhibit. Melanie writes about Ken’s reaction to seeing a sign for man-made waterfront property “in a drought-stricken state where farmers are up in arms about decreased allotments of water.” The issue compelled the photographer to capture these “manifestations of the lack of any sustainable or sensible water policy in the valley.”\u003c/p>\n\u003cfigure id=\"attachment_10138871\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/AntonioOlmos.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/AntonioOlmos.jpg\" alt=\"Photo by Antonio Olmos\" width=\"640\" height=\"424\" class=\"size-full wp-image-10138871\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/AntonioOlmos.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/AntonioOlmos-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/AntonioOlmos-300x198.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Antonio Olmos; Courtesy of the artist and SFAC Galleries\u003c/figcaption>\u003c/figure>\n\u003cp>Battles over water have been a constant in California, recently exacerbated by the drought. The Lights present their work as a call to action. Melanie sums it up when she asks, “How will the pressure between a growing population and the limits of the earth unfold?” She continues, “Already there are very few, if any workable solutions left… At the core of our citizenship, politicking and simple living, we must care for others’ well-being. We must care about creating opportunity for individuals most in need.”\u003c/p>\n\u003cp>If the art does its job, you’ll find a way to shout about injustices that we are all responsible for. You can no longer throw your groceries into your reusable shopping bags without considering where that food came from, and at what cost to human rights. \u003cb>The Valley/El Valle\u003c/b> is an exhibit of political art that has the potential to affect change.\u003c/p>\n\u003cp>\u003cb>The Valley/El Valle\u003c/b> is on view through September 19, 2014. For \u003ca href=\"http://www.sfartscommission.org/gallery/2014/9463/\">more information\u003c/a>, visit sfartscommission.org.\u003c/p>\n\u003c/div>\u003c/aside>\u003cp>\u003c/p>\u003c/div>",
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"title": "Yosemite: A 'Storied Landscape' of War, Hope, and Beauty",
"headTitle": "Yosemite: A ‘Storied Landscape’ of War, Hope, and Beauty | KQED",
"content": "\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/2014/05/02/how-photographer-carleton-watkins-helped-preserve-yosemite/\" target=\"_blank\" rel=\"noopener\">How Photographer Carleton Watkins Helped Preserve Yosemite\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/2014/05/02/how-photographer-carleton-watkins-helped-preserve-yosemite/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/L.4.105.2013_Watkins_YOS.2.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp> One hundred and fifty years ago, a San Francisco photographer overcame nature’s obstacles to change forever how we see California’s greatest natural gem.\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>In July 1861, 36,000 Confederate and Union soldiers faced off in the First Battle of Bull Run, the first major battle of the American Civil War. By the end of the bloody engagement, over 800 men were killed and thousands more were wounded. On the other side of the fractured nation, a more tempered — and seemingly separate — historical moment was developing. That same month, Carleton E. Watkins, a relatively unknown photographer, made his now-famous sojourn to photograph Yosemite Valley. The resulting images not only influenced the direction of art history, but also shaped the face of Yosemite and influenced the course of public policy.\u003c/p>\n\u003cp>\u003cstrong>Yosemite: A Storied Landscape\u003c/strong>, at the California Historical Society in San Francisco, pays homage to the natural beauty of the valley, which millions have admired for thousands of years. But the exhibition of painting, photography, ephemera, letters, and artifacts digs deeper, documenting the social history of Yosemite—how its mythology has been created, how its past has been distorted, and how it has shaped notions of wilderness and public land.\u003c/p>\n\u003cfigure id=\"attachment_10138648\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Watkins-Yosemite-Falls.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138648 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Watkins-Yosemite-Falls.jpg\" alt=\"Carleton E. Watkins, Yosemite Falls from the Upper House,1861; courtesy California Historical Society.\" width=\"650\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Watkins-Yosemite-Falls.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Watkins-Yosemite-Falls-400x321.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Watkins-Yosemite-Falls-300x241.jpg 300w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carleton E. Watkins, \u003ci>Yosemite Falls from the Upper House\u003c/i>,1861; courtesy California Historical Society.\u003c/figcaption>\u003c/figure>\n\u003cp>While in the valley, Watkins created 100 stereograms and 30 mammoth plate (22 by 18 inches) photographs. Copies of these photographs made their way to the east coast within a year, falling into the hands of Ralph Waldo Emerson and Oliver Wendell Holmes, among others. In December 1862, the mammoth prints were shown at Goupil Gallery in New York, immediately following an exhibition of photographs of corpses from the Battle of Antietam by Mathew Brady.\u003c/p>\n\u003cfigure id=\"attachment_10138643\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Watkins-Cathedral.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138643 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Watkins-Cathedral.jpg\" alt=\"Carleton E. Watkins, River View, Cathedral Rock, Yosemite, 1861; courtesy California Historical Society.\" width=\"650\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Watkins-Cathedral.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Watkins-Cathedral-400x302.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Watkins-Cathedral-300x227.jpg 300w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carleton E. Watkins, \u003ci>River View, Cathedral Rock, Yosemite\u003c/i>, 1861; courtesy California Historical Society. \u003ccite>(Photo: Courtesy of the California Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Dr. Anthea M. Hartig, Executive Director of the California Historical Society, it is believed that President Lincoln saw Watkins’ prints prior to signing the Yosemite Grant on June 30, 1864, which preserved the land under federal law and set precedent for the creation of the National Park System. It is difficult to imagine how Lincoln, who had never visited Yosemite, felt when he saw the solid granite Cathedral Rock puncturing the valley floor and reaching over 2,500 feet towards the sky. In such a moment, can a person locked in an existential battle for their nation feel a sense of tranquility or hope? Though we will never know Lincoln’s mindset, the five mammoth prints on display in \u003cstrong>Yosemite\u003c/strong> still possess the power to stun and humble, regardless of how many times one has visited the park or seen its infinite postcards.\u003c/p>\n\u003cfigure id=\"attachment_10138641\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Klett-Wolfe-Jeffrey-Pine.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138641 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Klett-Wolfe-Jeffrey-Pine.jpg\" alt=\"Mark Klett and Byron Wolfe, The Trunk of the Jeffrey Pine, Killed by Drought, Sentinel Dome, 2002; courtesy the artists.\" width=\"650\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Klett-Wolfe-Jeffrey-Pine.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Klett-Wolfe-Jeffrey-Pine-400x325.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Klett-Wolfe-Jeffrey-Pine-300x244.jpg 300w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mark Klett and Byron Wolfe, \u003ci>The Trunk of the Jeffrey Pine, Killed by Drought, Sentinel Dome\u003c/i>, 2002; courtesy the artists.\u003c/figcaption>\u003c/figure>\n\u003cp>The spectacle of over 150 years of representation of Yosemite was not lost on the exhibition’s curators. For many, even those who have visited Yosemite, access to the park is overwhelmingly through photographs, videos, and paintings. Visitors inevitably reach the park with a set of associations and assumptions already in place. Though often framed as natural and wild, Yosemite is a site of technology and media. Evidenced by its 3.8 million annual visitors, it is also a social place. Nowhere in the exhibit is this more poetically demonstrated than with photographers\u003ca href=\"http://www.klettandwolfe.com/\"> Mark Klett and Byron Wolfe\u003c/a>’s \u003ci>Four Views from Four Times and One Shoreline, Lake Tenaya\u003c/i> (2002). The panoramic view was meticulously stitched together with the artists’ own photographs and works from Eadweard Muybridge, Ansel Adams, and Edward Weston, who had each visited the lake over a seventy year period, shooting different locations and angles. Klett and Wolfe underscore that this glacial lake, high in the Sierras, is forever linked with the “outside” world, part of a web of social, artistic, and touristic meaning.\u003c/p>\n\u003cfigure id=\"attachment_10138644\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Jeffrey-Pine.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138644 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Jeffrey-Pine-400x410.jpg\" alt=\"Photographer unknown, Two Women atop Jeffrey Pine on Sentinel Dome, undated; courtesy California Historical Society.\" width=\"400\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jeffrey-Pine-400x410.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jeffrey-Pine-292x300.jpg 292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jeffrey-Pine-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jeffrey-Pine.jpg 650w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photographer unknown, \u003ci>Two Women atop Jeffrey Pine on Sentinel Dome\u003c/i>, undated; courtesy California Historical Society.\u003c/figcaption>\u003c/figure>\n\u003cp>Another work by Klett and Wolfe recreates a 1940 Adams photograph of the famous Jeffrey pine atop Sentinel Dome. Shot at the same time of day, the shadows of the tree and nearby boulders fall on the exact same spot in both photographs. The mountains in the background look the same, of course, but less snow graces their peaks in 2002. The tree, however, has become barren, killed by drought, and a year later it fell to the ground. These photographs are paired with two others depicting the tree, a Watkins stereogram circa 1886 and an unattributed and undated photograph showing two women standing on the tree’s thick, horizontal branches. In Yosemite, even a tree can have 125 years of stardom.\u003c/p>\n\u003cfigure id=\"attachment_10138655\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Julia-Parker.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138655 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Julia-Parker-400x305.jpg\" alt=\"Michael Dixon, Julia Parker Presenting Basket to Queen Elizabeth II, 1983; courtesy the Yosemite National Park Archives, Museum, and Library.\" width=\"400\" height=\"305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Julia-Parker-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Julia-Parker-300x228.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Julia-Parker.jpg 650w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Dixon, \u003ci>Julia Parker Presenting Basket to Queen Elizabeth II\u003c/i>, 1983; courtesy the Yosemite National Park Archives, Museum, and Library.\u003c/figcaption>\u003c/figure>\n\u003cp>Through stories about basket weaver \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=4515\">Julia Parker\u003c/a>, a Kashaya Pomo/Coast Miwok (Sonoma) artist who married into a Mono Lake Paiute (Sierra Nevada) family, the exhibition also relays the darker side of the the Yosemite creation narrative. Parker lived in Yosemite with her husband’s family until 1969, when the National Park Service destroyed their village to make room for campgrounds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Parker’s baskets are accompanied by a photographic representation of a Smithsonian Institute diorama, ostensibly depicting a Yosemite Valley village, like the one Parker was displaced from. The diorama is accompanied with a story about a 1980s visit by Parker and Jay Johnson, of Yosemite’s Ahwahnechee tribe, to the Smithsonian, where they encountered the diorama with an explanation that there were no more Yosemite Indians left. Johnson and Parker confronted a museum staff person right then and Johnson insisted that he was in fact very real and very much alive. Though their presence is often erased or obscured, \u003cstrong>Yosemite\u003c/strong> highlights the work people like Parker and Johnson have done to preserve their own social history.\u003c/p>\n\u003cfigure id=\"attachment_10138642\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Yosemite-Indian-Village-Diorama.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138642 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Yosemite-Indian-Village-Diorama.jpg\" alt=\"A. J. Andrews, Yosemite Indian Village Diorama\" width=\"650\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Yosemite-Indian-Village-Diorama.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Yosemite-Indian-Village-Diorama-400x290.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Yosemite-Indian-Village-Diorama-300x217.jpg 300w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A. J. Andrews, \u003ci>Yosemite Indian Village Diorama\u003c/i>, pre-1955; courtesy of Smithsonian Institution, Department of Anthropology.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Yosemite: A Storied Landscape\u003c/strong> ponders whether the creation of the park was meant to offer the embattled nation a place to heal during the Civil War. Yosemite has undoubtedly functioned as a refuge and a site of catharsis for many. But just as Yosemite isn’t a completely wild place, it hasn’t always been a place of serenity. The valley has also represented conflict and turmoil, from violent geological activity to the 1850–51 Mariposa War between gold miners and the Ahwahnechee to modern \u003ca href=\"http://www.mercurynews.com/ci_21662101/hetch-hetchy-controversy-could-yosemites-second-valley-be\">conflicts over Hetch Hetchy\u003c/a> and the \u003ca href=\"http://www.mercurynews.com/science/ci_25984680/yosemite-national-park-expansion-stalls-congress\">expansion of federal land\u003c/a>. This varied history makes the photographs of Klett and Wolfe particularly germane — two people can look at the same valley, at the same hour, in the same season and see two very different scenes.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Yosemite: A Storied Landscape\u003c/strong> runs through January 25, 2015 at the California Historical Society in San Francisco. For \u003ca href=\"http://www.calhist.org\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit calhist.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/2014/05/02/how-photographer-carleton-watkins-helped-preserve-yosemite/\" target=\"_blank\" rel=\"noopener\">How Photographer Carleton Watkins Helped Preserve Yosemite\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/2014/05/02/how-photographer-carleton-watkins-helped-preserve-yosemite/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/L.4.105.2013_Watkins_YOS.2.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp> One hundred and fifty years ago, a San Francisco photographer overcame nature’s obstacles to change forever how we see California’s greatest natural gem.\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>In July 1861, 36,000 Confederate and Union soldiers faced off in the First Battle of Bull Run, the first major battle of the American Civil War. By the end of the bloody engagement, over 800 men were killed and thousands more were wounded. On the other side of the fractured nation, a more tempered — and seemingly separate — historical moment was developing. That same month, Carleton E. Watkins, a relatively unknown photographer, made his now-famous sojourn to photograph Yosemite Valley. The resulting images not only influenced the direction of art history, but also shaped the face of Yosemite and influenced the course of public policy.\u003c/p>\n\u003cp>\u003cstrong>Yosemite: A Storied Landscape\u003c/strong>, at the California Historical Society in San Francisco, pays homage to the natural beauty of the valley, which millions have admired for thousands of years. But the exhibition of painting, photography, ephemera, letters, and artifacts digs deeper, documenting the social history of Yosemite—how its mythology has been created, how its past has been distorted, and how it has shaped notions of wilderness and public land.\u003c/p>\n\u003cfigure id=\"attachment_10138648\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Watkins-Yosemite-Falls.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138648 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Watkins-Yosemite-Falls.jpg\" alt=\"Carleton E. Watkins, Yosemite Falls from the Upper House,1861; courtesy California Historical Society.\" width=\"650\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Watkins-Yosemite-Falls.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Watkins-Yosemite-Falls-400x321.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Watkins-Yosemite-Falls-300x241.jpg 300w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carleton E. Watkins, \u003ci>Yosemite Falls from the Upper House\u003c/i>,1861; courtesy California Historical Society.\u003c/figcaption>\u003c/figure>\n\u003cp>While in the valley, Watkins created 100 stereograms and 30 mammoth plate (22 by 18 inches) photographs. Copies of these photographs made their way to the east coast within a year, falling into the hands of Ralph Waldo Emerson and Oliver Wendell Holmes, among others. In December 1862, the mammoth prints were shown at Goupil Gallery in New York, immediately following an exhibition of photographs of corpses from the Battle of Antietam by Mathew Brady.\u003c/p>\n\u003cfigure id=\"attachment_10138643\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Watkins-Cathedral.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138643 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Watkins-Cathedral.jpg\" alt=\"Carleton E. Watkins, River View, Cathedral Rock, Yosemite, 1861; courtesy California Historical Society.\" width=\"650\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Watkins-Cathedral.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Watkins-Cathedral-400x302.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Watkins-Cathedral-300x227.jpg 300w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carleton E. Watkins, \u003ci>River View, Cathedral Rock, Yosemite\u003c/i>, 1861; courtesy California Historical Society. \u003ccite>(Photo: Courtesy of the California Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Dr. Anthea M. Hartig, Executive Director of the California Historical Society, it is believed that President Lincoln saw Watkins’ prints prior to signing the Yosemite Grant on June 30, 1864, which preserved the land under federal law and set precedent for the creation of the National Park System. It is difficult to imagine how Lincoln, who had never visited Yosemite, felt when he saw the solid granite Cathedral Rock puncturing the valley floor and reaching over 2,500 feet towards the sky. In such a moment, can a person locked in an existential battle for their nation feel a sense of tranquility or hope? Though we will never know Lincoln’s mindset, the five mammoth prints on display in \u003cstrong>Yosemite\u003c/strong> still possess the power to stun and humble, regardless of how many times one has visited the park or seen its infinite postcards.\u003c/p>\n\u003cfigure id=\"attachment_10138641\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Klett-Wolfe-Jeffrey-Pine.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138641 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Klett-Wolfe-Jeffrey-Pine.jpg\" alt=\"Mark Klett and Byron Wolfe, The Trunk of the Jeffrey Pine, Killed by Drought, Sentinel Dome, 2002; courtesy the artists.\" width=\"650\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Klett-Wolfe-Jeffrey-Pine.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Klett-Wolfe-Jeffrey-Pine-400x325.