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"content": "\u003cp>“Moomin” is a word Walt Disney wanted exclusive rights to in the 1950s. The significance of this word may puzzle Americans, but for millions of children around the world, it needs no translation.\u003c/p>\n\u003cp>Technically \u003ca href=\"http://en.wikipedia.org/wiki/Moomin\">Moomin\u003c/a> is a nonsensical word, but it’s also the name of a hippopotamus-like creature who lives in a place called Moominvalley with his family of Moomintrolls.\u003c/p>\n\u003cp>“Moomin is probably the most known and adored Finnish icon, if not before, then right after Santa Claus,” according to \u003ca href=\"http://www.visitfinland.com/article/long-live-the-moomins/\">the Official Travel Site of Finland\u003c/a>.\u003c/p>\n\u003cp>In fact, Moomins pop up in the most unexpected places: \u003ca href=\"http://www.bullspress.com/news/moomin-finnair/\">Finnair’s airplanes\u003c/a>, \u003ca href=\"http://gcl.felissimo.jp/goods_en_27687.html\"> Japanese catalogues\u003c/a>, even in Björk’s music video. Once you start seeing Moomins you can’t stop seeing them everywhere.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=xIqGvu39muo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moomin began as a caricature of Immanuel Kant, drawn on a bathroom wall by the Finnish visual artist, illustrator and author \u003ca href=\"http://en.wikipedia.org/wiki/Tove_Jansson\">Tove Jansson\u003c/a> during an argument with her brother. In the 1940s, the caricature evolved into the cuddly, and not entirely un-philosophical Moomintroll family.\u003c/p>\n\u003cp>Moomin is the main character of Jansson’s comic strip, which follows the whimsical Moomintroll family on various adventures as they subvert their “very ordinary middle-class life.” The family is made up of practical Moominmamma and eccentric Moominpappa, their romantic son Moomin, and his flighty girlfriend Snorkmaiden.\u003c/p>\n\u003cfigure id=\"attachment_10136268\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Moomins.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10136268\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Moomins.jpg\" alt=\"Tove Jansson, Self Portrait; courtesy Tove 100\" width=\"800\" height=\"1008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Moomins.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Moomins-400x504.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Moomins-238x300.jpg 238w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tove Jansson, \u003ci>Self Portrait\u003c/i> \u003ccite>( courtesy Tove 100)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1951, Jansson’s third children’s book, \u003ca href=\"http://www.indiebound.org/book/9780312608897\">\u003ci>Finn Family Moomintroll\u003c/i>\u003c/a>, was translated into English and caught the attention of a London agent who asked her to produce six strips a week for the next seven years. In just two years the comic strip reached 12 million readers thanks to its publication and syndication through the British Associated Press in 120 newspapers around the world.\u003c/p>\n\u003cp>Since then, their adventures have been translated into 44 languages, and Moomins have become some of the most popular children’s characters in the world, even going as far as building their own \u003ca href=\"http://www.muumimaailma.fi/en/home\">theme park.\u003c/a> And this is despite Jansson’s refusal to work with Disney — take that Mickey Mouse!\u003c/p>\n\u003cp>Today Moomins are as popular as ever and not just in their native Finland; Moomin books have sold more than 15 million copies around the world since they were published in 1945.\u003c/p>\n\u003cp>Surprisingly, it wasn’t until 2006 that the Montréal based publisher, \u003ci>Drawn and Quarterly,\u003c/i> brought Moomin comics to North America. Here, as everywhere, those who discover Moomin and his family become enchanted.\u003c/p>\n\u003cp>As the daughter of artists, Jansson’s Moomin comics reflect her rollicking and introspective childhood. In her stream of consciousness memoir, \u003ca href=\"http://www.indiebound.org/book/9780062334626\">\u003ci>Sculptor’s Daughter\u003c/i>\u003c/a>, Jansson recalls her unique upbringing within the city of Helsinki and among the rich nature of the Finnish countryside.\u003c/p>\n\u003cfigure id=\"attachment_10135835\" class=\"wp-caption alignleft\" style=\"max-width: 271px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Tove_Jansson_1956.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135835 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Tove_Jansson_1956.jpg\" alt=\"Tove Jansson, 1956; Courtesy Wikimedia Commons\" width=\"271\" height=\"425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Tove_Jansson_1956.jpg 271w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Tove_Jansson_1956-191x300.jpg 191w\" sizes=\"(max-width: 271px) 100vw, 271px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tove Jansson, 1956; Courtesy Wikimedia Commons\u003c/figcaption>\u003c/figure>\n\u003cp>While readers may assume Moominvalley is an imaginary land, Finnish readers identify the setting as entirely realistic. This comes as no surprise since many of the Moomintrolls’s adventures mirror experiences Jansson had during the summers she spent on \u003ca href=\"http://www.theislandreview.com/moomin-island/\">Klovharu\u003c/a>, an uninhabited island in the Gulf of Finland.\u003c/p>\n\u003cp>Similarly the fantastic characters whom Moomin and his family encounter, including worldly vagrants, pessimistic professors and eccentric artists were most likely all modeled after characters Jansson encountered in real life as the daughter of a sculptor and an illustrator.\u003c/p>\n\u003cp>Jansson’s childhood recollections reflect a deep passion for art and nature and their intersections. Moomin echoes these sentiments when he refuses to don a velvet beret and join the modern art scene for money, declaring, “I only want to live in peace, plant potatoes and dream!”\u003c/p>\n\u003cp>Much like her characters, Jansson refused to conform and continues to inspire. This year would have marked Jansson’s 100th birthday and many countries have joined Finland for \u003cb>Tove 100\u003c/b>: an international celebration of her contributions to art and literature.\u003c/p>\n\u003cfigure id=\"attachment_10135825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/somethingromantic.gif\">\u003cimg decoding=\"async\" class=\"size-full wp-image-10135825\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/somethingromantic.gif\" alt=\"Tove Jansson, Moomin and the Brigands,1953; Courtesy Drawn & Quarterly\" width=\"800\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tove Jansson, \u003ci>Moomin and the Brigands\u003c/i>,1953; Courtesy Drawn & Quarterly\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"http://www.indiebound.org/book/9781894937801\">complete collection of comic strips\u003c/a> drawn by Tove Jansson, and later her brother, Lars Jansson, is available through \u003ca href=\"http://drawnandquarterly.com/moomin/\">Drawn and Quarterly\u003c/a> in eight volumes. Her ten children’s books are also available from Drawn and Quarterly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information about Jansson and her enduring legacy, visit \u003ca href=\"https://www.moomin.com/en\">the official Moomin website\u003c/a> for “All Things Moomin” and the \u003cb>Tove 100\u003c/b> \u003ca href=\"//www.tove100.com/\">website\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moomin began as a caricature of Immanuel Kant, drawn on a bathroom wall by the Finnish visual artist, illustrator and author \u003ca href=\"http://en.wikipedia.org/wiki/Tove_Jansson\">Tove Jansson\u003c/a> during an argument with her brother. In the 1940s, the caricature evolved into the cuddly, and not entirely un-philosophical Moomintroll family.