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Klett-Wolfe-Jeffrey-Pine-300x244.jpg 300w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mark Klett and Byron Wolfe, \u003ci>The Trunk of the Jeffrey Pine, Killed by Drought, Sentinel Dome\u003c/i>, 2002; courtesy the artists.\u003c/figcaption>\u003c/figure>\n\u003cp>The spectacle of over 150 years of representation of Yosemite was not lost on the exhibition’s curators. For many, even those who have visited Yosemite, access to the park is overwhelmingly through photographs, videos, and paintings. Visitors inevitably reach the park with a set of associations and assumptions already in place. Though often framed as natural and wild, Yosemite is a site of technology and media. Evidenced by its 3.8 million annual visitors, it is also a social place. Nowhere in the exhibit is this more poetically demonstrated than with photographers\u003ca href=\"http://www.klettandwolfe.com/\"> Mark Klett and Byron Wolfe\u003c/a>’s \u003ci>Four Views from Four Times and One Shoreline, Lake Tenaya\u003c/i> (2002). The panoramic view was meticulously stitched together with the artists’ own photographs and works from Eadweard Muybridge, Ansel Adams, and Edward Weston, who had each visited the lake over a seventy year period, shooting different locations and angles. Klett and Wolfe underscore that this glacial lake, high in the Sierras, is forever linked with the “outside” world, part of a web of social, artistic, and touristic meaning.\u003c/p>\n\u003cfigure id=\"attachment_10138644\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Jeffrey-Pine.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138644 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Jeffrey-Pine-400x410.jpg\" alt=\"Photographer unknown, Two Women atop Jeffrey Pine on Sentinel Dome, undated; courtesy California Historical Society.\" width=\"400\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jeffrey-Pine-400x410.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jeffrey-Pine-292x300.jpg 292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jeffrey-Pine-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jeffrey-Pine.jpg 650w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photographer unknown, \u003ci>Two Women atop Jeffrey Pine on Sentinel Dome\u003c/i>, undated; courtesy California Historical Society.\u003c/figcaption>\u003c/figure>\n\u003cp>Another work by Klett and Wolfe recreates a 1940 Adams photograph of the famous Jeffrey pine atop Sentinel Dome. Shot at the same time of day, the shadows of the tree and nearby boulders fall on the exact same spot in both photographs. The mountains in the background look the same, of course, but less snow graces their peaks in 2002. The tree, however, has become barren, killed by drought, and a year later it fell to the ground. These photographs are paired with two others depicting the tree, a Watkins stereogram circa 1886 and an unattributed and undated photograph showing two women standing on the tree’s thick, horizontal branches. In Yosemite, even a tree can have 125 years of stardom.\u003c/p>\n\u003cfigure id=\"attachment_10138655\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Julia-Parker.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138655 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Julia-Parker-400x305.jpg\" alt=\"Michael Dixon, Julia Parker Presenting Basket to Queen Elizabeth II, 1983; courtesy the Yosemite National Park Archives, Museum, and Library.\" width=\"400\" height=\"305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Julia-Parker-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Julia-Parker-300x228.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Julia-Parker.jpg 650w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Dixon, \u003ci>Julia Parker Presenting Basket to Queen Elizabeth II\u003c/i>, 1983; courtesy the Yosemite National Park Archives, Museum, and Library.\u003c/figcaption>\u003c/figure>\n\u003cp>Through stories about basket weaver \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=4515\">Julia Parker\u003c/a>, a Kashaya Pomo/Coast Miwok (Sonoma) artist who married into a Mono Lake Paiute (Sierra Nevada) family, the exhibition also relays the darker side of the the Yosemite creation narrative. Parker lived in Yosemite with her husband’s family until 1969, when the National Park Service destroyed their village to make room for campgrounds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Parker’s baskets are accompanied by a photographic representation of a Smithsonian Institute diorama, ostensibly depicting a Yosemite Valley village, like the one Parker was displaced from. The diorama is accompanied with a story about a 1980s visit by Parker and Jay Johnson, of Yosemite’s Ahwahnechee tribe, to the Smithsonian, where they encountered the diorama with an explanation that there were no more Yosemite Indians left. Johnson and Parker confronted a museum staff person right then and Johnson insisted that he was in fact very real and very much alive. Though their presence is often erased or obscured, \u003cstrong>Yosemite\u003c/strong> highlights the work people like Parker and Johnson have done to preserve their own social history.\u003c/p>\n\u003cfigure id=\"attachment_10138642\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Yosemite-Indian-Village-Diorama.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138642 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Yosemite-Indian-Village-Diorama.jpg\" alt=\"A. J. Andrews, Yosemite Indian Village Diorama\" width=\"650\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Yosemite-Indian-Village-Diorama.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Yosemite-Indian-Village-Diorama-400x290.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Yosemite-Indian-Village-Diorama-300x217.jpg 300w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A. J. Andrews, \u003ci>Yosemite Indian Village Diorama\u003c/i>, pre-1955; courtesy of Smithsonian Institution, Department of Anthropology.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Yosemite: A Storied Landscape\u003c/strong> ponders whether the creation of the park was meant to offer the embattled nation a place to heal during the Civil War. Yosemite has undoubtedly functioned as a refuge and a site of catharsis for many. But just as Yosemite isn’t a completely wild place, it hasn’t always been a place of serenity. The valley has also represented conflict and turmoil, from violent geological activity to the 1850–51 Mariposa War between gold miners and the Ahwahnechee to modern \u003ca href=\"http://www.mercurynews.com/ci_21662101/hetch-hetchy-controversy-could-yosemites-second-valley-be\">conflicts over Hetch Hetchy\u003c/a> and the \u003ca href=\"http://www.mercurynews.com/science/ci_25984680/yosemite-national-park-expansion-stalls-congress\">expansion of federal land\u003c/a>. This varied history makes the photographs of Klett and Wolfe particularly germane — two people can look at the same valley, at the same hour, in the same season and see two very different scenes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Yosemite: A Storied Landscape\u003c/strong> runs through January 25, 2015 at the California Historical Society in San Francisco. For \u003ca href=\"http://www.calhist.org\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit calhist.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Artist Scott Hove, a Bay Area native who has made a name for himself in the art world with his striking, cake-themed sculptures, is packing up his frosting and moving to Los Angeles. Last week Hove shut down \u003ca href=\"http://www.mshove.com/cakeland/index.htm\" target=\"_blank\" rel=\"noopener\">Cakeland,\u003c/a> the Oakland storefront he has both lived and exhibited in since 2009. Word of the closure prompted a mad dash by local art fans to see the beautiful and weird world Hove had built in the days before he shuttered the doors and started packing to move.\u003c/p>\n\u003cp>Like many other local artists and creative types, Hove is being priced out of the Bay Area, somewhat. With his star on the rise, Hove is moving into a warehouse in L.A. (something unaffordable in the Bay Area), where he will expand his Cakeland vision further. The cheap space will allow him to do more \u003ca href=\"http://www.mshove.com/cakeland/index-installations.htm\" target=\"_blank\" rel=\"noopener\">massive installations\u003c/a> and he’ll be in closer proximity to more movers and shakers in the art world.\u003c/p>\n\u003cp>We had a few questions for Hove as he packed up for his big move and his honest, insightful answers are below.\u003c/p>\n\u003cfigure id=\"attachment_10138631\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/vaultshot-copy1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/vaultshot-copy1.jpg\" alt=\"Cake Vault, 2008\" width=\"640\" height=\"677\" class=\"size-full wp-image-10138631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vaultshot-copy1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vaultshot-copy1-400x423.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vaultshot-copy1-283x300.jpg 283w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scott Hove, \u003ci>Cake Vault\u003c/i>, 2008\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What is the story behind the Cakeland space? Did the owners know what you planned to do with the store front? Did they know you’d be living in it?\u003c/strong>\u003c/p>\n\u003cp>I had been looking for a suitable place to live and work for several months, and this 1929 former French laundry building opened up. I didn’t expect to find a place with such a lovely storefront, and quickly went about making window displays that I thought would be fun. The building owner is a very cool guy and trusted me to do something that wouldn’t upset the neighbors!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>How many separate pieces make up the space — or is it one large installation? How long have you been working on it? How long did it take to make?\u003c/strong>\u003c/p>\n\u003cp>In the storefront gallery, I have two individual mirror chambers, plus a large mirror maze. There is also a blackened hell pit, which is a favorite aspect for viewers. I have one large wall that features my more conventionally-sized wall hanging sculptures. I have done several versions of Cakeland in the space, and the current configuration has been in place for about a year and a half. I keep working on my installations as long as there is space to keep adding on.\u003c/p>\n\u003cp>\u003cstrong>What is the inspiration for your cake-themed work? Where did the idea for adding the teeth come from? (Is it really about the cakes needing to defend themselves?)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Hove-Work1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Hove-Work1.jpg\" alt=\"Hove-Work\" width=\"640\" height=\"401\" class=\"alignright size-full wp-image-10138630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Hove-Work1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Hove-Work1-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Hove-Work1-300x187.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>I love captivating the emotions of my viewers, and using the image of cake as a language opens people up to be receptive to the messages in the work, whether that message is mine or the viewer’s. The fangs, horns and switchblades are there to add psychological depth to the viewing experience and force the viewer to choose how to integrate the dark elements into the lightness of the cake. This process of integrating dualistic forces is unique to each person, and the art becomes part of them. I strive to make the experience as satisfying as possible.\u003c/p>\n\u003cp>\u003cstrong>What are the materials that go into the realistic cake pieces? How long does it take to complete a piece?\u003c/strong>\u003c/p>\n\u003cp>I use whatever materials are on hand to create a suitable form, and carve specific elements from a wood-like poly foam. I do the decorative frosting with a variety or acrylic media. A piece can take from three days to three months depending on complexity and scale.\u003c/p>\n\u003cp>\u003cstrong>Is there one piece in particular that truly exemplifies your vision? Are you able to describe what makes it successful?\u003c/strong>\u003c/p>\n\u003cp>Every piece I work on seems like the breakthrough of the moment. There are a few pieces that have a particular staying power, or an iconic quality that makes them seem newer every day. The womb-like \u003cem>Cake Vault\u003c/em> (2008) is a favorite, with its transcendental comfort. \u003cem>Oligarch\u003c/em> (2014) has a fierceness that is like a blast of hot wind in the face.\u003c/p>\n\u003cp>\u003cstrong>How did the neighborhood take to the space? Did you get a lot of visitors?\u003c/strong>\u003c/p>\n\u003cp>Simply by turning some lights on in the storefront improved the semi-sketchy quality of the corner, which I think was appreciated. Making it an interesting viewing experience helped enrich the neighborhood, which is good for everyone. I never have regular hours, which annoys some people… I just wait for the most determined people to track me down and make an appointment.\u003c/p>\n\u003cp>\u003cstrong>Why are you moving?\u003c/strong>\u003c/p>\n\u003cp>Several reasons. First, the building is in bad need of repair and the owner needs to invest in the space. Second, I’ve run out of space to experiment and I’m not willing to do it in my living room. Third, I’ve really hit a ceiling as far as what I can accomplish here in the Bay Area. I need a bigger space and a more intense playing field. The Bay Area has always been a good place to do art, but not always the best place to leverage one’s art career to its fullest potential.\u003c/p>\n\u003cp>\u003cstrong>What plans do you have for the warehouse space in L.A.?\u003c/strong>\u003c/p>\n\u003cp>Bigger, better, stronger, faster. I’m going to L.A. to do big things.\u003c/p>\n\u003cp>\u003cstrong>Do you think you’ll miss the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course! I was born on California Street in the City and raised in the open spaces of Marin. I know and love many secret natural places where I recalibrate and recharge. It’s not like I’m making this move because I’m in love with how L.A. looks… though I’m finding out fast that L.A. people are really friendly and genuine. I hope that I’ll make enough money eventually to return and get a cool house in Mill Valley or someplace close to the mountain.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artist Scott Hove, a Bay Area native who has made a name for himself in the art world with his striking, cake-themed sculptures, is packing up his frosting and moving to Los Angeles. Last week Hove shut down \u003ca href=\"http://www.mshove.com/cakeland/index.htm\" target=\"_blank\" rel=\"noopener\">Cakeland,\u003c/a> the Oakland storefront he has both lived and exhibited in since 2009. Word of the closure prompted a mad dash by local art fans to see the beautiful and weird world Hove had built in the days before he shuttered the doors and started packing to move.\u003c/p>\n\u003cp>Like many other local artists and creative types, Hove is being priced out of the Bay Area, somewhat. With his star on the rise, Hove is moving into a warehouse in L.A. (something unaffordable in the Bay Area), where he will expand his Cakeland vision further. The cheap space will allow him to do more \u003ca href=\"http://www.mshove.com/cakeland/index-installations.htm\" target=\"_blank\" rel=\"noopener\">massive installations\u003c/a> and he’ll be in closer proximity to more movers and shakers in the art world.\u003c/p>\n\u003cp>We had a few questions for Hove as he packed up for his big move and his honest, insightful answers are below.\u003c/p>\n\u003cfigure id=\"attachment_10138631\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/vaultshot-copy1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/vaultshot-copy1.jpg\" alt=\"Cake Vault, 2008\" width=\"640\" height=\"677\" class=\"size-full wp-image-10138631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vaultshot-copy1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vaultshot-copy1-400x423.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vaultshot-copy1-283x300.jpg 283w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scott Hove, \u003ci>Cake Vault\u003c/i>, 2008\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What is the story behind the Cakeland space? Did the owners know what you planned to do with the store front? Did they know you’d be living in it?\u003c/strong>\u003c/p>\n\u003cp>I had been looking for a suitable place to live and work for several months, and this 1929 former French laundry building opened up. I didn’t expect to find a place with such a lovely storefront, and quickly went about making window displays that I thought would be fun. The building owner is a very cool guy and trusted me to do something that wouldn’t upset the neighbors!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How many separate pieces make up the space — or is it one large installation? How long have you been working on it? How long did it take to make?\u003c/strong>\u003c/p>\n\u003cp>In the storefront gallery, I have two individual mirror chambers, plus a large mirror maze. There is also a blackened hell pit, which is a favorite aspect for viewers. I have one large wall that features my more conventionally-sized wall hanging sculptures. I have done several versions of Cakeland in the space, and the current configuration has been in place for about a year and a half. I keep working on my installations as long as there is space to keep adding on.\u003c/p>\n\u003cp>\u003cstrong>What is the inspiration for your cake-themed work? Where did the idea for adding the teeth come from? (Is it really about the cakes needing to defend themselves?)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Hove-Work1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Hove-Work1.jpg\" alt=\"Hove-Work\" width=\"640\" height=\"401\" class=\"alignright size-full wp-image-10138630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Hove-Work1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Hove-Work1-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Hove-Work1-300x187.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>I love captivating the emotions of my viewers, and using the image of cake as a language opens people up to be receptive to the messages in the work, whether that message is mine or the viewer’s. The fangs, horns and switchblades are there to add psychological depth to the viewing experience and force the viewer to choose how to integrate the dark elements into the lightness of the cake. This process of integrating dualistic forces is unique to each person, and the art becomes part of them. I strive to make the experience as satisfying as possible.\u003c/p>\n\u003cp>\u003cstrong>What are the materials that go into the realistic cake pieces? How long does it take to complete a piece?\u003c/strong>\u003c/p>\n\u003cp>I use whatever materials are on hand to create a suitable form, and carve specific elements from a wood-like poly foam. I do the decorative frosting with a variety or acrylic media. A piece can take from three days to three months depending on complexity and scale.\u003c/p>\n\u003cp>\u003cstrong>Is there one piece in particular that truly exemplifies your vision? Are you able to describe what makes it successful?\u003c/strong>\u003c/p>\n\u003cp>Every piece I work on seems like the breakthrough of the moment. There are a few pieces that have a particular staying power, or an iconic quality that makes them seem newer every day. The womb-like \u003cem>Cake Vault\u003c/em> (2008) is a favorite, with its transcendental comfort. \u003cem>Oligarch\u003c/em> (2014) has a fierceness that is like a blast of hot wind in the face.\u003c/p>\n\u003cp>\u003cstrong>How did the neighborhood take to the space? Did you get a lot of visitors?\u003c/strong>\u003c/p>\n\u003cp>Simply by turning some lights on in the storefront improved the semi-sketchy quality of the corner, which I think was appreciated. Making it an interesting viewing experience helped enrich the neighborhood, which is good for everyone. I never have regular hours, which annoys some people… I just wait for the most determined people to track me down and make an appointment.\u003c/p>\n\u003cp>\u003cstrong>Why are you moving?\u003c/strong>\u003c/p>\n\u003cp>Several reasons. First, the building is in bad need of repair and the owner needs to invest in the space. Second, I’ve run out of space to experiment and I’m not willing to do it in my living room. Third, I’ve really hit a ceiling as far as what I can accomplish here in the Bay Area. I need a bigger space and a more intense playing field. The Bay Area has always been a good place to do art, but not always the best place to leverage one’s art career to its fullest potential.\u003c/p>\n\u003cp>\u003cstrong>What plans do you have for the warehouse space in L.A.?\u003c/strong>\u003c/p>\n\u003cp>Bigger, better, stronger, faster. I’m going to L.A. to do big things.\u003c/p>\n\u003cp>\u003cstrong>Do you think you’ll miss the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course! I was born on California Street in the City and raised in the open spaces of Marin. I know and love many secret natural places where I recalibrate and recharge. It’s not like I’m making this move because I’m in love with how L.A. looks… though I’m finding out fast that L.A. people are really friendly and genuine. I hope that I’ll make enough money eventually to return and get a cool house in Mill Valley or someplace close to the mountain.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "notes-from-yolanda-m-lopezs-accessories-to-an-eviction",
"title": "Notes from Yolanda M. López’s 'Accessories to an Eviction'",
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"content": "\u003cp>On a warm Sunday in San Francisco, as the city celebrated Pride weekend, longtime Mission artist Yolanda M. López put her recent Ellis Act eviction on display. The event at Red Poppy Art House, titled \u003ci>Accessories to an Eviction\u003c/i>, was a conceptual performance-slash-garage sale organized to streamline the artist’s possessions in anticipation of vacating her home of forty years. It was the second such sale of things she liked and had cared for over the years. Everything was whole, with no chips or stray threads. It was also an immersive, participatory conceptual art performance organized to complicate distinctions between the personal and the political.\u003c/p>\n\u003cfigure id=\"attachment_10138538\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yl-lopez.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yl-lopez.jpg\" alt=\"Yolanda M. López, Red Poppy Art House, June 29, 2014\" width=\"640\" height=\"480\" class=\"size-full wp-image-10138538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yl-lopez.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yl-lopez-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yl-lopez-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yolanda M. López, Red Poppy Art House, June 29, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>As I wrote recently in \u003ca href=\"http://www.sfgate.com/default/article/Mission-artist-Yolanda-L-pez-puts-eviction-on-5576680.php\" target=\"_blank\" rel=\"noopener\">an article\u003c/a> for the \u003cem>San Francisco Chronicle, \u003c/em>López was a leading feminist and pioneer of the Chicana art movement in the ’60s and ’70s. Though never a commercial success, her work is included in the collections of several major institutions, including the de Young, Los Angeles County Museum of Art, and Oakland Museum of California. She was also an adjunct professor for decades at many esteemed Bay Area colleges, including UC Berkeley and Stanford. Now at 71, she subsists on social security, the sum of which is too little to qualify for low-income housing. As she prepares to leave her home in the Mission, she is making art out of her eviction.\u003c/p>\n\u003cp>The concept for López’s eviction garage sales is inspired by friend and mentor artist \u003ca href=\"http://www.moma.org/visit/calendar/exhibitions/1279\" target=\"_blank\" rel=\"noopener\">Martha Rosler’s\u003c/a> 1973 \u003ci>Monumental Garage Sale\u003c/i>. Items for sale included a cache of vintage neckties, jewelry, and pocketbooks, among other accessories. Each item was tagged with a price. Each was also labeled with a second tag that read: “ACCESSORIES To An Eviction” The Mission, 2014, Yolanda M. Lopez.\u003c/p>\n\u003cp>In the buyer’s hands, each object was transformed and the buyer was free to decide its fate. Was this a practical object? Was this a found artwork? In either case, the answer is the same. Yes, these were practical objects. And yes, these were found artworks and documents of the event.\u003c/p>\n\u003cp>As a kind of performance, it was a gut wrenching display. I was reminded of the public vulnerability of Yoko Ono’s 1964 \u003cem>Cut Piece\u003c/em>. Captured in grainy video, the artist knelt on a stage while audience members were invited to cut away her best clothes. In \u003cem>Cut Piece\u003c/em>, much is left to the viewer’s discretion and every gesture is freighted with meaning, including how much is cut away, and from where. The participant’s demeanor was indicative of something too: compassion, empathy, entitlement, or the lack thereof.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://youtu.be/lYJ3dPwa2tI\u003c/p>\n\u003cp>López’s \u003cem>Accessories To An Eviction\u003c/em> shared in these perceptions. It was sad for anyone who knew the motivation for the event. At the same time, as a garage sale, it was a vintage treasure trove. Haggling was overheard between strangers over a ceramic cat, but the price was firm and the price was met. I bought a pair of pigment smudged fingerless gloves that López wore in the studio ($1), and an exquisite pair of antique ¾ elbow length, pale blue flannel gloves with pearl trim ($3), among other items.\u003c/p>\n\u003cfigure id=\"attachment_10138536\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yl-eviction.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yl-eviction.jpg\" alt=\"Detail, Yolanda M. López and Adriana Camarena, “Home/Studio: Eviction Scene Investigation,” mixed media installation at Red Poppy Art House. \" width=\"640\" height=\"480\" class=\"size-full wp-image-10138536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yl-eviction.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yl-eviction-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yl-eviction-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Detail, Yolanda M. López and Adriana Camarena, \u003ci>Home/Studio: Eviction Scene Investigation\u003c/i>, mixed media installation at Red Poppy Art House.\u003c/figcaption>\u003c/figure>\n\u003cp>Also on view was \u003cem>Home/Studio: Eviction Scene Investigation\u003c/em> 2014, a diagrammatic installation produced by López in collaboration with Mission-based writer, artist, and activist Adriana Camarena. It presents López’s eviction documents, among other legal notices and places intimate details on public display. The artists have said it is meant to be educational and to allow the public to consider where responsibility lies. But it is overt in placing blame: one element is titled “murder board,” after crime scene investigations, and speaks to changes in the city in terms of criminal activity even as these changes are being executed under the letter of law. Seen in contrast with the eviction garage sale, \u003cem>Home/Studio: Eviction Scene Investigation \u003c/em>is less nuanced. With the diagram, the viewer is afforded distance; with the eviction garage sale, the viewer is a participant.\u003c/p>\n\u003cp>The larger questions raised around responsibility in the work are complicated. Responses to López’s eviction, and to many of the no-fault evictions taking place in the city, seem to fall into one of two categories. There are those who are empathetic to the situation that someone could be made homeless with so little recourse, and there are those who abide by the legality of the situation.\u003c/p>\n\u003cp>Of course there is a difference between the letter of the law and the spirit of the law — and this gap has allowed some to consider different solutions. According to \u003ca href=\"http://www.sfexaminer.com/sanfrancisco/tenderloin-complex-landlord-backs-off-evictions-of-section-8-tenants/Content?oid=2825117\">a recent article\u003c/a> in \u003cem>The Examiner,\u003c/em> one landlord recently backed off plans to evict several long term Section-8 tenants in favor of assisting them in their transition. He has offered to find real estate agents for them and to pay their security deposits. The law doesn’t require this solution, but perhaps it should, especially in cases where people have been responsible long-term tenants and the property owner stands to make considerable profit in the transition.\u003c/p>\n\u003cfigure id=\"attachment_10138537\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yl-ties.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yl-ties.jpg\" alt=\"Detail Yolanda M. López, “Accessories to an Eviction,” June 29, 2014, Red Poppy Art House\" width=\"640\" height=\"480\" class=\"size-full wp-image-10138537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yl-ties.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yl-ties-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yl-ties-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Detail, Yolanda M. López, \u003ci>Accessories to an Eviction\u003c/i>, June 29, 2014, Red Poppy Art House\u003c/figcaption>\u003c/figure>\n\u003cp>My personal response to this event was complex. I wanted to participate — and to consider the questions and feelings that arose from participation. I was also aware of buying someone’s treasures for very little money, and this made me think about the different meanings that arise from López’s deliberate title.\u003c/p>\n\u003cp>Though I see my purchases as functional objects — I will wear the fingerless gloves myself and I will give away the others — I do see their labels differently. I will keep the labels as minute records of an art experience. Each is a small act of resistance, not necessarily to change, but to powerlessness in the face of change.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Yolanda M. López: \u003ci>Accessories to an Eviction\u003c/i> was a one-day event on June 29, 2014; \u003cem>Home/Studio: Eviction Scene Investigation\u003c/em> is on view at Red Poppy Art House through early July; prior to the artist’s eviction on July 12 it will be wheat pasted on the city’s streets. For \u003ca href=\"http://redpoppyarthouse.org/programs/exhibitions/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit redpoppyarthouse.org.\u003c/p>\n\n",
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"excerpt": "Last Sunday, June 29, longtime Mission artist Yolanda M. López turned her recent Ellis Act eviction into a piece of participatory art. ",
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"title": "Notes from Yolanda M. López’s 'Accessories to an Eviction' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a warm Sunday in San Francisco, as the city celebrated Pride weekend, longtime Mission artist Yolanda M. López put her recent Ellis Act eviction on display. The event at Red Poppy Art House, titled \u003ci>Accessories to an Eviction\u003c/i>, was a conceptual performance-slash-garage sale organized to streamline the artist’s possessions in anticipation of vacating her home of forty years. It was the second such sale of things she liked and had cared for over the years. Everything was whole, with no chips or stray threads. It was also an immersive, participatory conceptual art performance organized to complicate distinctions between the personal and the political.\u003c/p>\n\u003cfigure id=\"attachment_10138538\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yl-lopez.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yl-lopez.jpg\" alt=\"Yolanda M. López, Red Poppy Art House, June 29, 2014\" width=\"640\" height=\"480\" class=\"size-full wp-image-10138538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yl-lopez.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yl-lopez-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yl-lopez-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yolanda M. López, Red Poppy Art House, June 29, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>As I wrote recently in \u003ca href=\"http://www.sfgate.com/default/article/Mission-artist-Yolanda-L-pez-puts-eviction-on-5576680.php\" target=\"_blank\" rel=\"noopener\">an article\u003c/a> for the \u003cem>San Francisco Chronicle, \u003c/em>López was a leading feminist and pioneer of the Chicana art movement in the ’60s and ’70s. Though never a commercial success, her work is included in the collections of several major institutions, including the de Young, Los Angeles County Museum of Art, and Oakland Museum of California. She was also an adjunct professor for decades at many esteemed Bay Area colleges, including UC Berkeley and Stanford. Now at 71, she subsists on social security, the sum of which is too little to qualify for low-income housing. As she prepares to leave her home in the Mission, she is making art out of her eviction.\u003c/p>\n\u003cp>The concept for López’s eviction garage sales is inspired by friend and mentor artist \u003ca href=\"http://www.moma.org/visit/calendar/exhibitions/1279\" target=\"_blank\" rel=\"noopener\">Martha Rosler’s\u003c/a> 1973 \u003ci>Monumental Garage Sale\u003c/i>. Items for sale included a cache of vintage neckties, jewelry, and pocketbooks, among other accessories. Each item was tagged with a price. Each was also labeled with a second tag that read: “ACCESSORIES To An Eviction” The Mission, 2014, Yolanda M. Lopez.\u003c/p>\n\u003cp>In the buyer’s hands, each object was transformed and the buyer was free to decide its fate. Was this a practical object? Was this a found artwork? In either case, the answer is the same. Yes, these were practical objects. And yes, these were found artworks and documents of the event.\u003c/p>\n\u003cp>As a kind of performance, it was a gut wrenching display. I was reminded of the public vulnerability of Yoko Ono’s 1964 \u003cem>Cut Piece\u003c/em>. Captured in grainy video, the artist knelt on a stage while audience members were invited to cut away her best clothes. In \u003cem>Cut Piece\u003c/em>, much is left to the viewer’s discretion and every gesture is freighted with meaning, including how much is cut away, and from where. The participant’s demeanor was indicative of something too: compassion, empathy, entitlement, or the lack thereof.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lYJ3dPwa2tI'\n title='//www.youtube.com/embed/lYJ3dPwa2tI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>López’s \u003cem>Accessories To An Eviction\u003c/em> shared in these perceptions. It was sad for anyone who knew the motivation for the event. At the same time, as a garage sale, it was a vintage treasure trove. Haggling was overheard between strangers over a ceramic cat, but the price was firm and the price was met. I bought a pair of pigment smudged fingerless gloves that López wore in the studio ($1), and an exquisite pair of antique ¾ elbow length, pale blue flannel gloves with pearl trim ($3), among other items.\u003c/p>\n\u003cfigure id=\"attachment_10138536\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yl-eviction.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yl-eviction.jpg\" alt=\"Detail, Yolanda M. López and Adriana Camarena, “Home/Studio: Eviction Scene Investigation,” mixed media installation at Red Poppy Art House. \" width=\"640\" height=\"480\" class=\"size-full wp-image-10138536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yl-eviction.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yl-eviction-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yl-eviction-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Detail, Yolanda M. López and Adriana Camarena, \u003ci>Home/Studio: Eviction Scene Investigation\u003c/i>, mixed media installation at Red Poppy Art House.\u003c/figcaption>\u003c/figure>\n\u003cp>Also on view was \u003cem>Home/Studio: Eviction Scene Investigation\u003c/em> 2014, a diagrammatic installation produced by López in collaboration with Mission-based writer, artist, and activist Adriana Camarena. It presents López’s eviction documents, among other legal notices and places intimate details on public display. The artists have said it is meant to be educational and to allow the public to consider where responsibility lies. But it is overt in placing blame: one element is titled “murder board,” after crime scene investigations, and speaks to changes in the city in terms of criminal activity even as these changes are being executed under the letter of law. Seen in contrast with the eviction garage sale, \u003cem>Home/Studio: Eviction Scene Investigation \u003c/em>is less nuanced. With the diagram, the viewer is afforded distance; with the eviction garage sale, the viewer is a participant.\u003c/p>\n\u003cp>The larger questions raised around responsibility in the work are complicated. Responses to López’s eviction, and to many of the no-fault evictions taking place in the city, seem to fall into one of two categories. There are those who are empathetic to the situation that someone could be made homeless with so little recourse, and there are those who abide by the legality of the situation.\u003c/p>\n\u003cp>Of course there is a difference between the letter of the law and the spirit of the law — and this gap has allowed some to consider different solutions. According to \u003ca href=\"http://www.sfexaminer.com/sanfrancisco/tenderloin-complex-landlord-backs-off-evictions-of-section-8-tenants/Content?oid=2825117\">a recent article\u003c/a> in \u003cem>The Examiner,\u003c/em> one landlord recently backed off plans to evict several long term Section-8 tenants in favor of assisting them in their transition. He has offered to find real estate agents for them and to pay their security deposits. The law doesn’t require this solution, but perhaps it should, especially in cases where people have been responsible long-term tenants and the property owner stands to make considerable profit in the transition.\u003c/p>\n\u003cfigure id=\"attachment_10138537\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yl-ties.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yl-ties.jpg\" alt=\"Detail Yolanda M. López, “Accessories to an Eviction,” June 29, 2014, Red Poppy Art House\" width=\"640\" height=\"480\" class=\"size-full wp-image-10138537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yl-ties.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yl-ties-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/yl-ties-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Detail, Yolanda M. López, \u003ci>Accessories to an Eviction\u003c/i>, June 29, 2014, Red Poppy Art House\u003c/figcaption>\u003c/figure>\n\u003cp>My personal response to this event was complex. I wanted to participate — and to consider the questions and feelings that arose from participation. I was also aware of buying someone’s treasures for very little money, and this made me think about the different meanings that arise from López’s deliberate title.\u003c/p>\n\u003cp>Though I see my purchases as functional objects — I will wear the fingerless gloves myself and I will give away the others — I do see their labels differently. I will keep the labels as minute records of an art experience. Each is a small act of resistance, not necessarily to change, but to powerlessness in the face of change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yolanda M. López: \u003ci>Accessories to an Eviction\u003c/i> was a one-day event on June 29, 2014; \u003cem>Home/Studio: Eviction Scene Investigation\u003c/em> is on view at Red Poppy Art House through early July; prior to the artist’s eviction on July 12 it will be wheat pasted on the city’s streets. For \u003ca href=\"http://redpoppyarthouse.org/programs/exhibitions/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit redpoppyarthouse.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "forgotten-photos-are-a-window-into-early-days-of-gay-rights",
"title": "Forgotten Photos Are a Window into Early Days of Gay Rights",