\u003c/p>\n\u003cp>Moomin is the main character of Jansson’s comic strip, which follows the whimsical Moomintroll family on various adventures as they subvert their “very ordinary middle-class life.” The family is made up of practical Moominmamma and eccentric Moominpappa, their romantic son Moomin, and his flighty girlfriend Snorkmaiden.\u003c/p>\n\u003cfigure id=\"attachment_10136268\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Moomins.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10136268\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Moomins.jpg\" alt=\"Tove Jansson, Self Portrait; courtesy Tove 100\" width=\"800\" height=\"1008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Moomins.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Moomins-400x504.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Moomins-238x300.jpg 238w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tove Jansson, \u003ci>Self Portrait\u003c/i> \u003ccite>( courtesy Tove 100)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1951, Jansson’s third children’s book, \u003ca href=\"http://www.indiebound.org/book/9780312608897\">\u003ci>Finn Family Moomintroll\u003c/i>\u003c/a>, was translated into English and caught the attention of a London agent who asked her to produce six strips a week for the next seven years. In just two years the comic strip reached 12 million readers thanks to its publication and syndication through the British Associated Press in 120 newspapers around the world.\u003c/p>\n\u003cp>Since then, their adventures have been translated into 44 languages, and Moomins have become some of the most popular children’s characters in the world, even going as far as building their own \u003ca href=\"http://www.muumimaailma.fi/en/home\">theme park.\u003c/a> And this is despite Jansson’s refusal to work with Disney — take that Mickey Mouse!\u003c/p>\n\u003cp>Today Moomins are as popular as ever and not just in their native Finland; Moomin books have sold more than 15 million copies around the world since they were published in 1945.\u003c/p>\n\u003cp>Surprisingly, it wasn’t until 2006 that the Montréal based publisher, \u003ci>Drawn and Quarterly,\u003c/i> brought Moomin comics to North America. Here, as everywhere, those who discover Moomin and his family become enchanted.\u003c/p>\n\u003cp>As the daughter of artists, Jansson’s Moomin comics reflect her rollicking and introspective childhood. In her stream of consciousness memoir, \u003ca href=\"http://www.indiebound.org/book/9780062334626\">\u003ci>Sculptor’s Daughter\u003c/i>\u003c/a>, Jansson recalls her unique upbringing within the city of Helsinki and among the rich nature of the Finnish countryside.\u003c/p>\n\u003cfigure id=\"attachment_10135835\" class=\"wp-caption alignleft\" style=\"max-width: 271px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Tove_Jansson_1956.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135835 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Tove_Jansson_1956.jpg\" alt=\"Tove Jansson, 1956; Courtesy Wikimedia Commons\" width=\"271\" height=\"425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Tove_Jansson_1956.jpg 271w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Tove_Jansson_1956-191x300.jpg 191w\" sizes=\"(max-width: 271px) 100vw, 271px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tove Jansson, 1956; Courtesy Wikimedia Commons\u003c/figcaption>\u003c/figure>\n\u003cp>While readers may assume Moominvalley is an imaginary land, Finnish readers identify the setting as entirely realistic. This comes as no surprise since many of the Moomintrolls’s adventures mirror experiences Jansson had during the summers she spent on \u003ca href=\"http://www.theislandreview.com/moomin-island/\">Klovharu\u003c/a>, an uninhabited island in the Gulf of Finland.\u003c/p>\n\u003cp>Similarly the fantastic characters whom Moomin and his family encounter, including worldly vagrants, pessimistic professors and eccentric artists were most likely all modeled after characters Jansson encountered in real life as the daughter of a sculptor and an illustrator.\u003c/p>\n\u003cp>Jansson’s childhood recollections reflect a deep passion for art and nature and their intersections. Moomin echoes these sentiments when he refuses to don a velvet beret and join the modern art scene for money, declaring, “I only want to live in peace, plant potatoes and dream!”\u003c/p>\n\u003cp>Much like her characters, Jansson refused to conform and continues to inspire. This year would have marked Jansson’s 100th birthday and many countries have joined Finland for \u003cb>Tove 100\u003c/b>: an international celebration of her contributions to art and literature.\u003c/p>\n\u003cfigure id=\"attachment_10135825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/somethingromantic.gif\">\u003cimg decoding=\"async\" class=\"size-full wp-image-10135825\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/somethingromantic.gif\" alt=\"Tove Jansson, Moomin and the Brigands,1953; Courtesy Drawn & Quarterly\" width=\"800\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tove Jansson, \u003ci>Moomin and the Brigands\u003c/i>,1953; Courtesy Drawn & Quarterly\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"http://www.indiebound.org/book/9781894937801\">complete collection of comic strips\u003c/a> drawn by Tove Jansson, and later her brother, Lars Jansson, is available through \u003ca href=\"http://drawnandquarterly.com/moomin/\">Drawn and Quarterly\u003c/a> in eight volumes. Her ten children’s books are also available from Drawn and Quarterly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information about Jansson and her enduring legacy, visit \u003ca href=\"https://www.moomin.com/en\">the official Moomin website\u003c/a> for “All Things Moomin” and the \u003cb>Tove 100\u003c/b> \u003ca href=\"//www.tove100.com/\">website\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Artist Kara Walker Draws Us into Bitter History with Something Sweet",
"headTitle": "Artist Kara Walker Draws Us into Bitter History with Something Sweet | KQED",
"content": "\u003cp>Kara Walker was barely out of art school when she won a MacArthur Foundation genius grant, in 1997. Back then, her early work shocked audiences in part because her murals looked so charming from a distance. Black paper shadow portraits of colonial figures seemed to dance on white gallery walls; but lean in and you’d find your nose pressed up against images of slavery’s horrors — mammies, masters, lynchings and sexual violence.\u003c/p>\n\u003cp>In other words, Walker is used to filling a room. But this spring she was asked to fill a warehouse — the abandoned Domino Sugar factory in New York. It’s about to be leveled to make way for condos and offices, but before it goes, Walker was asked to use this cavernous, urban ruin for something special.\u003c/p>\n\u003cp>Walker took me on a tour of the show a day before it opened. The factory is covered in sugar — it almost looks like insulation or burnt cotton candy.\u003c/p>\n\u003cp>“It’s a little bit sticky in some areas …” she says. “There’s sugar caked up in the rafters.”\u003c/p>\n\u003cfigure id=\"attachment_10136272\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/489164457-e474894fcf4b4667400e3dac15331d26936f5038.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10136272\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/489164457-e474894fcf4b4667400e3dac15331d26936f5038-1440x1079.jpg\" alt='Visitors wait in line for the Kara Walker exhibit on May 10, opening day. The show was housed in a former Domino Sugar refinery. Inside, visitors described the building as \"cathedral-like\" and \"creepy,\" and said it smelled like a bakery' width=\"640\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/489164457-e474894fcf4b4667400e3dac15331d26936f5038-1440x1079.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/489164457-e474894fcf4b4667400e3dac15331d26936f5038-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/489164457-e474894fcf4b4667400e3dac15331d26936f5038-300x224.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Visitors wait in line for the Kara Walker exhibit on May 10, opening day. The show was housed in a former Domino Sugar refinery. Inside, visitors described the building as “cathedral-like” and “creepy,” and said it smelled like a bakery \u003ccite>(Andrew Burton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was so busy trying not to get molasses on my shoes that when I turn the corner, I’m stunned. There in the middle of this dark hall is a bright, white sphinx. The effect is the opposite of those white walled galleries; a dark space and a towering white sculpture made of — what else? — sugar.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“What we’re seeing, for lack of a better term, is the head of a woman who has very African, black features,” Walker explains. “She sits somewhere in between the kind of mammy figure of old and something a little bit more recognizable — recognizably human. … [She has] very full lips; high cheek bones; eyes that have no eyes, [that] seem to be either looking out or closed; and a kerchief on her head. She’s positioned with her arms flat out across the ground and large breasts that are staring at you.”\u003c/p>\n\u003cp>Walker has dreamed up a “subtlety” — that’s what sugar sculptures were called in medieval times. They were a luxury confectioners created for special occasions.\u003c/p>\n\u003cp>To understand where all this is going, you need look no further than Walker’s teasingly long title for the show: “A Subtlety or the Marvelous Sugar Baby an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant.”\u003c/p>\n\u003cp>I know, it’s a mouth full. But Walker has this wide smile and as she sweeps her hands around in broad gestures, white tides of sugar dust ripple at the edge of her feet — and she sells it.\u003c/p>\n\u003cp>“It was very fun and childlike to, you know, have your hands in a bucket full of sugar, or a 50-pound bag of sugar, throwing it out onto the floor,” she says.\u003c/p>\n\u003cfigure id=\"attachment_10136274\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/489164441-b3c9e890250d13f3fc8a13b3014096b8793aaa07.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10136274\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/489164441-b3c9e890250d13f3fc8a13b3014096b8793aaa07-1440x1080.jpg\" alt=\"Walker's candy boy sculptures started melting fast in the non-climate-controlled factory, and the result looks a lot like blood\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/489164441-b3c9e890250d13f3fc8a13b3014096b8793aaa07-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/489164441-b3c9e890250d13f3fc8a13b3014096b8793aaa07-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/489164441-b3c9e890250d13f3fc8a13b3014096b8793aaa07-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Walker’s candy boy sculptures started melting fast in the non-climate-controlled factory, and the result looks a lot like blood \u003ccite>(Andrew Burton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’s doing what she does best: drawing you in with something sweet, something almost charming, before you realize you’ve admired something disturbing. In this case, that’s the horror-riddled Caribbean slave trade that helped fuel the industrial gains of the 18th and 19th centuries; a slave trade built to profit from an insatiable Western market for refined sugar treats and rum.\u003c/p>\n\u003cp>“Basically, it was blood sugar” Walker says. “Like we talk about blood diamonds today, there were pamphlets saying this sugar has blood on its hands.”\u003c/p>\n\u003cp>She explains that to make the sugar, the cane had to be fed into large mills by hand. It was a dangerous process: Slaves lost hands, arms, limbs and lives.\u003c/p>\n\u003cp>“I’ve been kind of back and forth with my reverence for sugar,” Walkers says. “Like, how we’re all kind of invested in its production without really realizing just what goes into it; how much chemistry goes into extracting whiteness from the sugar cane.”\u003c/p>\n\u003cp>Walker went down a rabbit hole of sugar history, at one point stumbling onto some black figurines online — the type of racial tchotchkes that turn up in a sea of mammy cookie jars. They were ceramic, brown-skinned boys carrying baskets. Those were the size of dolls, but Walker’s are 5 feet high, some made entirely of molasses-colored candy. Fifteen of them are posed throughout the factory floor, leading the way to her sugar sphinx.\u003c/p>\n\u003cp>The boys are cute and apple-cheeked, but they’re also kind of scary — some of the melted candy looks a lot like blood.\u003c/p>\n\u003cfigure id=\"attachment_10136275\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/489164445-67fc8ed75a3e4c29fea51aa47a2b4bcca391c626.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10136275\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/489164445-67fc8ed75a3e4c29fea51aa47a2b4bcca391c626-1440x1079.jpg\" alt=\"The candy sculptures have been disintegrating so fast that Walker began throwing pieces of the broken boys into the baskets of the ones that are still standing.\" width=\"640\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/489164445-67fc8ed75a3e4c29fea51aa47a2b4bcca391c626-1440x1079.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/489164445-67fc8ed75a3e4c29fea51aa47a2b4bcca391c626-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/489164445-67fc8ed75a3e4c29fea51aa47a2b4bcca391c626-300x224.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The candy sculptures have been disintegrating so fast that Walker began throwing pieces of the broken boys into the baskets of the ones that are still standing. \u003ccite>(Andrew Burton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I knew that the candy ones wouldn’t last,” Walker says. “That was part of the point was that they were going to be in this non-climate-controlled space, slowly melting away and disintegrating. But what’s happened is we lost two of these guys in the last two days or so.”\u003c/p>\n\u003cp>Losing those figures in service of the sugar is the slave trade in a nutshell.\u003c/p>\n\u003cp>“Also in a nutshell,” Walker says, “and maybe a little bit hammer-over-the-head, is that some of the pieces of the broken boys I threw into the baskets of the unbroken boys.”\u003c/p>\n\u003cp>OK, that’s not so subtle, but it’s also not unusual for Kara Walker. She’s dressed in a shiny oversized baseball jacket emblazoned with the gold face of King Tut on it. I ask her if at a certain point she worries about doing work that is seen as being \u003cem>just\u003c/em> about race.