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"headTitle": "Forgotten Photos Are a Window into Early Days of Gay Rights | KQED",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Scott Shafer’s report on photographer Anthony Friedkin’s \u003cb>The Gay Essay\u003c/b> for the California Report on Friday, June 27, 2014:\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/RDnews/2014/10/20140627artsfriedkin.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/25/gay-essay-portraits-of-lgbt-shadow-world-finally-see-light/\">VIDEO: ‘Gay Essay’ Photographer Helped Bring Queer Life Out of Shadows\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/25/gay-essay-portraits-of-lgbt-shadow-world-finally-see-light/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/poster-frame-friedkin-michelle-672x372.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp> To mark the 45th anniversary of the Stonewall riots, the de Young Museum is exhibiting Anthony Friedkin’s photo essay of queer life in California, taken at a time when homosexuality was illegal in the state. Scott Shafer explores the creation of this groundbreaking work and the dark times that inspired it.\u003c/p>\u003c/aside>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/18/through-queer-eyes-45-years-of-mostly-west-coast-lgbt-photography/\">Through Queer Eyes: 45 Years of (Mostly West Coast) LGBT Photography\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/18/through-queer-eyes-45-years-of-mostly-west-coast-lgbt-photography/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/misty-and-jimmy-paulette-1200px.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp> In the decades since Anthony Friedkin made \u003cem>The Gay Essay,\u003c/em> LGBT photographers have continued to explore and expand the meaning of queer identity. Works by the 12 artists in this visual history illuminate themes from those turbulent years.\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>June is LGBT Pride month and this weekend San Francisco hosts the nation’s largest Gay Pride Parade. This year’s events come at a time of extraordinary success for gay rights advocates. The gay and lesbian community in West Hollywood celebrated Pride recently with a mural unveiling at a Wells Fargo bank branch that includes an image from more than four decades ago, part of a collection coming to light only now.\u003c/p>\n\u003cp>It’s a colorized version of a black and white photograph of two men, Morris Kight and Don Kilhefner. The two were gay rights pioneers, co-founding the Gay and Lesbian Community Service Center in Los Angeles in 1970. \u003c/p>\n\u003cp>Kight died 11 years ago but Kilhefner, now 76, was on hand for the unveiling along with Anthony Friedkin, the man who shot that photo. It was the first time they’d seen each other in over 40 years.\u003c/p>\n\u003cp>In 1969, Kilhefner and Kight were approached by Friedkin, then a 19-year-old photographer. Kilhefner remembers the young artist wanted their help getting entree to their community.\u003c/p>\n\u003cp>“Up until that time gay people were not seen very much,” Kilhefner recalls. “If we were seen in public, like a \u003ci>Life Magazine\u003c/i> spread, our faces would be darkened out. It was almost as if you couldn’t show us publicly.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Things began to change with the Stonewall Riots in New York City. Gay men and lesbians were beginning to emerge from the shadows.\u003c/p>\n\u003cp>“It was a political revolution, it was a social revolution, it was a cultural revolution,” Kilhefner says. “It was a spiritual revolution in consciousness for gay people.”\u003c/p>\n\u003cp>It’s what Friedkin wanted to capture with his camera. Friedkin grew up around gay people — his father was a Hollywood writer and director, his mother a dancer at Paramount Studios.\u003c/p>\n\u003cp>But while capturing images of an emerging community long in the shadows made perfect sense to him, he was a little ahead of his time.\u003c/p>\n\u003cp>“Some of my best friends were like, ‘Why are you photographing gay people?’” Friedkin recalls. “‘Like what’s up with you? Are you gay? You know, why are you doing this, ya know?’”\u003c/p>\n\u003cp>But Friedkin wasn’t deterred. Between 1969 and 1973, he spent months hanging out first in Los Angeles, then in San Francisco. On the streets, in bars and nightclubs — sometimes in club bathrooms as drag queens transformed into character. These are some of Friedkin’s favorite photographs.\u003c/p>\n\u003cp>“And these are big men who weigh, two, three hundred pounds,” Friedkin says. “They’re like football players. They have lipstick on and beautiful brassieres and necklaces around their neck. And also visually it was exciting to photograph them because just how they put it all together. It was like that Kinks’ song ‘Lola.’”\u003c/p>\n\u003cp>After hearing about the San Francisco drag troupe The Cockettes, Friedkin went to San Francisco, photographing the performers – including Divine – in a North Beach theater.\u003c/p>\n\u003cp>“I wanted to photograph gays who were willing to take the chance and be courageous and go out the door and say, ‘This is who I am and I’m proud of it,’” Friedkin says.\u003c/p>\n\u003cp>Although he titled this collection of black and white photos \u003cem>The Gay Essay\u003c/em>, he wasn’t making it for a gay audience. He wanted to share his work — documenting a movement and using the images to convey the empathy he felt for his subjects. But his work got only minor attention. Until now.\u003c/p>\n\u003cp>The de Young Museum in San Francisco is featuring \u003ca href=\"https://deyoung.famsf.org/deyoung/exhibitions/anthony-friedkin-gay-essay\" target=\"_blank\" rel=\"noopener\">\u003cem>The Gay Essay\u003c/em>\u003c/a> now through January 11, 2015. The de Young’s photography curator Julian Cox says Friedkin’s collection never got the attention it deserved. \u003c/p>\n\u003cp>“Friedkin’s own efforts to get the photography into the best museums in the country that were working with photography at the time was [sic] not successful,” Cox says. “And it’s taken him 40 years to make it happen.”\u003c/p>\n\u003cp>The reason, Cox says, is that there was a limited audience, and limited opportunities to reach them.\u003c/p>\n\u003cp>“The expression of gay lifestyles is so common in our culture nowadays, from television to videomaking and music as well that it’s not really an issue anymore,” Cox says. “At the time Friedkin was making \u003cem>The Gay Essay\u003c/em> it was still red hot.”\u003c/p>\n\u003cp>And too hot to touch, at least for most galleries of the day. In fact, homosexuality was still illegal in California. The FBI and the LAPD infiltrated gay political and social groups. There was entrapment, harassment and police brutality.\u003c/p>\n\u003cp>Through it all, Friedkin kept working with his Leica M4 camera. The result: a sensuous collection that also documents an era. There are drag queens and hustlers, intimate images of gay and lesbian couples, teenagers just discovering their sexuality. Friedkin’s photos capture the humanity of them all. \u003c/p>\n\u003cp>“There was this incredible need for intimacy and physical passion with each other,” Friedkin says. “The desire to connect, to communicate, to love one another. And I saw it more and more in the photographs.”\u003c/p>\n\u003cp>Art critic Hal Fisher worked for \u003ci>Artweek\u003c/i> in the 1970s. He says to fully appreciate \u003cem>The Gay Essay\u003c/em> you have to appreciate how Friedkin used the rapport he developed.\u003c/p>\n\u003cp>“Anthony Friedkin’s work goes beyond documentation,” Fisher says. “It’s art. It’s not just people saying, ‘Oh, I’m going to the gay day parade I’m going to photograph it.’”\u003c/p>\n\u003cp>As San Francisco holds its annual Gay Pride parade this weekend, Kilhefner hopes Friedkin’s photos help younger LGBT generations understand how a rag-tag group of hippies, hustlers, drag queens and activists laid the foundation for this extraordinary era of civil rights progress.\u003c/p>\n\u003cp>“It’s going to allow gay people to look back and say, ‘Oh my God, that’s what they looked like then. That’s what they were wearing then. That’s what they were doing,'” Kilhefner says. “These are the people who lived that formative period of our history called the beginning of gay liberation.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Funding for coverage of arts that explore social issues is provided by the California Arts Council.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Scott Shafer’s report on photographer Anthony Friedkin’s \u003cb>The Gay Essay\u003c/b> for the California Report on Friday, June 27, 2014:\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/RDnews/2014/10/20140627artsfriedkin.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/25/gay-essay-portraits-of-lgbt-shadow-world-finally-see-light/\">VIDEO: ‘Gay Essay’ Photographer Helped Bring Queer Life Out of Shadows\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/25/gay-essay-portraits-of-lgbt-shadow-world-finally-see-light/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/poster-frame-friedkin-michelle-672x372.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp> To mark the 45th anniversary of the Stonewall riots, the de Young Museum is exhibiting Anthony Friedkin’s photo essay of queer life in California, taken at a time when homosexuality was illegal in the state. Scott Shafer explores the creation of this groundbreaking work and the dark times that inspired it.\u003c/p>\u003c/aside>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/18/through-queer-eyes-45-years-of-mostly-west-coast-lgbt-photography/\">Through Queer Eyes: 45 Years of (Mostly West Coast) LGBT Photography\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/18/through-queer-eyes-45-years-of-mostly-west-coast-lgbt-photography/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/misty-and-jimmy-paulette-1200px.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp> In the decades since Anthony Friedkin made \u003cem>The Gay Essay,\u003c/em> LGBT photographers have continued to explore and expand the meaning of queer identity. Works by the 12 artists in this visual history illuminate themes from those turbulent years.\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>June is LGBT Pride month and this weekend San Francisco hosts the nation’s largest Gay Pride Parade. This year’s events come at a time of extraordinary success for gay rights advocates. The gay and lesbian community in West Hollywood celebrated Pride recently with a mural unveiling at a Wells Fargo bank branch that includes an image from more than four decades ago, part of a collection coming to light only now.\u003c/p>\n\u003cp>It’s a colorized version of a black and white photograph of two men, Morris Kight and Don Kilhefner. The two were gay rights pioneers, co-founding the Gay and Lesbian Community Service Center in Los Angeles in 1970. \u003c/p>\n\u003cp>Kight died 11 years ago but Kilhefner, now 76, was on hand for the unveiling along with Anthony Friedkin, the man who shot that photo. It was the first time they’d seen each other in over 40 years.\u003c/p>\n\u003cp>In 1969, Kilhefner and Kight were approached by Friedkin, then a 19-year-old photographer. Kilhefner remembers the young artist wanted their help getting entree to their community.\u003c/p>\n\u003cp>“Up until that time gay people were not seen very much,” Kilhefner recalls. “If we were seen in public, like a \u003ci>Life Magazine\u003c/i> spread, our faces would be darkened out. It was almost as if you couldn’t show us publicly.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Things began to change with the Stonewall Riots in New York City. Gay men and lesbians were beginning to emerge from the shadows.\u003c/p>\n\u003cp>“It was a political revolution, it was a social revolution, it was a cultural revolution,” Kilhefner says. “It was a spiritual revolution in consciousness for gay people.”\u003c/p>\n\u003cp>It’s what Friedkin wanted to capture with his camera. Friedkin grew up around gay people — his father was a Hollywood writer and director, his mother a dancer at Paramount Studios.\u003c/p>\n\u003cp>But while capturing images of an emerging community long in the shadows made perfect sense to him, he was a little ahead of his time.\u003c/p>\n\u003cp>“Some of my best friends were like, ‘Why are you photographing gay people?’” Friedkin recalls. “‘Like what’s up with you? Are you gay? You know, why are you doing this, ya know?’”\u003c/p>\n\u003cp>But Friedkin wasn’t deterred. Between 1969 and 1973, he spent months hanging out first in Los Angeles, then in San Francisco. On the streets, in bars and nightclubs — sometimes in club bathrooms as drag queens transformed into character. These are some of Friedkin’s favorite photographs.\u003c/p>\n\u003cp>“And these are big men who weigh, two, three hundred pounds,” Friedkin says. “They’re like football players. They have lipstick on and beautiful brassieres and necklaces around their neck. And also visually it was exciting to photograph them because just how they put it all together. It was like that Kinks’ song ‘Lola.’”\u003c/p>\n\u003cp>After hearing about the San Francisco drag troupe The Cockettes, Friedkin went to San Francisco, photographing the performers – including Divine – in a North Beach theater.\u003c/p>\n\u003cp>“I wanted to photograph gays who were willing to take the chance and be courageous and go out the door and say, ‘This is who I am and I’m proud of it,’” Friedkin says.\u003c/p>\n\u003cp>Although he titled this collection of black and white photos \u003cem>The Gay Essay\u003c/em>, he wasn’t making it for a gay audience. He wanted to share his work — documenting a movement and using the images to convey the empathy he felt for his subjects. But his work got only minor attention. Until now.\u003c/p>\n\u003cp>The de Young Museum in San Francisco is featuring \u003ca href=\"https://deyoung.famsf.org/deyoung/exhibitions/anthony-friedkin-gay-essay\" target=\"_blank\" rel=\"noopener\">\u003cem>The Gay Essay\u003c/em>\u003c/a> now through January 11, 2015. The de Young’s photography curator Julian Cox says Friedkin’s collection never got the attention it deserved. \u003c/p>\n\u003cp>“Friedkin’s own efforts to get the photography into the best museums in the country that were working with photography at the time was [sic] not successful,” Cox says. “And it’s taken him 40 years to make it happen.”\u003c/p>\n\u003cp>The reason, Cox says, is that there was a limited audience, and limited opportunities to reach them.\u003c/p>\n\u003cp>“The expression of gay lifestyles is so common in our culture nowadays, from television to videomaking and music as well that it’s not really an issue anymore,” Cox says. “At the time Friedkin was making \u003cem>The Gay Essay\u003c/em> it was still red hot.”\u003c/p>\n\u003cp>And too hot to touch, at least for most galleries of the day. In fact, homosexuality was still illegal in California. The FBI and the LAPD infiltrated gay political and social groups. There was entrapment, harassment and police brutality.\u003c/p>\n\u003cp>Through it all, Friedkin kept working with his Leica M4 camera. The result: a sensuous collection that also documents an era. There are drag queens and hustlers, intimate images of gay and lesbian couples, teenagers just discovering their sexuality. Friedkin’s photos capture the humanity of them all. \u003c/p>\n\u003cp>“There was this incredible need for intimacy and physical passion with each other,” Friedkin says. “The desire to connect, to communicate, to love one another. And I saw it more and more in the photographs.”\u003c/p>\n\u003cp>Art critic Hal Fisher worked for \u003ci>Artweek\u003c/i> in the 1970s. He says to fully appreciate \u003cem>The Gay Essay\u003c/em> you have to appreciate how Friedkin used the rapport he developed.\u003c/p>\n\u003cp>“Anthony Friedkin’s work goes beyond documentation,” Fisher says. “It’s art. It’s not just people saying, ‘Oh, I’m going to the gay day parade I’m going to photograph it.’”\u003c/p>\n\u003cp>As San Francisco holds its annual Gay Pride parade this weekend, Kilhefner hopes Friedkin’s photos help younger LGBT generations understand how a rag-tag group of hippies, hustlers, drag queens and activists laid the foundation for this extraordinary era of civil rights progress.\u003c/p>\n\u003cp>“It’s going to allow gay people to look back and say, ‘Oh my God, that’s what they looked like then. That’s what they were wearing then. That’s what they were doing,'” Kilhefner says. “These are the people who lived that formative period of our history called the beginning of gay liberation.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv>\n\u003cp>The “Let There Be” art installation, near Sixth and Market streets in San Francisco. (Cy Musiker/KQED)\u003c/p>\n\u003c/div>\n\u003cp>A new public art piece debuted Thursday evening on San Francisco’s Market Street. It’s called “Let There Be” and, for the moment at least, it features a series of photographs by Bay Area artists projected \u003ca href=\"http://ww2.kqed.org/news/let-there-be-illuminate-the-arts-mid-market\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/let-there-be-illuminate-the-arts-mid-market\" target=\"_self\" title=\"A Visual Celebration in San Francisco’s Changing Mid-Market Neighborhood\" rel=\"noopener\">News Fix Arts\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The first film to point a camera at the graffiti movement in New York City was \u003cem>Stations of the Elevated\u003c/em>, which debuted at the New York Film Festival in 1981.\u003c/p>\n\u003cp>The film hasn’t been seen much since, except by generations of graffiti fans and writers who watched it on VHS tapes. Now it’s being re-released on the big screen, with a showing Friday at the Brooklyn Academy of Music. It will hit screens around the country this fall.\u003c/p>\n\u003cp>\u003cem>Stations of the Elevated\u003c/em> is not a documentary in the usual sense. It’s only 45 minutes long; there’s no narrative and hardly any dialogue. The camera follows subway cars painted from top to bottom with vibrant graffiti compositions over a soundtrack of jazz by Charles Mingus.\u003c/p>\n\u003cp>One critic compared \u003cem>Stations\u003c/em> to a nature film, in which director Manny Kirchheimer stalks graffiti-covered subway cars in their native habitat.\u003c/p>\n\u003cp>“He went big-game hunting, and he caught the big game, you know?” says graffiti writer Lee Quinones, whose work is featured prominently in the film. He says there have been other movies about the art movement, including \u003cem>Style Wars, \u003c/em>but those came later.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is the first film of its kind that captured a beautiful golden age where a lot of these cars were being painted, and that urgency,” he says. “He was able to capture that, and way before the established art world even got a pulse that this was going on underneath their feet.”\u003c/p>\n\u003cp>Kirchheimer is not the guy you would expect to make a movie about graffiti. He was born in Germany and fled to New York with his parents in 1936. He was in his late 40s when he shot \u003cem>Stations of the Elevated\u003c/em> in 1977. He didn’t know anyone who wrote graffiti, and he’d never given it much thought.\u003c/p>\n\u003cp>“As a matter of fact, there was a great deal of graffiti around that I didn’t pay much attention to,” Kirchheimer says.\u003c/p>\n\u003cp>Then he found himself driving up to the Bronx early in the morning, and he saw the trains running overhead.\u003c/p>\n\u003cp>“They would come by and it would be screaming full of colors — just gorgeous,” he says. “The smart thing I did was shoot it all outdoors. Most of the lines are indoors, and the way most people see these paintings was indoors. Doing it outdoors gave a whole other perspective.”\u003c/p>\n\u003cp>It was a grittier time in New York’s history, when the city could barely afford to clean subway cars, inside or out. Most straphangers considered graffiti writers a nuisance, or worse. But Kirchheimer was focused on “elevating” their work, as the title of the film suggests.\u003c/p>\n\u003cp>“The genre, if there is one, is one that goes back to the beginning of cinema. That’s the city symphony,” says Jake Perlin, who is reissuing \u003cem>Stations of the Elevated\u003c/em> through his company, Artists Public Domain.\u003c/p>\n\u003cp>He says Kirchheimer also asked a profound moral question: “How does this artwork that was deemed illegal coexist in a city with advertising that is deemed legal [and] that is possibly more offensive?”\u003c/p>\n\u003cp>\u003cem>Stations of the Elevated\u003c/em> contrasts the painted subway cars with outdoor advertising on billboards — giant images of cigarettes, alcohol and semi-nude women. Artist Quinones says the film captures something essential about a moment in the history of the graffiti movement, and of New York City, which is long gone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s something really magical about when you see a train coming around a curve with a beautiful painting on it, and that painting is moving in more ways than that train is actually moving,” Quinones says. “It’s in and out, all over the place. And it’s mind-boggling. And that film captures that. It’s something majestic that I can’t even explain completely.