\u003c/p>\n\u003cp>“I don’t really see it as just about race,” she says. “I mean, I think that my work is about trying to get a grasp on history. I mean, I guess it’s just kind of a trap, in a way, that I decided to set my foot into early on, which is the trap of race — to say that it’s about race when it’s kind of about this larger concern about being.”\u003c/p>\n\u003cp>I tell her it’s almost impossible to talk about our history without talking about race. She replies: “There [are] scholarly conversations about race and then there’s the kind of meaty, unresolved, mucky blood lust of talking about race where I always feel like the conversation is inconclusive.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Inconclusive, but for artist Kara Walker, ongoing.\u003c/p>\n\u003cfigure id=\"attachment_10136273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/panorama1_lowsmall_enl-00c30c22c6f0e07d23f3799914f4e689c40f6201.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136273\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/panorama1_lowsmall_enl-00c30c22c6f0e07d23f3799914f4e689c40f6201-1440x552.jpg\" alt=\"Kara Walker's <em>A Subtlety</em> stretches 75.5 feet long, 35.5 feet tall and 26 feet wide.\" width=\"800\" height=\"307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/panorama1_lowsmall_enl-00c30c22c6f0e07d23f3799914f4e689c40f6201-1440x552.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/panorama1_lowsmall_enl-00c30c22c6f0e07d23f3799914f4e689c40f6201-400x153.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/panorama1_lowsmall_enl-00c30c22c6f0e07d23f3799914f4e689c40f6201-300x115.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kara Walker’s \u003cem>A Subtlety\u003c/em> stretches 75.5 feet long, 35.5 feet tall and 26 feet wide. \u003ccite>(Andrew Burton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=Artist+Kara+Walker+Draws+Us+Into+Bitter+History+With+Something+Sweet&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kara Walker was barely out of art school when she won a MacArthur Foundation genius grant, in 1997. Back then, her early work shocked audiences in part because her murals looked so charming from a distance. Black paper shadow portraits of colonial figures seemed to dance on white gallery walls; but lean in and you’d find your nose pressed up against images of slavery’s horrors — mammies, masters, lynchings and sexual violence.\u003c/p>\n\u003cp>In other words, Walker is used to filling a room. But this spring she was asked to fill a warehouse — the abandoned Domino Sugar factory in New York. It’s about to be leveled to make way for condos and offices, but before it goes, Walker was asked to use this cavernous, urban ruin for something special.\u003c/p>\n\u003cp>Walker took me on a tour of the show a day before it opened. The factory is covered in sugar — it almost looks like insulation or burnt cotton candy.\u003c/p>\n\u003cp>“It’s a little bit sticky in some areas …” she says. “There’s sugar caked up in the rafters.”\u003c/p>\n\u003cfigure id=\"attachment_10136272\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/489164457-e474894fcf4b4667400e3dac15331d26936f5038.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10136272\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/489164457-e474894fcf4b4667400e3dac15331d26936f5038-1440x1079.jpg\" alt='Visitors wait in line for the Kara Walker exhibit on May 10, opening day. The show was housed in a former Domino Sugar refinery. Inside, visitors described the building as \"cathedral-like\" and \"creepy,\" and said it smelled like a bakery' width=\"640\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/489164457-e474894fcf4b4667400e3dac15331d26936f5038-1440x1079.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/489164457-e474894fcf4b4667400e3dac15331d26936f5038-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/489164457-e474894fcf4b4667400e3dac15331d26936f5038-300x224.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Visitors wait in line for the Kara Walker exhibit on May 10, opening day. The show was housed in a former Domino Sugar refinery. Inside, visitors described the building as “cathedral-like” and “creepy,” and said it smelled like a bakery \u003ccite>(Andrew Burton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was so busy trying not to get molasses on my shoes that when I turn the corner, I’m stunned. There in the middle of this dark hall is a bright, white sphinx. The effect is the opposite of those white walled galleries; a dark space and a towering white sculpture made of — what else? — sugar.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What we’re seeing, for lack of a better term, is the head of a woman who has very African, black features,” Walker explains. “She sits somewhere in between the kind of mammy figure of old and something a little bit more recognizable — recognizably human. … [She has] very full lips; high cheek bones; eyes that have no eyes, [that] seem to be either looking out or closed; and a kerchief on her head. She’s positioned with her arms flat out across the ground and large breasts that are staring at you.”\u003c/p>\n\u003cp>Walker has dreamed up a “subtlety” — that’s what sugar sculptures were called in medieval times. They were a luxury confectioners created for special occasions.\u003c/p>\n\u003cp>To understand where all this is going, you need look no further than Walker’s teasingly long title for the show: “A Subtlety or the Marvelous Sugar Baby an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant.”\u003c/p>\n\u003cp>I know, it’s a mouth full. But Walker has this wide smile and as she sweeps her hands around in broad gestures, white tides of sugar dust ripple at the edge of her feet — and she sells it.\u003c/p>\n\u003cp>“It was very fun and childlike to, you know, have your hands in a bucket full of sugar, or a 50-pound bag of sugar, throwing it out onto the floor,” she says.\u003c/p>\n\u003cfigure id=\"attachment_10136274\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/489164441-b3c9e890250d13f3fc8a13b3014096b8793aaa07.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10136274\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/489164441-b3c9e890250d13f3fc8a13b3014096b8793aaa07-1440x1080.jpg\" alt=\"Walker's candy boy sculptures started melting fast in the non-climate-controlled factory, and the result looks a lot like blood\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/489164441-b3c9e890250d13f3fc8a13b3014096b8793aaa07-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/489164441-b3c9e890250d13f3fc8a13b3014096b8793aaa07-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/489164441-b3c9e890250d13f3fc8a13b3014096b8793aaa07-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Walker’s candy boy sculptures started melting fast in the non-climate-controlled factory, and the result looks a lot like blood \u003ccite>(Andrew Burton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’s doing what she does best: drawing you in with something sweet, something almost charming, before you realize you’ve admired something disturbing. In this case, that’s the horror-riddled Caribbean slave trade that helped fuel the industrial gains of the 18th and 19th centuries; a slave trade built to profit from an insatiable Western market for refined sugar treats and rum.\u003c/p>\n\u003cp>“Basically, it was blood sugar” Walker says. “Like we talk about blood diamonds today, there were pamphlets saying this sugar has blood on its hands.”\u003c/p>\n\u003cp>She explains that to make the sugar, the cane had to be fed into large mills by hand. It was a dangerous process: Slaves lost hands, arms, limbs and lives.\u003c/p>\n\u003cp>“I’ve been kind of back and forth with my reverence for sugar,” Walkers says. “Like, how we’re all kind of invested in its production without really realizing just what goes into it; how much chemistry goes into extracting whiteness from the sugar cane.”\u003c/p>\n\u003cp>Walker went down a rabbit hole of sugar history, at one point stumbling onto some black figurines online — the type of racial tchotchkes that turn up in a sea of mammy cookie jars. They were ceramic, brown-skinned boys carrying baskets. Those were the size of dolls, but Walker’s are 5 feet high, some made entirely of molasses-colored candy. Fifteen of them are posed throughout the factory floor, leading the way to her sugar sphinx.\u003c/p>\n\u003cp>The boys are cute and apple-cheeked, but they’re also kind of scary — some of the melted candy looks a lot like blood.\u003c/p>\n\u003cfigure id=\"attachment_10136275\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/489164445-67fc8ed75a3e4c29fea51aa47a2b4bcca391c626.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10136275\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/489164445-67fc8ed75a3e4c29fea51aa47a2b4bcca391c626-1440x1079.jpg\" alt=\"The candy sculptures have been disintegrating so fast that Walker began throwing pieces of the broken boys into the baskets of the ones that are still standing.\" width=\"640\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/489164445-67fc8ed75a3e4c29fea51aa47a2b4bcca391c626-1440x1079.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/489164445-67fc8ed75a3e4c29fea51aa47a2b4bcca391c626-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/489164445-67fc8ed75a3e4c29fea51aa47a2b4bcca391c626-300x224.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The candy sculptures have been disintegrating so fast that Walker began throwing pieces of the broken boys into the baskets of the ones that are still standing. \u003ccite>(Andrew Burton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I knew that the candy ones wouldn’t last,” Walker says. “That was part of the point was that they were going to be in this non-climate-controlled space, slowly melting away and disintegrating. But what’s happened is we lost two of these guys in the last two days or so.”\u003c/p>\n\u003cp>Losing those figures in service of the sugar is the slave trade in a nutshell.\u003c/p>\n\u003cp>“Also in a nutshell,” Walker says, “and maybe a little bit hammer-over-the-head, is that some of the pieces of the broken boys I threw into the baskets of the unbroken boys.”\u003c/p>\n\u003cp>OK, that’s not so subtle, but it’s also not unusual for Kara Walker. She’s dressed in a shiny oversized baseball jacket emblazoned with the gold face of King Tut on it. I ask her if at a certain point she worries about doing work that is seen as being \u003cem>just\u003c/em> about race.\u003c/p>\n\u003cp>“I don’t really see it as just about race,” she says. “I mean, I think that my work is about trying to get a grasp on history. I mean, I guess it’s just kind of a trap, in a way, that I decided to set my foot into early on, which is the trap of race — to say that it’s about race when it’s kind of about this larger concern about being.”\u003c/p>\n\u003cp>I tell her it’s almost impossible to talk about our history without talking about race. She replies: “There [are] scholarly conversations about race and then there’s the kind of meaty, unresolved, mucky blood lust of talking about race where I always feel like the conversation is inconclusive.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Inconclusive, but for artist Kara Walker, ongoing.\u003c/p>\n\u003cfigure id=\"attachment_10136273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/panorama1_lowsmall_enl-00c30c22c6f0e07d23f3799914f4e689c40f6201.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136273\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/panorama1_lowsmall_enl-00c30c22c6f0e07d23f3799914f4e689c40f6201-1440x552.jpg\" alt=\"Kara Walker's <em>A Subtlety</em> stretches 75.5 feet long, 35.5 feet tall and 26 feet wide.\" width=\"800\" height=\"307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/panorama1_lowsmall_enl-00c30c22c6f0e07d23f3799914f4e689c40f6201-1440x552.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/panorama1_lowsmall_enl-00c30c22c6f0e07d23f3799914f4e689c40f6201-400x153.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/panorama1_lowsmall_enl-00c30c22c6f0e07d23f3799914f4e689c40f6201-300x115.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kara Walker’s \u003cem>A Subtlety\u003c/em> stretches 75.5 feet long, 35.5 feet tall and 26 feet wide. \u003ccite>(Andrew Burton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=Artist+Kara+Walker+Draws+Us+Into+Bitter+History+With+Something+Sweet&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Coit Tower Reopens After Six-Month Renovation",
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"content": "\u003cfigure id=\"attachment_136104\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_43871.jpg\">\u003cimg class=\"size-medium wp-image-136104\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_43871-640x426.jpg\" alt=\"Coit Tower, San Francisco\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dozens attended a ribbon-cutting ceremony for the reopening of Coit Tower. (Mark Andrew Boyer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Coit Tower, the iconic monolith punctuating Telegraph Hill, reopened today after a six-month renovation. During the closure, workers restored the tower's historic murals and made structural improvements to the 81-year-old landmark. San Francisco Recreation & Parks waived the normal elevator fee ($5 for residents and $7 for out-of-towners) for the day, inviting visitors to take in the 360-degree views from the top of the tower. Several politicians, including Supervisor David Chiu and Mayor Ed Lee, were on hand for a ceremonial ribbon-cutting, which took place under the stifling midday sun. \"These are historic landmarks in the city; they mean something to generations of people, and we have the privilege of reintroducing them to kids and generations of our own,\" said Lee.\u003c/p>\n\u003cfigure id=\"attachment_136055\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4262.jpg\">\u003cimg class=\"size-medium wp-image-136055\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4262-640x426.jpg\" alt=\"Michael Gorden, a docent for San Francisco City Guides, stands in front of one of Coit Tower's murals (Mark Andrew Boyer / KQED)\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Gorden, a docent for San Francisco City Guides, stands in front of one of Coit Tower's murals (Mark Andrew Boyer/ KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The view from the top of the tower is what draws crowds up to Telegraph Hill, but the murals covering the tower's first- and second-floor walls are also a big attraction. The first floor is open to the public, and the second floor can be viewed by private tour only. In all, 19 artists and 26 assistants produced the murals — many of which are frescos — through the New Deal's Public Works of Art Project. The influences of prominent early 20th century Mexican muralists, such as Diego Rivera, can be seen in the tower's 27 historic murals. They depict heavy industry, labor and chaotic street life of Depression-era California — a stark contrast to the quiet streets surrounding Coit Tower today. At least one mural, which contained communist symbolism, was removed before the tower opened in 1933. \"The significance of [the murals] is that they depict California industrial and agricultural life of the time,\" said volunteer docent Val Hendrickson. \"Within the murals you can see fomenting labor unrest and the effects of the Depression.