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+Decades+On+VHS%2C+Graffiti%27s+Golden+Age+Returns+To+Big+Screen&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first film to point a camera at the graffiti movement in New York City was \u003cem>Stations of the Elevated\u003c/em>, which debuted at the New York Film Festival in 1981.\u003c/p>\n\u003cp>The film hasn’t been seen much since, except by generations of graffiti fans and writers who watched it on VHS tapes. Now it’s being re-released on the big screen, with a showing Friday at the Brooklyn Academy of Music. It will hit screens around the country this fall.\u003c/p>\n\u003cp>\u003cem>Stations of the Elevated\u003c/em> is not a documentary in the usual sense. It’s only 45 minutes long; there’s no narrative and hardly any dialogue. The camera follows subway cars painted from top to bottom with vibrant graffiti compositions over a soundtrack of jazz by Charles Mingus.\u003c/p>\n\u003cp>One critic compared \u003cem>Stations\u003c/em> to a nature film, in which director Manny Kirchheimer stalks graffiti-covered subway cars in their native habitat.\u003c/p>\n\u003cp>“He went big-game hunting, and he caught the big game, you know?” says graffiti writer Lee Quinones, whose work is featured prominently in the film. He says there have been other movies about the art movement, including \u003cem>Style Wars, \u003c/em>but those came later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is the first film of its kind that captured a beautiful golden age where a lot of these cars were being painted, and that urgency,” he says. “He was able to capture that, and way before the established art world even got a pulse that this was going on underneath their feet.”\u003c/p>\n\u003cp>Kirchheimer is not the guy you would expect to make a movie about graffiti. He was born in Germany and fled to New York with his parents in 1936. He was in his late 40s when he shot \u003cem>Stations of the Elevated\u003c/em> in 1977. He didn’t know anyone who wrote graffiti, and he’d never given it much thought.\u003c/p>\n\u003cp>“As a matter of fact, there was a great deal of graffiti around that I didn’t pay much attention to,” Kirchheimer says.\u003c/p>\n\u003cp>Then he found himself driving up to the Bronx early in the morning, and he saw the trains running overhead.\u003c/p>\n\u003cp>“They would come by and it would be screaming full of colors — just gorgeous,” he says. “The smart thing I did was shoot it all outdoors. Most of the lines are indoors, and the way most people see these paintings was indoors. Doing it outdoors gave a whole other perspective.”\u003c/p>\n\u003cp>It was a grittier time in New York’s history, when the city could barely afford to clean subway cars, inside or out. Most straphangers considered graffiti writers a nuisance, or worse. But Kirchheimer was focused on “elevating” their work, as the title of the film suggests.\u003c/p>\n\u003cp>“The genre, if there is one, is one that goes back to the beginning of cinema. That’s the city symphony,” says Jake Perlin, who is reissuing \u003cem>Stations of the Elevated\u003c/em> through his company, Artists Public Domain.\u003c/p>\n\u003cp>He says Kirchheimer also asked a profound moral question: “How does this artwork that was deemed illegal coexist in a city with advertising that is deemed legal [and] that is possibly more offensive?”\u003c/p>\n\u003cp>\u003cem>Stations of the Elevated\u003c/em> contrasts the painted subway cars with outdoor advertising on billboards — giant images of cigarettes, alcohol and semi-nude women. Artist Quinones says the film captures something essential about a moment in the history of the graffiti movement, and of New York City, which is long gone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s something really magical about when you see a train coming around a curve with a beautiful painting on it, and that painting is moving in more ways than that train is actually moving,” Quinones says. “It’s in and out, all over the place. And it’s mind-boggling. And that film captures that. It’s something majestic that I can’t even explain completely.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+Decades+On+VHS%2C+Graffiti%27s+Golden+Age+Returns+To+Big+Screen&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/18/through-queer-eyes-45-years-of-mostly-west-coast-lgbt-photography/\">Through Queer Eyes: 45 Years of (Mostly West Coast) LGBT Photography\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/18/through-queer-eyes-45-years-of-mostly-west-coast-lgbt-photography/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/misty-and-jimmy-paulette-1200px.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp> In the decades since Anthony Friedkin made \u003cem>The Gay Essay,\u003c/em> LGBT photographers have continued to explore and expand the meaning of queer identity. Works by the 12 artists in this visual history illuminate themes from those turbulent years.\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>This weekend marks the 45\u003csup>th\u003c/sup> anniversary of the Stonewall riots in New York City, the spark that touched off the gay liberation movement. As the LGBT community prepares for the San Francisco Pride Celebrations, the \u003ca href=\"https://deyoung.famsf.org/deyoung/exhibitions/anthony-friedkin-gay-essay\" target=\"_blank\" rel=\"noopener\">de Young Museum has opened an exhibit\u003c/a> of photographs by Anthony Friedkin. Titled \u003cem>The Gay Essay,\u003c/em> these candid images of queer life in San Francisco and LA were made in the late ’60s and early 70s — when homosexuality was still illegal in California.\u003c/p>\n\u003cp>Friedkin’s photographs of friends, lovers, hustlers, activists and female impersonators were ahead of their time, and it took more than four decades for his full project to see the light. \u003cem>KQED\u003c/em> \u003cem>Newsroom’s\u003c/em> Scott Shafer spoke with Friedkin and others about this groundbreaking work and the dark times that inspired it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/18/through-queer-eyes-45-years-of-mostly-west-coast-lgbt-photography/\">Through Queer Eyes: 45 Years of (Mostly West Coast) LGBT Photography\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/18/through-queer-eyes-45-years-of-mostly-west-coast-lgbt-photography/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/misty-and-jimmy-paulette-1200px.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp> In the decades since Anthony Friedkin made \u003cem>The Gay Essay,\u003c/em> LGBT photographers have continued to explore and expand the meaning of queer identity. Works by the 12 artists in this visual history illuminate themes from those turbulent years.\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>This weekend marks the 45\u003csup>th\u003c/sup> anniversary of the Stonewall riots in New York City, the spark that touched off the gay liberation movement. As the LGBT community prepares for the San Francisco Pride Celebrations, the \u003ca href=\"https://deyoung.famsf.org/deyoung/exhibitions/anthony-friedkin-gay-essay\" target=\"_blank\" rel=\"noopener\">de Young Museum has opened an exhibit\u003c/a> of photographs by Anthony Friedkin. Titled \u003cem>The Gay Essay,\u003c/em> these candid images of queer life in San Francisco and LA were made in the late ’60s and early 70s — when homosexuality was still illegal in California.\u003c/p>\n\u003cp>Friedkin’s photographs of friends, lovers, hustlers, activists and female impersonators were ahead of their time, and it took more than four decades for his full project to see the light. \u003cem>KQED\u003c/em> \u003cem>Newsroom’s\u003c/em> Scott Shafer spoke with Friedkin and others about this groundbreaking work and the dark times that inspired it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Latest Ms. Marvel Shapeshifts Comic Stereotypes",
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"content": "\u003cp>Meet \u003ca href=\"//marvel.wikia.com/Kamala_Khan_(Earth-616)\">Kamala Khan\u003c/a>: she’s a 16-year-old Pakistani American girl living in Jersey City. She loves Marvel comics and even writes her own fan fiction about The Avengers. But she believes, “My chances of becoming an intergalactic superhero are even slimmer than my chances of becoming blond and popular.” \u003c/p>\n\u003cp>But when \u003ca href=\"//marvel.wikia.com/Carol_Danvers_(Earth-616)\">Captain Marvel\u003c/a> herself gives Kamala shape-shifting powers, she has to create her own identity and embrace her Islamic heritage as the newest incarnation of Ms. Marvel.\u003c/p>\n\u003cp>The overwhelmingly positive reaction to Marvel’s update proves that being blond isn’t a prerequisite for popularity anymore. For many years, Marvel presented Ms. Marvel as the buxom and scantily clad Carol Danvers. Like many of us, Kamala grew up idealizing this narrow representation of female superheroes.\u003c/p>\n\u003cp>Recently \u003ca href=\"//www.mirusgallery.com/about\">Mirius Gallery\u003c/a> presented visual artist Sandra Chevrier’s, \u003cb>\u003ca href=\"//www.mirusgallery.com/exhibitions/les-cages-fractured-gaze-sandra-chevrier\">Les Cages: A Fractured Gaze\u003c/a>\u003c/b>, which explores this dysfunctional relationship between females and their comic book representations through multimedia works. \u003c/p>\n\u003cfigure id=\"attachment_10137035\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Les-Cages.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Les-Cages.jpg\" alt=\"Sandra Chevrier, Les Cages: A Fractured Gaze, 2014; courtesy Mirius Gallery\" width=\"640\" height=\"1042\" class=\"size-full wp-image-10137035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Les-Cages.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Les-Cages-400x651.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Les-Cages-184x300.jpg 184w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sandra Chevrier, \u003ci>Les Cages: A Fractured Gaze\u003c/i>, 2014; courtesy Mirius Gallery\u003c/figcaption>\u003c/figure>\n\u003cp> “The comic book collages, at once anesthetizing and alluring, echo rather entertaining pop-art references that eventually [belie] the bitter irony that these females have been silenced, smothered, and even blinded by the very mechanisms that seduced us into their existence,” Mirius’ website states. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kamala receives her superpowers while experiencing an identity crisis brought on by these same societal pressures. At first she plans to kick butt as Carol Danvers in the “classic, politically incorrect costume” Ms. Marvel was known for, but the figurative and literal wedge heel doesn’t fit. \u003c/p>\n\u003cfigure id=\"attachment_10137037\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Ms.-Marvel-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Ms.-Marvel-1.jpg\" alt=\"Sara Pichelli & Justin Ponsor, Ms. Marvel Issue #1 Cover Art, 2014; courtesy Marvel \" width=\"640\" height=\"972\" class=\"size-full wp-image-10137037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Ms.-Marvel-1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Ms.-Marvel-1-400x607.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Ms.-Marvel-1-197x300.jpg 197w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sara Pichelli & Justin Ponsor, \u003ci>Ms. Marvel Issue #1 Cover Art\u003c/i>, 2014; courtesy Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>Assuming someone else’s form does not make Kamala feel beautiful, strong or brave. In the first four issues she begins to explore what does. She re-purposes a modest “burkini” bathing suit and taps into her video gamer reflexes to save her peers as a new Ms. Marvel. \u003c/p>\n\u003cp>As one of the few representations of Islamic characters in the comic world and the only female protagonist of her kind, the pressure is on Marvel to convey a well-rounded character. \u003c/p>\n\u003cp>Writer \u003ca href=\"//gwillowwilson.com/\">G. Willow Wilson\u003c/a>, who calls herself a professional genre-bender, told \u003ca href=\"//www.wired.com/2014/01/ms-marvel-muslim-superheroine/\">Wired Magazine\u003c/a>, “The key thing is authenticity, and not trying to please everybody with a cardboard cutout that doesn’t feel like a human being with flaws and quirks and charm.” \u003c/p>\n\u003cp>Illustrator \u003ca href=\"//sweetbizarre.com/\">Adrian Alphona\u003c/a> rounds out the characters with dynamic panels that reflect the awkward movements and conflicted personalities of modern teenagers discovering their identities: secret or otherwise. \u003c/p>\n\u003cp>\u003ca href=\"//marvel.com/comics/issue/49093/ms_marvel_2014_5\">The fifth and final issue\u003c/a> of this story arc came out on Wednesday, June 18, 2014. Let Marvel know you appreciate diverse characters like Kamala by calling your local comic bookstore and ordering \u003ci>Ms. Marvel\u003c/i> comics. You can also \u003ca href=\"//comicstore.marvel.com/Ms-Marvel-1/digital-comic/32979\">purchase digital issues\u003c/a> through \u003ca href=\"//comicstore.marvel.com/\">Marvel’s Digital Comics Shop\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Keep an eye out for a trade paperback that will combine the first five issues into one volume later this year. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Meet \u003ca href=\"//marvel.wikia.com/Kamala_Khan_(Earth-616)\">Kamala Khan\u003c/a>: she’s a 16-year-old Pakistani American girl living in Jersey City. She loves Marvel comics and even writes her own fan fiction about The Avengers. But she believes, “My chances of becoming an intergalactic superhero are even slimmer than my chances of becoming blond and popular.” \u003c/p>\n\u003cp>But when \u003ca href=\"//marvel.wikia.com/Carol_Danvers_(Earth-616)\">Captain Marvel\u003c/a> herself gives Kamala shape-shifting powers, she has to create her own identity and embrace her Islamic heritage as the newest incarnation of Ms. Marvel.\u003c/p>\n\u003cp>The overwhelmingly positive reaction to Marvel’s update proves that being blond isn’t a prerequisite for popularity anymore. For many years, Marvel presented Ms. Marvel as the buxom and scantily clad Carol Danvers. Like many of us, Kamala grew up idealizing this narrow representation of female superheroes.\u003c/p>\n\u003cp>Recently \u003ca href=\"//www.mirusgallery.com/about\">Mirius Gallery\u003c/a> presented visual artist Sandra Chevrier’s, \u003cb>\u003ca href=\"//www.mirusgallery.com/exhibitions/les-cages-fractured-gaze-sandra-chevrier\">Les Cages: A Fractured Gaze\u003c/a>\u003c/b>, which explores this dysfunctional relationship between females and their comic book representations through multimedia works. \u003c/p>\n\u003cfigure id=\"attachment_10137035\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Les-Cages.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Les-Cages.jpg\" alt=\"Sandra Chevrier, Les Cages: A Fractured Gaze, 2014; courtesy Mirius Gallery\" width=\"640\" height=\"1042\" class=\"size-full wp-image-10137035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Les-Cages.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Les-Cages-400x651.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Les-Cages-184x300.jpg 184w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sandra Chevrier, \u003ci>Les Cages: A Fractured Gaze\u003c/i>, 2014; courtesy Mirius Gallery\u003c/figcaption>\u003c/figure>\n\u003cp> “The comic book collages, at once anesthetizing and alluring, echo rather entertaining pop-art references that eventually [belie] the bitter irony that these females have been silenced, smothered, and even blinded by the very mechanisms that seduced us into their existence,” Mirius’ website states. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kamala receives her superpowers while experiencing an identity crisis brought on by these same societal pressures. At first she plans to kick butt as Carol Danvers in the “classic, politically incorrect costume” Ms. Marvel was known for, but the figurative and literal wedge heel doesn’t fit. \u003c/p>\n\u003cfigure id=\"attachment_10137037\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Ms.-Marvel-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Ms.-Marvel-1.jpg\" alt=\"Sara Pichelli & Justin Ponsor, Ms. Marvel Issue #1 Cover Art, 2014; courtesy Marvel \" width=\"640\" height=\"972\" class=\"size-full wp-image-10137037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Ms.-Marvel-1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Ms.-Marvel-1-400x607.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Ms.-Marvel-1-197x300.jpg 197w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sara Pichelli & Justin Ponsor, \u003ci>Ms. Marvel Issue #1 Cover Art\u003c/i>, 2014; courtesy Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>Assuming someone else’s form does not make Kamala feel beautiful, strong or brave. In the first four issues she begins to explore what does. She re-purposes a modest “burkini” bathing suit and taps into her video gamer reflexes to save her peers as a new Ms. Marvel. \u003c/p>\n\u003cp>As one of the few representations of Islamic characters in the comic world and the only female protagonist of her kind, the pressure is on Marvel to convey a well-rounded character. \u003c/p>\n\u003cp>Writer \u003ca href=\"//gwillowwilson.com/\">G. Willow Wilson\u003c/a>, who calls herself a professional genre-bender, told \u003ca href=\"//www.wired.com/2014/01/ms-marvel-muslim-superheroine/\">Wired Magazine\u003c/a>, “The key thing is authenticity, and not trying to please everybody with a cardboard cutout that doesn’t feel like a human being with flaws and quirks and charm.” \u003c/p>\n\u003cp>Illustrator \u003ca href=\"//sweetbizarre.com/\">Adrian Alphona\u003c/a> rounds out the characters with dynamic panels that reflect the awkward movements and conflicted personalities of modern teenagers discovering their identities: secret or otherwise. \u003c/p>\n\u003cp>\u003ca href=\"//marvel.com/comics/issue/49093/ms_marvel_2014_5\">The fifth and final issue\u003c/a> of this story arc came out on Wednesday, June 18, 2014. Let Marvel know you appreciate diverse characters like Kamala by calling your local comic bookstore and ordering \u003ci>Ms. Marvel\u003c/i> comics. You can also \u003ca href=\"//comicstore.marvel.com/Ms-Marvel-1/digital-comic/32979\">purchase digital issues\u003c/a> through \u003ca href=\"//comicstore.marvel.com/\">Marvel’s Digital Comics Shop\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Keep an eye out for a trade paperback that will combine the first five issues into one volume later this year. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Never Tell them the Odds: Cities Vie to Host 'Star Wars' Collection",
"headTitle": "Never Tell them the Odds: Cities Vie to Host ‘Star Wars’ Collection | KQED",