\"\u003c/p>\n\u003cfigure id=\"attachment_136067\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4297.jpg\">\u003cimg class=\"size-medium wp-image-136067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4297-640x426.jpg\" alt=\"An oil painting by Otis Oldfield covers the walls in the elevator foyer (Mark Andrew Boyer / KQED)\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An oil painting by Otis Oldfield covers the walls in the elevator foyer (Mark Andrew Boyer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The murals were in pretty good shape prior to the restoration, according to Allison Cummings from the San Francisco Arts Commission, but some of them had been scratched, and several suffered water damage. Tower renovations, which coincided with the art restoration, should prevent future water damage from occurring. During the mural restoration, all of the frescoes were cleaned, making them look much brighter. Workers also did restoration work on the ceilings and the stucco borders around the murals. The total budget for fixing up the murals was about $450,000, which enabled a team of four restorationists to work on the project for about six weeks. \"There are no scratches, there are no white areas on the murals, and it looks as it did when it was painted 80 years ago,\" said Cummings.\u003c/p>\n\u003cfigure id=\"attachment_136083\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4306.jpg\">\u003cimg class=\"size-medium wp-image-136083\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4306-640x426.jpg\" alt=\"Postcards are on display in Coit Tower's new gift shop (Mark Andrew Boyer / KQED)\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Postcards are on display in Coit Tower's new gift shop (Mark Andrew Boyer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The murals weren't the only thing to get a face-lift during the six-month renovation. A new gift shop was added; the elevator was updated; restrooms were upgraded; the roof was replaced; brass railings to protect the murals were adjusted; doors were updated; and handrails were added outside. Workers installed scaffolding around the exterior of the tower, and they used binoculars in order to identify cracks, according to Toks Ajike, a project manager for S.F. Rec & Parks. Those cracks are what enabled water to infiltrate the building over time. \"It's an old, delicate structure, and over time historic structures require a level of care,\" said Ajike.\u003c/p>\n\u003cfigure id=\"attachment_136089\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4370.jpg\">\u003cimg class=\"size-medium wp-image-136089\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4370-640x426.jpg\" alt=\"Coit Tower reopened on May 14, after a six-month renovation (Mark Andrew Boyer / KQED)\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Coit Tower reopened on May 14, after a six-month renovation (Mark Andrew Boyer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Fixing up historic structures is never quite as simple as it appears, and the renovation team ended up doing a little more work than was originally planned. The paint on the ceiling of the gallery was failing, and it contained hazardous materials, like asbestos and lead. That required workers to do some abatement before it could be replastered and repainted. Those unforeseen challenges, combined with some new features, such as dramatic new exterior lighting, caused the renovation budget to climb from $1.1 million to about $1.6 million. New colored LED lights will be programmed and ready to use within the next few weeks, said project manager Matt Jasmin.\u003c/p>\n\u003cfigure id=\"attachment_136102\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4332.jpg\">\u003cimg class=\"size-medium wp-image-136102\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4332-640x426.jpg\" alt=\"Coit Tower, San Francisco\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The view from near the top of Coit Tower (Mark Andrew Boyer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_136104\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_43871.jpg\">\u003cimg class=\"size-medium wp-image-136104\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_43871-640x426.jpg\" alt=\"Coit Tower, San Francisco\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dozens attended a ribbon-cutting ceremony for the reopening of Coit Tower. (Mark Andrew Boyer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Coit Tower, the iconic monolith punctuating Telegraph Hill, reopened today after a six-month renovation. During the closure, workers restored the tower's historic murals and made structural improvements to the 81-year-old landmark. San Francisco Recreation & Parks waived the normal elevator fee ($5 for residents and $7 for out-of-towners) for the day, inviting visitors to take in the 360-degree views from the top of the tower. Several politicians, including Supervisor David Chiu and Mayor Ed Lee, were on hand for a ceremonial ribbon-cutting, which took place under the stifling midday sun. \"These are historic landmarks in the city; they mean something to generations of people, and we have the privilege of reintroducing them to kids and generations of our own,\" said Lee.\u003c/p>\n\u003cfigure id=\"attachment_136055\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4262.jpg\">\u003cimg class=\"size-medium wp-image-136055\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4262-640x426.jpg\" alt=\"Michael Gorden, a docent for San Francisco City Guides, stands in front of one of Coit Tower's murals (Mark Andrew Boyer / KQED)\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Gorden, a docent for San Francisco City Guides, stands in front of one of Coit Tower's murals (Mark Andrew Boyer/ KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The view from the top of the tower is what draws crowds up to Telegraph Hill, but the murals covering the tower's first- and second-floor walls are also a big attraction. The first floor is open to the public, and the second floor can be viewed by private tour only. In all, 19 artists and 26 assistants produced the murals — many of which are frescos — through the New Deal's Public Works of Art Project. The influences of prominent early 20th century Mexican muralists, such as Diego Rivera, can be seen in the tower's 27 historic murals. They depict heavy industry, labor and chaotic street life of Depression-era California — a stark contrast to the quiet streets surrounding Coit Tower today. At least one mural, which contained communist symbolism, was removed before the tower opened in 1933. \"The significance of [the murals] is that they depict California industrial and agricultural life of the time,\" said volunteer docent Val Hendrickson. \"Within the murals you can see fomenting labor unrest and the effects of the Depression.