"content": "\u003cp>A short time ago, in a city not far away, \u003cem>Star Wars\u003c/em> creator George Lucas decided to build a museum to house his movie memorabilia and his art collection.\u003c/p>\n\u003cp>There’s just one looming question: Where should it go?\u003c/p>\n\u003cp>Lucas says he’ll spend $300 million of his own money to build the proposed Lucas Cultural Arts Museum and will provide a $400 million endowment after his death. In addition to holding Skywalker artifacts galore, the museum would also host Lucas’ private art collection, featuring works by Norman Rockwell and N.C. Wyeth, among others.\u003c/p>\n\u003cp>But after Lucas’ original planned location fell through, it’s not clear where the museum will be located. San Francisco and Chicago are both trying to win the right to host the museum, and Los Angeles just entered the fray as well.\u003c/p>\n\u003cp>\u003cstrong>San Francisco: ‘It Is Our History’\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story begins in San Francisco, not far from Skywalker Ranch, Lucas’ moviemaking center in Marin County.\u003c/p>\n\u003cp>Lucas originally wanted to build his museum in the San Francisco Presidio — a federal park near the Golden Gate Bridge. But park officials rejected that idea.\u003c/p>\n\u003cp>Now San Francisco officials are scrambling, trying to persuade Lucas to consider another site. They’re offering a scenic waterfront location along the Embarcadero, the road that runs along the San Francisco Bay.\u003c/p>\n\u003cp>Mayor Ed Lee points to the area’s \u003cem>Star Wars\u003c/em> history to explain why the city wants to persuade Lucas to stay in the region. Lucas’ ranch is nearby, and the Letterman Digital Arts Center, LucasFilm’s headquarters, is located in the city.\u003c/p>\n\u003cp>“Digital Arts, through George Lucas’ wonderful works, started here,” Lee says. “To have that museum right here under his name would be a wonderful tribute to that. It is our history, and that’s why we want George to be here.”\u003c/p>\n\u003cp>But Lee knows that first rejection, of the Presidio location, opened the door to competition.\u003c/p>\n\u003cp>\u003cstrong>Chicago: Lucas’ Second Home\u003c/strong>\u003c/p>\n\u003cp>In Chicago, city leaders say they’re up to the fight to bring the Lucas Museum to \u003cem>their \u003c/em>city. Kurt Summers, co-chairman of the task force that Chicago Mayor Rahm Emanuel directed to find a location for the museum, casts the struggle in familiar terms — like the dark side of the Force against the light.\u003c/p>\n\u003cp>“We are the protagonist in sort of a good versus evil,” Summers says. It’s not hard to imagine whom he sees as the Evil Empire. “We engaged fully … and that created real competition. The result of that [is] we saw San Francisco step up its game as well.”\u003c/p>\n\u003cp>The potential home of the Lucas Museum is near Chicago’s lakefront, on the city’s Museum Campus. The city would convert 17 acres that are currently home to two parking lots behind Soldier Field, the stadium home of the Chicago Bears.\u003c/p>\n\u003cp>Chicago would lease the land to Lucas for $1. City officials believe adding his museum to the Field Museum of Natural History, the Shedd Aquarium and the Adler Planetarium on the campus would bring in a couple of million additional visitors to the city each year, along with millions in tourist and tax revenue.\u003c/p>\n\u003cp>Lucas calls Chicago his second home, and he’s married to influential Chicago businesswoman Mellody Hobson. That’s a plus, says Summers, who believes that while San Francisco might once have had home field advantage, Chicago has a very compelling case.\u003c/p>\n\u003cp>Summers says he’s not talking smack. But he does have a message: “I believe the Force is with us.”\u003c/p>\n\u003cp>San Francisco would say the same thing. And so would Los Angeles, which has offered a museum-campus plan like Chicago’s, at the site of the Los Angeles Memorial Sports Arena in the city’s Exposition Park.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But as the small Jedi Yoda would say, “Impossible to see, the future is” — until the decision, which is expected sometime this summer. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Never+Tell+Them+The+Odds%3A+Cities+Vie+To+Host+%27Star+Wars%27+Collection&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "\u003cem>Star Wars\u003c/em> creator George Lucas wants to build a museum full of movie memorabilia and fine art. But where? Both his hometown of San Francisco and Chicago, his \"second home,\" are vying for it.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A short time ago, in a city not far away, \u003cem>Star Wars\u003c/em> creator George Lucas decided to build a museum to house his movie memorabilia and his art collection.\u003c/p>\n\u003cp>There’s just one looming question: Where should it go?\u003c/p>\n\u003cp>Lucas says he’ll spend $300 million of his own money to build the proposed Lucas Cultural Arts Museum and will provide a $400 million endowment after his death. In addition to holding Skywalker artifacts galore, the museum would also host Lucas’ private art collection, featuring works by Norman Rockwell and N.C. Wyeth, among others.\u003c/p>\n\u003cp>But after Lucas’ original planned location fell through, it’s not clear where the museum will be located. San Francisco and Chicago are both trying to win the right to host the museum, and Los Angeles just entered the fray as well.\u003c/p>\n\u003cp>\u003cstrong>San Francisco: ‘It Is Our History’\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story begins in San Francisco, not far from Skywalker Ranch, Lucas’ moviemaking center in Marin County.\u003c/p>\n\u003cp>Lucas originally wanted to build his museum in the San Francisco Presidio — a federal park near the Golden Gate Bridge. But park officials rejected that idea.\u003c/p>\n\u003cp>Now San Francisco officials are scrambling, trying to persuade Lucas to consider another site. They’re offering a scenic waterfront location along the Embarcadero, the road that runs along the San Francisco Bay.\u003c/p>\n\u003cp>Mayor Ed Lee points to the area’s \u003cem>Star Wars\u003c/em> history to explain why the city wants to persuade Lucas to stay in the region. Lucas’ ranch is nearby, and the Letterman Digital Arts Center, LucasFilm’s headquarters, is located in the city.\u003c/p>\n\u003cp>“Digital Arts, through George Lucas’ wonderful works, started here,” Lee says. “To have that museum right here under his name would be a wonderful tribute to that. It is our history, and that’s why we want George to be here.”\u003c/p>\n\u003cp>But Lee knows that first rejection, of the Presidio location, opened the door to competition.\u003c/p>\n\u003cp>\u003cstrong>Chicago: Lucas’ Second Home\u003c/strong>\u003c/p>\n\u003cp>In Chicago, city leaders say they’re up to the fight to bring the Lucas Museum to \u003cem>their \u003c/em>city. Kurt Summers, co-chairman of the task force that Chicago Mayor Rahm Emanuel directed to find a location for the museum, casts the struggle in familiar terms — like the dark side of the Force against the light.\u003c/p>\n\u003cp>“We are the protagonist in sort of a good versus evil,” Summers says. It’s not hard to imagine whom he sees as the Evil Empire. “We engaged fully … and that created real competition. The result of that [is] we saw San Francisco step up its game as well.”\u003c/p>\n\u003cp>The potential home of the Lucas Museum is near Chicago’s lakefront, on the city’s Museum Campus. The city would convert 17 acres that are currently home to two parking lots behind Soldier Field, the stadium home of the Chicago Bears.\u003c/p>\n\u003cp>Chicago would lease the land to Lucas for $1. City officials believe adding his museum to the Field Museum of Natural History, the Shedd Aquarium and the Adler Planetarium on the campus would bring in a couple of million additional visitors to the city each year, along with millions in tourist and tax revenue.\u003c/p>\n\u003cp>Lucas calls Chicago his second home, and he’s married to influential Chicago businesswoman Mellody Hobson. That’s a plus, says Summers, who believes that while San Francisco might once have had home field advantage, Chicago has a very compelling case.\u003c/p>\n\u003cp>Summers says he’s not talking smack. But he does have a message: “I believe the Force is with us.”\u003c/p>\n\u003cp>San Francisco would say the same thing. And so would Los Angeles, which has offered a museum-campus plan like Chicago’s, at the site of the Los Angeles Memorial Sports Arena in the city’s Exposition Park.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But as the small Jedi Yoda would say, “Impossible to see, the future is” — until the decision, which is expected sometime this summer. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Never+Tell+Them+The+Odds%3A+Cities+Vie+To+Host+%27Star+Wars%27+Collection&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Through Queer Eyes: 45 Years of (Mostly West-Coast) LGBT Photography",
"headTitle": "Through Queer Eyes: 45 Years of (Mostly West-Coast) LGBT Photography | KQED",
"content": "\u003ch5>\u003cem>\u003cstrong>Image advisory:\u003c/strong> many of the Web sites linked to in this article contain photographs that are sexually explicit.\u003c/em>\u003c/h5>\n\u003cp>It is not entirely happenstance that the founding figure of the modern gay movement, Harvey Milk, was a photographer and the owner of a camera store. In the 1970s, the simple documentation of presence, the photographic equivalent of saying “we are here,” by itself assumed a progressive political cast for a population long freighted with the demand to remain both silent and invisible. At my current age of 55, I still remember the embarrassing sting of a film store’s refusal to process pictures of my 23rd (very gay) birthday party because the printer deemed the images “indecent.”\u003c/p>\n\u003cfigure id=\"attachment_10137837\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/friedkin-plate-47.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137837 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/friedkin-plate-47-400x574.jpg\" alt='Anthony Friedkin, \"Bobbie and Linda, Venice, 1970. c. Anthony Friedkin. ' width=\"400\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/friedkin-plate-47-400x574.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/friedkin-plate-47.jpg 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Extraordinary ordinariness: Anthony Friedkin, “Bobbie and Linda, Venice,” 1970. \u003cem>c. Anthony Friedkin\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Queers had, of course, long been photographed, generally in the context of law enforcement, scandal, spectacle or satire. But in the 1970s, there emerged a new genre of queer photography that didn’t take pains to “other” its subjects, adopting instead a position of sympathetic witness. Anthony Friedkin’s photographs — especially his \u003cem>Gay Essay\u003c/em> (1969-1973), now on \u003ca href=\"http://deyoung.famsf.org/deyoung/exhibitions/anthony-friedkin-gay-essay\" target=\"_blank\" rel=\"noopener\">exhibit at the de Young Museum\u003c/a> in a show timed for the 45\u003csup>th\u003c/sup> anniversary of the Stonewall riots — assume exactly such a sympathetic stance. His pictures are notably quiet, neither triumphal nor suffused with pathos. And that, paradoxically, is why they are important — and why they were largely forgotten. In the years immediately after Stonewall, pictures of ordinary gay people leading ordinary lives were nothing short of extraordinary.\u003c/p>\n\u003cp>LGBTQ photography has changed and developed since then, along with the political movement that gave it birth. What follows is a list of largely West Coast LGBTQ photographers from Friedkin’s moment to the present. Collectively, their work can be read as a sensitive barometer to shifts in queer social life, revealing the turbulent political weather that has pushed queer identity into forms and guises unimaginable four decades ago.\u003c/p>\n\u003cfigure id=\"attachment_10137898\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/tress-capture-cropped.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10137898\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/tress-capture-cropped-400x403.jpg\" alt=\"Arthur Tress' "Flood Dream" \" width=\"400\" height=\"403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tress-capture-cropped-400x403.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tress-capture-cropped-297x300.jpg 297w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tress-capture-cropped-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tress-capture-cropped-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tress-capture-cropped-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tress-capture-cropped-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tress-capture-cropped-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tress-capture-cropped.jpg 826w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Surrealist timelessness: Arthur Tress, “Flood Dream,” 1971. \u003cem>c. Arthur Tress\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>Tress and Arnold: The Dream of Escape\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"http://www.arthurtress.com/\" target=\"_blank\" rel=\"noopener\">Arthur Tress\u003c/a> (born 1940), a photographer from New York who has spent much of his life in California, and \u003ca href=\"http://stevenarnoldarchive.com/\" target=\"_blank\" rel=\"noopener\">Steven Arnold\u003c/a> (1943-1994), a California artist, both cultivate in very different ways a photographic sensibility that casts Friedkin’s photos into high relief. Both are slightly older than Friedkin (who was born in 1949). Neither man’s photographs aspire to either contemporary relevance or to social understanding, opting instead for a kind of dreamy, surrealist timelessness.\u003c/p>\n\u003cp>But while Tress’ work pulls the viewer into a dream that turns on the psychic state of the photographer’s subject, Arnold’s leads the viewer away from the subject of the photo into a larger exploration of the viewer’s subjective responses. In Tress’ “Flood Dream,” for example, a young boy appears as an image of childhood alienation. As with so many Tress images of loneliness and displacement, the work suggests the psychic toll of social difference. \u003c/p>\n\u003cfigure id=\"attachment_10137714\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arnold-dream-of-transformation.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137714 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arnold-dream-of-transformation-400x407.jpg\" alt=\"“Dreams of Transformation,”\" width=\"400\" height=\"407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arnold-dream-of-transformation-400x407.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arnold-dream-of-transformation-294x300.jpg 294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arnold-dream-of-transformation-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arnold-dream-of-transformation-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arnold-dream-of-transformation-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arnold-dream-of-transformation.jpg 949w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Camp melodrama: Steven Arnold, “Dreams of Transformation” \u003cem>c. Steven Arnold\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnold’s “Dreams of Transformation,” on the other hand, stages a palpably artificial performance to invoke a camp melodrama. Like much of Arnold’s work, the photo is a \u003cem>tableau vivant\u003c/em> with a kind of queer subtext. The dreaming subject is a cipher, unreadable even as to whether she’s a woman or a man in drag. Queerness is present not in the form of a particular subject encountered on the street, as in Friedkin, but as an aura that suffuses everything.\u003c/p>\n\u003ch3>\u003cstrong>Tee Corinne and the Landscape of Womanlove\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"http://www.queer-arts.org/archive/9809/corinne/corinne.html\" target=\"_blank\" rel=\"noopener\">Tee Corrine\u003c/a> (1943-2006), an influential artist based in Oregon, also resisted the impulse toward photojournalism, yet she managed to adhere to an ethic of reportage.\u003c/p>\n\u003cfigure id=\"attachment_10137728\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Yantra-41-Tee-Corinne.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137728 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Yantra-41-Tee-Corinne.jpg\" alt='\"Yantra #41, from the Yantras of Womanlove ' width=\"750\" height=\"441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Yantra-41-Tee-Corinne.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Yantra-41-Tee-Corinne-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Yantra-41-Tee-Corinne-300x176.jpg 300w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vistas of untamed femaleness: Tee Corinne, “Yantra #41,” from the \u003ci>Yantras of Womanlove\u003c/i> series. \u003cem>c. Tee Corinne; Courtesy of the Tee A. Corinne Papers, University of Oregon Libraries.\u003c/em> \u003ccite>(c. Tee A. Corinne Papers, University of Oregon Libraries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A pioneering photographer, art historian and advocate for a specifically lesbian visual culture, Corrine was well aware of the danger that images of women together might serve the pleasure of a heterosexual male gaze. To frustrate that unwelcome attention, she used processes like solarization and double exposure to make images that offer the outlines of women’s faces and bodies, while robbing them of the specificity required for an erotic charge. Her nudes resist the confines of conventional beauty while opening onto a seductive picture of female sexual self-determination.\u003c/p>\n\u003cfigure id=\"attachment_10137715\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/burns-Michelle-N.Y.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137715\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/burns-Michelle-N.Y.jpg\" alt='Marsha Burns. \"Michelle, N.Y., 1989\". One-of-a-kind Polaroid instant. 20 x 24 inches ' width=\"400\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/burns-Michelle-N.Y.jpg 363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/burns-Michelle-N.Y-229x300.jpg 229w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Manufacturing masculinity: Marsha Burns, “Michelle, N.Y., 1989” \u003cem>c. Marsha Burns original photograph; digital image courtesy Davidson Galleries.\u003c/em> \u003ccite>(c. Mac. Marsha Burns, original photograph; digital image, Davidson Galleries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Corinne is perhaps more famous as the author of \u003ci>The Cunt Coloring Book\u003c/i>, which invited women to color line drawings of genitalia and to draw their own vaginas and the vaginas of their friends. In some of her photographs, she places images of vaginas seamlessly within undomesticated landscapes, implicitly gendering Mother Nature according to familiar tropes, but also suggesting a wild femaleness that cannot be tamed.\u003c/p>\n\u003ch3>\u003cstrong>Marsha Burns: Manufacturing Masculinity\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"http://www.davidsongalleries.com/artists/burns/burns.ph\" target=\"_blank\" rel=\"noopener\">Marsha Burns\u003c/a> (born 1945) parted ways with the mythopoetics of Corrine’s equation of femininity with nature and fecundity in a series of images of masculinized women she began making in the early 1980s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These images anticipate photographs by artists such as Cathy Opie by a decade, especially with respect to their emphasis on the constructed nature of masculinity — how the right accoutrement, like a cigarette or white t-shirt, can cause one gender to mutate into another. Long before theorists like \u003ca href=\"http://en.wikipedia.org/wiki/judith_butler\" target=\"_blank\" rel=\"noopener\">Judith Butler\u003c/a> codified this idea, Burns underscored the performative aspects of gender roles.\u003c/p>\n\u003cfigure id=\"attachment_10137726\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/tire-man-detail-ritts.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137726 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/tire-man-detail-ritts-400x499.png\" alt='Detail, \"Fred with Tires,\" by Herb Ritts' width=\"400\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tire-man-detail-ritts-400x499.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tire-man-detail-ritts-240x300.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tire-man-detail-ritts.png 577w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mainstreaming the homoerotic gaze: Herb Ritts, “Fred with Tires, Hollywood” (detail) 1984 \u003cem> c. Herb Ritts\u003c/em> \u003ccite>(c. by Herb Ritts.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>AIDS and the Body in Ritts and Chester\u003c/strong>\u003c/h3>\n\u003cp>The onslaught of AIDS in the early 1980s shifted the parameters of gay male photographic possibility. The beautiful male body, once a source of unabashed pride for gay photographers, was now tinged with sadness and even made into a vector of infection by those hostile to gay rights. \u003ca href=\"http://www.herbritts.com/images/\" target=\"_blank\" rel=\"noopener\">Herb Ritts\u003c/a> (1952 – 2002) and \u003ca href=\"http://markichester.com/\" target=\"_blank\" rel=\"noopener\">Mark Chester\u003c/a> (born 1950) offered opposite responses. Ritts was without a doubt the most celebrated commercial and fashion photographer of the 1980s. His gaze was, at the time, the most homoerotic to date in mainstream fashion and advertising, yet the prospect of actual sex is excised. His images of well-muscled men and sensuous women offer no hint of the plague that would ultimately claim the photographer’s own life.\u003c/p>\n\u003cfigure id=\"attachment_10137721\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/hanged-man-chester.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137721\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/hanged-man-chester.jpg\" alt=\"“The Hanged Man”, 1987, from the series “Sexual Portraits & Private Acts from the Warzone by Mark I. Chester\" width=\"650\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hanged-man-chester.