\"\u003c/p>\n\u003cfigure id=\"attachment_136067\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4297.jpg\">\u003cimg class=\"size-medium wp-image-136067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4297-640x426.jpg\" alt=\"An oil painting by Otis Oldfield covers the walls in the elevator foyer (Mark Andrew Boyer / KQED)\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An oil painting by Otis Oldfield covers the walls in the elevator foyer (Mark Andrew Boyer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The murals were in pretty good shape prior to the restoration, according to Allison Cummings from the San Francisco Arts Commission, but some of them had been scratched, and several suffered water damage. Tower renovations, which coincided with the art restoration, should prevent future water damage from occurring. During the mural restoration, all of the frescoes were cleaned, making them look much brighter. Workers also did restoration work on the ceilings and the stucco borders around the murals. The total budget for fixing up the murals was about $450,000, which enabled a team of four restorationists to work on the project for about six weeks. \"There are no scratches, there are no white areas on the murals, and it looks as it did when it was painted 80 years ago,\" said Cummings.\u003c/p>\n\u003cfigure id=\"attachment_136083\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4306.jpg\">\u003cimg class=\"size-medium wp-image-136083\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4306-640x426.jpg\" alt=\"Postcards are on display in Coit Tower's new gift shop (Mark Andrew Boyer / KQED)\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Postcards are on display in Coit Tower's new gift shop (Mark Andrew Boyer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The murals weren't the only thing to get a face-lift during the six-month renovation. A new gift shop was added; the elevator was updated; restrooms were upgraded; the roof was replaced; brass railings to protect the murals were adjusted; doors were updated; and handrails were added outside. Workers installed scaffolding around the exterior of the tower, and they used binoculars in order to identify cracks, according to Toks Ajike, a project manager for S.F. Rec & Parks. Those cracks are what enabled water to infiltrate the building over time. \"It's an old, delicate structure, and over time historic structures require a level of care,\" said Ajike.\u003c/p>\n\u003cfigure id=\"attachment_136089\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4370.jpg\">\u003cimg class=\"size-medium wp-image-136089\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4370-640x426.jpg\" alt=\"Coit Tower reopened on May 14, after a six-month renovation (Mark Andrew Boyer / KQED)\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Coit Tower reopened on May 14, after a six-month renovation (Mark Andrew Boyer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Fixing up historic structures is never quite as simple as it appears, and the renovation team ended up doing a little more work than was originally planned. The paint on the ceiling of the gallery was failing, and it contained hazardous materials, like asbestos and lead. That required workers to do some abatement before it could be replastered and repainted. Those unforeseen challenges, combined with some new features, such as dramatic new exterior lighting, caused the renovation budget to climb from $1.1 million to about $1.6 million. New colored LED lights will be programmed and ready to use within the next few weeks, said project manager Matt Jasmin.\u003c/p>\n\u003cfigure id=\"attachment_136102\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4332.jpg\">\u003cimg class=\"size-medium wp-image-136102\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4332-640x426.jpg\" alt=\"Coit Tower, San Francisco\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The view from near the top of Coit Tower (Mark Andrew Boyer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Nicolas Cage Themed Art Show Debuts in San Francisco",
"title": "Nicolas Cage Themed Art Show Debuts in San Francisco",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cfigure id=\"attachment_11757\" class=\"wp-caption aligncenter\" style=\"max-width: 432px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/Marguerite-Kalhor-Nic-Cage-Painting.jpg\">\u003cimg class=\"wp-image-11757 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/Marguerite-Kalhor-Nic-Cage-Painting.jpg\" alt=\"Marguerite Kalhor Nic Cage Painting\" width=\"432\" height=\"557\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/04/Marguerite-Kalhor-Nic-Cage-Painting.jpg 1002w, https://ww2.kqed.org/app/uploads/sites/12/2014/04/Marguerite-Kalhor-Nic-Cage-Painting-400x515.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/04/Marguerite-Kalhor-Nic-Cage-Painting-800x1031.jpg 800w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Marguerite Kalhor\u003c/figcaption>\u003c/figure>\n\u003cp>It's probably no startling revelation that a lot of us are fascinated by pop culture icons, their performances and their eccentricities. This curiosity ranges from simply having favorite actors and musicians, whose work we follow and whose occasional creative failures we might forgive, to a more addictive fascination with their private lives, if popularity of magazines like \u003cem>OK!\u003c/em> or bloggers like Perez Hilton is any indication. The more artistically inclined among fans turn to their craft to express their fascination with entertainment icons. (LA based \u003ca href=\"http://nineteeneightyeight.com/\" target=\"_blank\">Gallery1988\u003c/a>, for instance, has made its stock-in-trade to showcase art remixing and riffing on pop culture iconography.)\u003c/p>\n\u003cp>To my knowledge, however, there hasn't been a show quite as massive and solely focused on one celebrity as the upcoming tribute to Nicolas Cage -- he of the snakeskin jacket, but definitely not the bees -- taking place at \u003ca href=\"http://balancoiresf.com/\" target=\"_blank\">Balançoire\u003c/a> this weekend. What started as a cheeky idea and an online call for submissions has since snowballed into an event that currently has over a thousand RSVPs and seems to have \u003ca href=\"http://www.sfgate.com/movies/article/Nicolas-Cage-s-daring-as-actor-brings-out-best-5375053.php\" target=\"_blank\">reached the ears\u003c/a> of the actor himself.\u003c/p>\n\u003cfigure id=\"attachment_11759\" class=\"wp-caption alignleft\" style=\"max-width: 240px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/TabithaLahr.jpg\">\u003cimg class=\"wp-image-11759 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/TabithaLahr.jpg\" alt=\"Artist: Tabitha Lahr\" width=\"240\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/04/TabithaLahr.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/04/TabithaLahr-400x600.jpg 400w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Tabitha Lahr\u003c/figcaption>\u003c/figure>\n\u003cp>Nicolas Cage has had quite a career, and I certainly appreciate how relentless he is in the pursuit of his craft, oscillating wildly between critically acclaimed roles and questionable, eyebrow-raising choices. Cage wowed us in \u003cem>Wild at Heart\u003c/em>, \u003cem>Moonstruck\u003c/em>, and \u003cem>Matchstick Men\u003c/em>, left our jaws and hearts on the floor in \u003cem>Leaving Las Vegas\u003c/em>, and then left us grimacing with some, uh, less than stellar projects (\u003cem>Season of the Witch\u003c/em>, anyone?). Sometimes his intensity simmers under the surface, and sometimes he \u003ca href=\"https://www.youtube.com/watch?v=xP1-oquwoL8\" target=\"_blank\">lets it all out\u003c/a>. The point is, even though I am not a fan with capital F, Nicolas Cage is very much a part of my pop culture knowledge. This is clearly something I share with Ezra Croft, the curator of the upcoming exhibit, who felt there was something to be mined in our collective fascination with the actor.