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hanged-man-chester-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hanged-man-chester-300x203.jpg 300w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Notes from the sexual underground: Mark I. Chester, “The Hanged Man,” 1987, from the series \u003ci>Sexual Portraits & Private Acts from the Warzone\u003c/i> \u003cem>c. Mark I. Chester\u003c/em> \u003ccite>(c. Mark I. Chester)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mark Chester chose an opposite tack. A celebrated photographer of San Francisco’s sexual underground, Chester portrays a wide range of fetishes in formally composed, often explicit works. Men and a few women of all ages, shapes and sizes populate images in which the naked body is secondary to the hardware, sexual acts and garb in which his subjects glory. At the height of the culture wars and attendant censorship dramas of 1989-1994, Chester courageously photographed playwright Robert Chesleya covered in Kaposi’s sarcoma lesions and sporting a superman suit and an erection.\u003c/p>\n\u003cfigure id=\"attachment_10137718\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Dureau-BJ-Robinson_15455-300.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137718 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Dureau-BJ-Robinson_15455-300-400x403.jpeg\" alt='\"B.J. Robinson,\" by George Dureau' width=\"400\" height=\"403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Dureau-BJ-Robinson_15455-300-400x403.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Dureau-BJ-Robinson_15455-300-297x300.jpeg 297w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Dureau-BJ-Robinson_15455-300-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Dureau-BJ-Robinson_15455-300-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Dureau-BJ-Robinson_15455-300-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Dureau-BJ-Robinson_15455-300-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Dureau-BJ-Robinson_15455-300-75x75.jpeg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Dureau-BJ-Robinson_15455-300.jpeg 480w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rewriting the beauty code: George Dureau, “B.J. Robinson” 1978 \u003cem>c. George Dureau; Courtesy of Arthur Roger Gallery\u003c/em> \u003ccite>(Courtesy of Arthur Roger Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>Rewriting the Beauty Code: Dureau and Hujar \u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"http://arthurrogergallery.com/artists/george-dureau/\" target=\"_blank\" rel=\"noopener\">George Dureau\u003c/a> (1930-2014) and \u003ca href=\"http://fraenkelgallery.com/artists/peter-hujar\" target=\"_blank\" rel=\"noopener\">Peter Hujar\u003c/a> (1934-1987) both made the wounded, the feral, the outsider and the unconventionally beautiful the defining subjects of their work. Both were raised as Catholics — Dureau in New Orleans and Hujar in New York — and in their work one feels a palpable sense both of the body’s frailty and of the possibility of the flesh’s transcendence.\u003c/p>\n\u003cp>Dureau in particular was celebrated for his sensitive depictions of men and a few women conventionally termed disabled or disfigured. In his images these subjects are heroic, erotic or ordinary, but above all made real as individuals with interior lives.\u003c/p>\n\u003cfigure id=\"attachment_10137722\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/hujar.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137722 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/hujar-400x396.jpg\" alt='\"David Wojnarowicz Reclining (II),\" 1981, by Peter Hujar' width=\"400\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hujar-400x396.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hujar-300x297.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hujar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hujar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hujar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hujar-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hujar-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hujar.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peter Hujar’s 1981 “David Wojnarowicz Reclining (II),” a portrait of the painter, photographer, writer and filmmaker who ultimately died of AIDS. \u003cem>c. Peter Hujar Archive LLC; Courtesy Pace Macgill Gallery, New York and Fraenkel Gallery, San Francisco\u003c/em> \u003ccite>(c. Peter Hujar Archive LLC; Pace Macgill Gallery New York; Fraenkel Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hujar too found beauty in what others would pass over. In his more aggressively homoerotic photos, we see an array of faces and bodies that are hardly model beautiful. Photographed by him, however, they’re unforgettable.\u003c/p>\n\u003cp>The queerness in both bodies of work lies not only in the gender of their favored subjects but in this act of reclamation from the margins, this rewriting of the codes of acceptable beauty.\u003c/p>\n\u003ch3>\u003cstrong>Cathy Opie’s Queer Grandeur \u003c/strong>\u003c/h3>\n\u003cp>One of the most celebrated photographers in the world today, California artist \u003ca href=\"http://web.guggenheim.org/exhibitions/opie/exhibition.html\" target=\"_blank\" rel=\"noopener\">Cathy Opie\u003c/a> has always made her queerness a key facet of her work. She rocketed to fame on a series of crisp, color photographs, some self-portraits, in which marginal sexual identities were treated with the grandeur, pomp and majesty of 17th-century royal portraiture. \u003c/p>\n\u003cfigure id=\"attachment_10137724\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/opie-selfportraitnursing.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137724\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/opie-selfportraitnursing-400x513.jpg\" alt='Catherine Opie, \"Self Portrait / Nursing,\" 2004, C-print 40 x 32 inches, Courtesy the artist and Regen Projects, Los Angeles. c. Catherine Opie' width=\"480\" height=\"616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/opie-selfportraitnursing-400x513.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/opie-selfportraitnursing-233x300.jpg 233w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/opie-selfportraitnursing-1122x1440.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/opie-selfportraitnursing.jpg 1596w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Queer grandeur: Catherine Opie, “Self Portrait / Nursing,” 2004. Click for an enlargement to see the word “Pervert” scarred onto Opie’s chest. \u003cem>c. Catherine Opie; Courtesy the artist and Regen Projects, Los Angeles\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Her frank self-revelation included a self-portrait with the word “pervert” carved in her chest in baroque script, dripping blood. In another image, a tender self-portrait breastfeeding her son, the scars of that act are still in evidence, the word still legible. With this study in contrasts, Opie manages both to embody and to comment on the age-old religious trope of the Madonna and child.\u003c/p>\n\u003ch3>\u003cstrong>Nan Goldin’s World\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_10137976\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/misty-and-jimmy-paulette-1200px.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137976\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/misty-and-jimmy-paulette-1200px-400x244.jpg\" alt=\"Fleeting moments: Nan Goldin, “Misty and Jimmy Paulette in a Taxi, NYC,” 1991. C. Nan Goldin, courtesy Matthew Marks Gallery\" width=\"480\" height=\"293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/misty-and-jimmy-paulette-1200px-400x244.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/misty-and-jimmy-paulette-1200px-300x183.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/misty-and-jimmy-paulette-1200px.jpg 1200w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fleeting moments: Nan Goldin, “Misty and Jimmy Paulette in a Taxi, NYC,” 1991. \u003cem>C. Nan Goldin, courtesy Matthew Marks Gallery\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Opie, \u003ca href=\"http://www.matthewmarks.com/new-york/artists/nan-goldin/\" target=\"_blank\" rel=\"noopener\">Nan Goldin\u003c/a> photographs herself and her social circle. But unlike Opie, this New York artist’s works operate firmly within the photojournalistic tradition of capturing a fleeting moment of particular intensity. Such moments might include a brutal self portrait after a beating delivered by a boyfriend, a man kissing his partner who has just died of AIDS or two boys in drag in a taxi out for a night on the town. Taken together, her pansexual body of work paints the broad outlines of a life lived at the sexual and social margins, now deemed worthy of grandiloquent representation. But unlike Friedkin’s or Opie’s work, her photographs are never posed; her subjects know they are going to be photographed, but they don’t know when. This sense of isolating intimate moments out of a continuum of lives lived fully gives Goldin’s work the quality of cinema verite.\u003c/p>\n\u003ch3>\u003cstrong>Nature vs. Nurture: Aguilar and Cassils\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_10137717\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Center-78-2001.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137717\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Center-78-2001.jpg\" alt='Laura Aguilar, \"Center 78,\" 2001. Courtesy the UCLA Chicano Studies Research Center.' width=\"500\" height=\"363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Center-78-2001.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Center-78-2001-400x290.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Center-78-2001-300x217.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nature vs. nurture: Laura Aguilar, “Center 78,” 2001. \u003cem>c. Laura Aguilar; Courtesy the UCLA Chicano Studies Research Center\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Tee Corinne, Laura Aguilar (born 1959) equates the female body with nature, but Aguilar’s body is of such a scale and shape as to begin to merge with the landscape itself. Challenging the cannon of acceptable female nudity, she gives her self-portraits an enduring, timeless quality by combining her form with timeworn natural features like boulders, pools or ancient trees.\u003c/p>\n\u003cp>This naturalization of the female form is precisely what the artist Heather Cassils seeks to refute. Through a daily regimen of intense physical training and metabolic steroids, she has transformed her own body into an idealized, manifestly male physique.\u003c/p>\n\u003cfigure id=\"attachment_10137716\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/cassils.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137716 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/cassils-400x600.jpg\" alt='Heather Cassils, \"Becoming An Image Performance Still No. 1,\" 2012, C-print face mounted to plexiglas, 45 x 30 inches. c. Heather Cassils and Eric Charles, Courtesy of Ronald Feldman Fine Arts, New York' width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/cassils-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/cassils-200x300.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/cassils-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/cassils.jpg 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nature vs. nurture: Heather Cassils, “Becoming an Image Performance Still No. 1,” 2012. \u003cem>c. Heather Cassils and Eric Charles; Courtesy of Ronald Feldman Fine Arts, New York\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>In one celebrated performance, she punches a huge cylinder of clay with her powerful biceps in an act of creative self sculpturing in which her unquestionable physical and performative masculinity wars with what we know to be true.\u003c/p>\n\u003cp>In the years since Friedkin’s \u003cem>Gay Essay,\u003c/em> the mere assertion of gay presence has been superseded by a photographic exploration into what that presence actually means. What are the social standards by which something is marked off as queer? In their various ways, each of the photographers here has deployed sexuality as part of that investigation.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Hardly the despised other in need of respectful representation, queer photography now stands at the vanguard of a new pictorial inquiry into how social norms, internalized, are made flesh.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>Jonathan D. Katz\u003c/strong> was co-curator of \u003ca href=\"http://npg.si.edu/exhibit/hideseek/\" target=\"_blank\" rel=\"noopener\">Hide/Seek: Difference and Desire in American Portraiture\u003c/a>, at the Smithsonian National Portrait Gallery in 2010 — the first queer exhibition ever mounted at a major US museum. Katz is the president and chief curator of the new Leslie Lohman Museum of Gay and Lesbian Art, New York City, and directs the doctoral program in Visual Studies at the University at Buffalo. He is presently completing a book, \u003cem>The Silent Camp: Jasper Johns, Robert Rauschenberg and the Cold War\u003c/em>, to be published by the University of Chicago Press.\u003c/h5>\n\n",
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"excerpt": "Immediately after the Stonewall riots, in 1969, photographer Anthony Friedkin began documenting LGBT life in his groundbreaking \u003cem>Gay Essay,\u003c/em> now on exhibit at the de Young Museum. In the decades since, photographers have continued to explore and expand the meaning of queer identity. Works by the 12 artists in this album illuminate themes from those turbulent years. ",
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"description": "Immediately after the Stonewall riots, in 1969, photographer Anthony Friedkin began documenting LGBT life in his groundbreaking Gay Essay, now on exhibit at the de Young Museum. In the decades since, photographers have continued to explore and expand the meaning of queer identity. Works by the 12 artists in this album illuminate themes from those turbulent years. ",
"title": "Through Queer Eyes: 45 Years of (Mostly West-Coast) LGBT Photography | KQED",
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"headline": "Through Queer Eyes: 45 Years of (Mostly West-Coast) LGBT Photography",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch5>\u003cem>\u003cstrong>Image advisory:\u003c/strong> many of the Web sites linked to in this article contain photographs that are sexually explicit.\u003c/em>\u003c/h5>\n\u003cp>It is not entirely happenstance that the founding figure of the modern gay movement, Harvey Milk, was a photographer and the owner of a camera store. In the 1970s, the simple documentation of presence, the photographic equivalent of saying “we are here,” by itself assumed a progressive political cast for a population long freighted with the demand to remain both silent and invisible. At my current age of 55, I still remember the embarrassing sting of a film store’s refusal to process pictures of my 23rd (very gay) birthday party because the printer deemed the images “indecent.”\u003c/p>\n\u003cfigure id=\"attachment_10137837\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/friedkin-plate-47.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137837 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/friedkin-plate-47-400x574.jpg\" alt='Anthony Friedkin, \"Bobbie and Linda, Venice, 1970. c. Anthony Friedkin. ' width=\"400\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/friedkin-plate-47-400x574.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/friedkin-plate-47.jpg 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Extraordinary ordinariness: Anthony Friedkin, “Bobbie and Linda, Venice,” 1970. \u003cem>c. Anthony Friedkin\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Queers had, of course, long been photographed, generally in the context of law enforcement, scandal, spectacle or satire. But in the 1970s, there emerged a new genre of queer photography that didn’t take pains to “other” its subjects, adopting instead a position of sympathetic witness. Anthony Friedkin’s photographs — especially his \u003cem>Gay Essay\u003c/em> (1969-1973), now on \u003ca href=\"http://deyoung.famsf.org/deyoung/exhibitions/anthony-friedkin-gay-essay\" target=\"_blank\" rel=\"noopener\">exhibit at the de Young Museum\u003c/a> in a show timed for the 45\u003csup>th\u003c/sup> anniversary of the Stonewall riots — assume exactly such a sympathetic stance. His pictures are notably quiet, neither triumphal nor suffused with pathos. And that, paradoxically, is why they are important — and why they were largely forgotten. In the years immediately after Stonewall, pictures of ordinary gay people leading ordinary lives were nothing short of extraordinary.\u003c/p>\n\u003cp>LGBTQ photography has changed and developed since then, along with the political movement that gave it birth. What follows is a list of largely West Coast LGBTQ photographers from Friedkin’s moment to the present. Collectively, their work can be read as a sensitive barometer to shifts in queer social life, revealing the turbulent political weather that has pushed queer identity into forms and guises unimaginable four decades ago.\u003c/p>\n\u003cfigure id=\"attachment_10137898\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/tress-capture-cropped.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10137898\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/tress-capture-cropped-400x403.jpg\" alt=\"Arthur Tress' "Flood Dream" \" width=\"400\" height=\"403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tress-capture-cropped-400x403.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tress-capture-cropped-297x300.jpg 297w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tress-capture-cropped-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tress-capture-cropped-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tress-capture-cropped-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tress-capture-cropped-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tress-capture-cropped-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tress-capture-cropped.jpg 826w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Surrealist timelessness: Arthur Tress, “Flood Dream,” 1971. \u003cem>c. Arthur Tress\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>Tress and Arnold: The Dream of Escape\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"http://www.arthurtress.com/\" target=\"_blank\" rel=\"noopener\">Arthur Tress\u003c/a> (born 1940), a photographer from New York who has spent much of his life in California, and \u003ca href=\"http://stevenarnoldarchive.com/\" target=\"_blank\" rel=\"noopener\">Steven Arnold\u003c/a> (1943-1994), a California artist, both cultivate in very different ways a photographic sensibility that casts Friedkin’s photos into high relief. Both are slightly older than Friedkin (who was born in 1949). Neither man’s photographs aspire to either contemporary relevance or to social understanding, opting instead for a kind of dreamy, surrealist timelessness.\u003c/p>\n\u003cp>But while Tress’ work pulls the viewer into a dream that turns on the psychic state of the photographer’s subject, Arnold’s leads the viewer away from the subject of the photo into a larger exploration of the viewer’s subjective responses. In Tress’ “Flood Dream,” for example, a young boy appears as an image of childhood alienation. As with so many Tress images of loneliness and displacement, the work suggests the psychic toll of social difference. \u003c/p>\n\u003cfigure id=\"attachment_10137714\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arnold-dream-of-transformation.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137714 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arnold-dream-of-transformation-400x407.jpg\" alt=\"“Dreams of Transformation,”\" width=\"400\" height=\"407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arnold-dream-of-transformation-400x407.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arnold-dream-of-transformation-294x300.jpg 294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arnold-dream-of-transformation-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arnold-dream-of-transformation-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arnold-dream-of-transformation-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arnold-dream-of-transformation.jpg 949w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Camp melodrama: Steven Arnold, “Dreams of Transformation” \u003cem>c. Steven Arnold\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnold’s “Dreams of Transformation,” on the other hand, stages a palpably artificial performance to invoke a camp melodrama. Like much of Arnold’s work, the photo is a \u003cem>tableau vivant\u003c/em> with a kind of queer subtext. The dreaming subject is a cipher, unreadable even as to whether she’s a woman or a man in drag. Queerness is present not in the form of a particular subject encountered on the street, as in Friedkin, but as an aura that suffuses everything.\u003c/p>\n\u003ch3>\u003cstrong>Tee Corinne and the Landscape of Womanlove\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"http://www.queer-arts.org/archive/9809/corinne/corinne.html\" target=\"_blank\" rel=\"noopener\">Tee Corrine\u003c/a> (1943-2006), an influential artist based in Oregon, also resisted the impulse toward photojournalism, yet she managed to adhere to an ethic of reportage.\u003c/p>\n\u003cfigure id=\"attachment_10137728\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Yantra-41-Tee-Corinne.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137728 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Yantra-41-Tee-Corinne.jpg\" alt='\"Yantra #41, from the Yantras of Womanlove ' width=\"750\" height=\"441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Yantra-41-Tee-Corinne.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Yantra-41-Tee-Corinne-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Yantra-41-Tee-Corinne-300x176.jpg 300w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vistas of untamed femaleness: Tee Corinne, “Yantra #41,” from the \u003ci>Yantras of Womanlove\u003c/i> series. \u003cem>c. Tee Corinne; Courtesy of the Tee A. Corinne Papers, University of Oregon Libraries.\u003c/em> \u003ccite>(c. Tee A. Corinne Papers, University of Oregon Libraries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A pioneering photographer, art historian and advocate for a specifically lesbian visual culture, Corrine was well aware of the danger that images of women together might serve the pleasure of a heterosexual male gaze. To frustrate that unwelcome attention, she used processes like solarization and double exposure to make images that offer the outlines of women’s faces and bodies, while robbing them of the specificity required for an erotic charge. Her nudes resist the confines of conventional beauty while opening onto a seductive picture of female sexual self-determination.\u003c/p>\n\u003cfigure id=\"attachment_10137715\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/burns-Michelle-N.Y.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137715\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/burns-Michelle-N.Y.jpg\" alt='Marsha Burns. \"Michelle, N.Y., 1989\". One-of-a-kind Polaroid instant. 20 x 24 inches ' width=\"400\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/burns-Michelle-N.Y.jpg 363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/burns-Michelle-N.Y-229x300.jpg 229w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Manufacturing masculinity: Marsha Burns, “Michelle, N.Y., 1989” \u003cem>c. Marsha Burns original photograph; digital image courtesy Davidson Galleries.\u003c/em> \u003ccite>(c. Mac. Marsha Burns, original photograph; digital image, Davidson Galleries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Corinne is perhaps more famous as the author of \u003ci>The Cunt Coloring Book\u003c/i>, which invited women to color line drawings of genitalia and to draw their own vaginas and the vaginas of their friends. In some of her photographs, she places images of vaginas seamlessly within undomesticated landscapes, implicitly gendering Mother Nature according to familiar tropes, but also suggesting a wild femaleness that cannot be tamed.\u003c/p>\n\u003ch3>\u003cstrong>Marsha Burns: Manufacturing Masculinity\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"http://www.davidsongalleries.com/artists/burns/burns.ph\" target=\"_blank\" rel=\"noopener\">Marsha Burns\u003c/a> (born 1945) parted ways with the mythopoetics of Corrine’s equation of femininity with nature and fecundity in a series of images of masculinized women she began making in the early 1980s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These images anticipate photographs by artists such as Cathy Opie by a decade, especially with respect to their emphasis on the constructed nature of masculinity — how the right accoutrement, like a cigarette or white t-shirt, can cause one gender to mutate into another. Long before theorists like \u003ca href=\"http://en.wikipedia.org/wiki/judith_butler\" target=\"_blank\" rel=\"noopener\">Judith Butler\u003c/a> codified this idea, Burns underscored the performative aspects of gender roles.\u003c/p>\n\u003cfigure id=\"attachment_10137726\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/tire-man-detail-ritts.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137726 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/tire-man-detail-ritts-400x499.png\" alt='Detail, \"Fred with Tires,\" by Herb Ritts' width=\"400\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tire-man-detail-ritts-400x499.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tire-man-detail-ritts-240x300.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tire-man-detail-ritts.png 577w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mainstreaming the homoerotic gaze: Herb Ritts, “Fred with Tires, Hollywood” (detail) 1984 \u003cem> c. Herb Ritts\u003c/em> \u003ccite>(c. by Herb Ritts.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>AIDS and the Body in Ritts and Chester\u003c/strong>\u003c/h3>\n\u003cp>The onslaught of AIDS in the early 1980s shifted the parameters of gay male photographic possibility. The beautiful male body, once a source of unabashed pride for gay photographers, was now tinged with sadness and even made into a vector of infection by those hostile to gay rights. \u003ca href=\"http://www.herbritts.com/images/\" target=\"_blank\" rel=\"noopener\">Herb Ritts\u003c/a> (1952 – 2002) and \u003ca href=\"http://markichester.com/\" target=\"_blank\" rel=\"noopener\">Mark Chester\u003c/a> (born 1950) offered opposite responses. Ritts was without a doubt the most celebrated commercial and fashion photographer of the 1980s. His gaze was, at the time, the most homoerotic to date in mainstream fashion and advertising, yet the prospect of actual sex is excised. His images of well-muscled men and sensuous women offer no hint of the plague that would ultimately claim the photographer’s own life.\u003c/p>\n\u003cfigure id=\"attachment_10137721\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/hanged-man-chester.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137721\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/hanged-man-chester.jpg\" alt=\"“The Hanged Man”, 1987, from the series “Sexual Portraits & Private Acts from the Warzone by Mark I. Chester\" width=\"650\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hanged-man-chester.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hanged-man-chester-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hanged-man-chester-300x203.jpg 300w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Notes from the sexual underground: Mark I. Chester, “The Hanged Man,” 1987, from the series \u003ci>Sexual Portraits & Private Acts from the Warzone\u003c/i> \u003cem>c. Mark I. Chester\u003c/em> \u003ccite>(c. Mark I. Chester)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mark Chester chose an opposite tack. A celebrated photographer of San Francisco’s sexual underground, Chester portrays a wide range of fetishes in formally composed, often explicit works. Men and a few women of all ages, shapes and sizes populate images in which the naked body is secondary to the hardware, sexual acts and garb in which his subjects glory. At the height of the culture wars and attendant censorship dramas of 1989-1994, Chester courageously photographed playwright Robert Chesleya covered in Kaposi’s sarcoma lesions and sporting a superman suit and an erection.\u003c/p>\n\u003cfigure id=\"attachment_10137718\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Dureau-BJ-Robinson_15455-300.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137718 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Dureau-BJ-Robinson_15455-300-400x403.jpeg\" alt='\"B.J. Robinson,\" by George Dureau' width=\"400\" height=\"403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Dureau-BJ-Robinson_15455-300-400x403.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Dureau-BJ-Robinson_15455-300-297x300.jpeg 297w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Dureau-BJ-Robinson_15455-300-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Dureau-BJ-Robinson_15455-300-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Dureau-BJ-Robinson_15455-300-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Dureau-BJ-Robinson_15455-300-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Dureau-BJ-Robinson_15455-300-75x75.jpeg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Dureau-BJ-Robinson_15455-300.jpeg 480w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rewriting the beauty code: George Dureau, “B.J. Robinson” 1978 \u003cem>c. George Dureau; Courtesy of Arthur Roger Gallery\u003c/em> \u003ccite>(Courtesy of Arthur Roger Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>Rewriting the Beauty Code: Dureau and Hujar \u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"http://arthurrogergallery.com/artists/george-dureau/\" target=\"_blank\" rel=\"noopener\">George Dureau\u003c/a> (1930-2014) and \u003ca href=\"http://fraenkelgallery.com/artists/peter-hujar\" target=\"_blank\" rel=\"noopener\">Peter Hujar\u003c/a> (1934-1987) both made the wounded, the feral, the outsider and the unconventionally beautiful the defining subjects of their work. Both were raised as Catholics — Dureau in New Orleans and Hujar in New York — and in their work one feels a palpable sense both of the body’s frailty and of the possibility of the flesh’s transcendence.\u003c/p>\n\u003cp>Dureau in particular was celebrated for his sensitive depictions of men and a few women conventionally termed disabled or disfigured. In his images these subjects are heroic, erotic or ordinary, but above all made real as individuals with interior lives.\u003c/p>\n\u003cfigure id=\"attachment_10137722\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/hujar.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137722 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/hujar-400x396.jpg\" alt='\"David Wojnarowicz Reclining (II),\" 1981, by Peter Hujar' width=\"400\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hujar-400x396.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hujar-300x297.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hujar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hujar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hujar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hujar-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hujar-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hujar.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peter Hujar’s 1981 “David Wojnarowicz Reclining (II),” a portrait of the painter, photographer, writer and filmmaker who ultimately died of AIDS. \u003cem>c. Peter Hujar Archive LLC; Courtesy Pace Macgill Gallery, New York and Fraenkel Gallery, San Francisco\u003c/em> \u003ccite>(c. Peter Hujar Archive LLC; Pace Macgill Gallery New York; Fraenkel Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hujar too found beauty in what others would pass over. In his more aggressively homoerotic photos, we see an array of faces and bodies that are hardly model beautiful. Photographed by him, however, they’re unforgettable.\u003c/p>\n\u003cp>The queerness in both bodies of work lies not only in the gender of their favored subjects but in this act of reclamation from the margins, this rewriting of the codes of acceptable beauty.\u003c/p>\n\u003ch3>\u003cstrong>Cathy Opie’s Queer Grandeur \u003c/strong>\u003c/h3>\n\u003cp>One of the most celebrated photographers in the world today, California artist \u003ca href=\"http://web.guggenheim.org/exhibitions/opie/exhibition.html\" target=\"_blank\" rel=\"noopener\">Cathy Opie\u003c/a> has always made her queerness a key facet of her work. She rocketed to fame on a series of crisp, color photographs, some self-portraits, in which marginal sexual identities were treated with the grandeur, pomp and majesty of 17th-century royal portraiture. \u003c/p>\n\u003cfigure id=\"attachment_10137724\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/opie-selfportraitnursing.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137724\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/opie-selfportraitnursing-400x513.jpg\" alt='Catherine Opie, \"Self Portrait / Nursing,\" 2004, C-print 40 x 32 inches, Courtesy the artist and Regen Projects, Los Angeles. c. Catherine Opie' width=\"480\" height=\"616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/opie-selfportraitnursing-400x513.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/opie-selfportraitnursing-233x300.jpg 233w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/opie-selfportraitnursing-1122x1440.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/opie-selfportraitnursing.jpg 1596w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Queer grandeur: Catherine Opie, “Self Portrait / Nursing,” 2004. Click for an enlargement to see the word “Pervert” scarred onto Opie’s chest. \u003cem>c. Catherine Opie; Courtesy the artist and Regen Projects, Los Angeles\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Her frank self-revelation included a self-portrait with the word “pervert” carved in her chest in baroque script, dripping blood. In another image, a tender self-portrait breastfeeding her son, the scars of that act are still in evidence, the word still legible. With this study in contrasts, Opie manages both to embody and to comment on the age-old religious trope of the Madonna and child.\u003c/p>\n\u003ch3>\u003cstrong>Nan Goldin’s World\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_10137976\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/misty-and-jimmy-paulette-1200px.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137976\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/misty-and-jimmy-paulette-1200px-400x244.jpg\" alt=\"Fleeting moments: Nan Goldin, “Misty and Jimmy Paulette in a Taxi, NYC,” 1991. C. Nan Goldin, courtesy Matthew Marks Gallery\" width=\"480\" height=\"293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/misty-and-jimmy-paulette-1200px-400x244.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/misty-and-jimmy-paulette-1200px-300x183.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/misty-and-jimmy-paulette-1200px.jpg 1200w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fleeting moments: Nan Goldin, “Misty and Jimmy Paulette in a Taxi, NYC,” 1991. \u003cem>C. Nan Goldin, courtesy Matthew Marks Gallery\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Opie, \u003ca href=\"http://www.matthewmarks.com/new-york/artists/nan-goldin/\" target=\"_blank\" rel=\"noopener\">Nan Goldin\u003c/a> photographs herself and her social circle. But unlike Opie, this New York artist’s works operate firmly within the photojournalistic tradition of capturing a fleeting moment of particular intensity. Such moments might include a brutal self portrait after a beating delivered by a boyfriend, a man kissing his partner who has just died of AIDS or two boys in drag in a taxi out for a night on the town. Taken together, her pansexual body of work paints the broad outlines of a life lived at the sexual and social margins, now deemed worthy of grandiloquent representation. But unlike Friedkin’s or Opie’s work, her photographs are never posed; her subjects know they are going to be photographed, but they don’t know when. This sense of isolating intimate moments out of a continuum of lives lived fully gives Goldin’s work the quality of cinema verite.\u003c/p>\n\u003ch3>\u003cstrong>Nature vs. Nurture: Aguilar and Cassils\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_10137717\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Center-78-2001.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137717\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Center-78-2001.jpg\" alt='Laura Aguilar, \"Center 78,\" 2001. Courtesy the UCLA Chicano Studies Research Center.' width=\"500\" height=\"363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Center-78-2001.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Center-78-2001-400x290.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Center-78-2001-300x217.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nature vs. nurture: Laura Aguilar, “Center 78,” 2001. \u003cem>c. Laura Aguilar; Courtesy the UCLA Chicano Studies Research Center\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Tee Corinne, Laura Aguilar (born 1959) equates the female body with nature, but Aguilar’s body is of such a scale and shape as to begin to merge with the landscape itself. Challenging the cannon of acceptable female nudity, she gives her self-portraits an enduring, timeless quality by combining her form with timeworn natural features like boulders, pools or ancient trees.\u003c/p>\n\u003cp>This naturalization of the female form is precisely what the artist Heather Cassils seeks to refute. Through a daily regimen of intense physical training and metabolic steroids, she has transformed her own body into an idealized, manifestly male physique.\u003c/p>\n\u003cfigure id=\"attachment_10137716\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/cassils.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10137716 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/cassils-400x600.jpg\" alt='Heather Cassils, \"Becoming An Image Performance Still No. 1,\" 2012, C-print face mounted to plexiglas, 45 x 30 inches. c. Heather Cassils and Eric Charles, Courtesy of Ronald Feldman Fine Arts, New York' width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/cassils-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/cassils-200x300.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/cassils-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/cassils.jpg 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nature vs. nurture: Heather Cassils, “Becoming an Image Performance Still No. 1,” 2012. \u003cem>c. Heather Cassils and Eric Charles; Courtesy of Ronald Feldman Fine Arts, New York\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>In one celebrated performance, she punches a huge cylinder of clay with her powerful biceps in an act of creative self sculpturing in which her unquestionable physical and performative masculinity wars with what we know to be true.\u003c/p>\n\u003cp>In the years since Friedkin’s \u003cem>Gay Essay,\u003c/em> the mere assertion of gay presence has been superseded by a photographic exploration into what that presence actually means. What are the social standards by which something is marked off as queer? In their various ways, each of the photographers here has deployed sexuality as part of that investigation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hardly the despised other in need of respectful representation, queer photography now stands at the vanguard of a new pictorial inquiry into how social norms, internalized, are made flesh.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>Jonathan D. Katz\u003c/strong> was co-curator of \u003ca href=\"http://npg.si.edu/exhibit/hideseek/\" target=\"_blank\" rel=\"noopener\">Hide/Seek: Difference and Desire in American Portraiture\u003c/a>, at the Smithsonian National Portrait Gallery in 2010 — the first queer exhibition ever mounted at a major US museum. Katz is the president and chief curator of the new Leslie Lohman Museum of Gay and Lesbian Art, New York City, and directs the doctoral program in Visual Studies at the University at Buffalo. He is presently completing a book, \u003cem>The Silent Camp: Jasper Johns, Robert Rauschenberg and the Cold War\u003c/em>, to be published by the University of Chicago Press.\u003c/h5>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"onourwatch": {
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"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?",
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"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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},
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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