\u003c/p>\n\u003cp>I've been acquainted with Ezra for a number of years, and he's always had a mischievous, irreverent sense of humor. Although our paths haven't crossed in quite a while, when I learned about the show, I knew I had to pick his brain a little bit, and so we caught up via e-mail.\u003c/p>\n\u003cfigure id=\"attachment_11756\" class=\"wp-caption alignright\" style=\"max-width: 240px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/Miriam-Dinkens.jpg\">\u003cimg class=\"wp-image-11756 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/Miriam-Dinkens.jpg\" alt=\"Miriam Dinkens\" width=\"240\" height=\"373\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/04/Miriam-Dinkens.jpg 618w, https://ww2.kqed.org/app/uploads/sites/12/2014/04/Miriam-Dinkens-400x621.jpg 400w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Miriam Dinkens\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED Pop: I know your idea for the event was to host an art show that was playful and fun, but why Nicolas Cage, specifically? \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Ezra Croft:\u003c/strong> I chose Nicolas Cage specifically because of the gamut of strange emotions he evokes. He's been ingrained in our culture through his movies and personal antics, and I think that someone with such eccentric status easily proves an excellent study into the iconic and strange. His choices to take roles in more cheesy movies I think admirably show his nonconformist nature, as this art show is reflecting. It embraces the needlessly dramatic. In this, he has fallen from the \"A-list's\" good graces, but still continues to thrive in the movie industry. He's had such dramatic highs and abysmal lows!\u003c/p>\n\u003cp>\u003cstrong>Were you considering any other theme?\u003c/strong>\u003c/p>\n\u003cp>Before I settled on this, I had considered other subjects, such as Christopher Walken, \u003cem>Law and Order\u003c/em>, and Bill Murray. I am planning a dramatically awesome event called \"The Murray Affair\" for autumn, so be ready for that.\u003c/p>\n\u003cp>\u003cstrong>Would you say the show is a parody or a tribute?\u003c/strong>\u003c/p>\n\u003cp>Many people first thought this show was a parody show, only reflecting internet memes, but it's far beyond that. Many of [Cage's] true fans and haters have stepped forward and made art, both at his expense and [paying tribute] to his legendary status. As his film career over the years has shown with the public, it's dramatic, serious, silly and true to Cage's nature -- irresistible with a hint of madness.\u003c/p>\n\u003cfigure id=\"attachment_11761\" class=\"wp-caption alignleft\" style=\"max-width: 240px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/timothytang.jpg\">\u003cimg class=\"wp-image-11761 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/timothytang.jpg\" alt=\"Artist: Timothy Tang\" width=\"240\" height=\"370\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/04/timothytang.jpg 560w, https://ww2.kqed.org/app/uploads/sites/12/2014/04/timothytang-400x617.jpg 400w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Timothy Tang\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sounds like the reception has been overwhelmingly positive. Any negative feedback?\u003c/strong>\u003c/p>\n\u003cp>I've received some small criticism, one writer calling it a \"hipster art show,\" but I'm not phased by it.\u003c/p>\n\u003cp>\u003cstrong>You've received countless submissions. What mediums are people using to pay homage?\u003c/strong>\u003c/p>\n\u003cp>Most works will be done in traditional paint, but there will be a sculpture comprised of hundreds off little cage faces, video projection art and some digital art.\u003c/p>\n\u003cp>\u003cstrong>What do you think Nic Cage himself would say about the art show?\u003c/strong>\u003c/p>\n\u003cp>I hope that if Nicolas Cage attended the show, he would have a good time and feel that his true fans were roasting him. It is an homage at heart, and we hope he would know that we enjoy the fantastic situations he embraces on screen.\u003c/p>\n\u003cp>\u003cstrong>This is your first major art show. What's next?\u003c/strong>\u003c/p>\n\u003cp>This show is going to New York and Los Angeles, all scheduling permitting. I have several other events in the making, but I'm keeping them secret for now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Nicolas Cage Art Show and Musical Shenanigans party takes place Saturday, April 12 at Balançoire. Full event details can be found on \u003ca href=\"https://www.facebook.com/events/262169750625120/\">the event page\u003c/a> on Facebook.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_11757\" class=\"wp-caption aligncenter\" style=\"max-width: 432px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/Marguerite-Kalhor-Nic-Cage-Painting.jpg\">\u003cimg class=\"wp-image-11757 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/Marguerite-Kalhor-Nic-Cage-Painting.jpg\" alt=\"Marguerite Kalhor Nic Cage Painting\" width=\"432\" height=\"557\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/04/Marguerite-Kalhor-Nic-Cage-Painting.jpg 1002w, https://ww2.kqed.org/app/uploads/sites/12/2014/04/Marguerite-Kalhor-Nic-Cage-Painting-400x515.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/04/Marguerite-Kalhor-Nic-Cage-Painting-800x1031.jpg 800w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Marguerite Kalhor\u003c/figcaption>\u003c/figure>\n\u003cp>It's probably no startling revelation that a lot of us are fascinated by pop culture icons, their performances and their eccentricities. This curiosity ranges from simply having favorite actors and musicians, whose work we follow and whose occasional creative failures we might forgive, to a more addictive fascination with their private lives, if popularity of magazines like \u003cem>OK!\u003c/em> or bloggers like Perez Hilton is any indication. The more artistically inclined among fans turn to their craft to express their fascination with entertainment icons. (LA based \u003ca href=\"http://nineteeneightyeight.com/\" target=\"_blank\">Gallery1988\u003c/a>, for instance, has made its stock-in-trade to showcase art remixing and riffing on pop culture iconography.)\u003c/p>\n\u003cp>To my knowledge, however, there hasn't been a show quite as massive and solely focused on one celebrity as the upcoming tribute to Nicolas Cage -- he of the snakeskin jacket, but definitely not the bees -- taking place at \u003ca href=\"http://balancoiresf.com/\" target=\"_blank\">Balançoire\u003c/a> this weekend. What started as a cheeky idea and an online call for submissions has since snowballed into an event that currently has over a thousand RSVPs and seems to have \u003ca href=\"http://www.sfgate.com/movies/article/Nicolas-Cage-s-daring-as-actor-brings-out-best-5375053.php\" target=\"_blank\">reached the ears\u003c/a> of the actor himself.\u003c/p>\n\u003cfigure id=\"attachment_11759\" class=\"wp-caption alignleft\" style=\"max-width: 240px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/TabithaLahr.jpg\">\u003cimg class=\"wp-image-11759 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/TabithaLahr.jpg\" alt=\"Artist: Tabitha Lahr\" width=\"240\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/04/TabithaLahr.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/04/TabithaLahr-400x600.jpg 400w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Tabitha Lahr\u003c/figcaption>\u003c/figure>\n\u003cp>Nicolas Cage has had quite a career, and I certainly appreciate how relentless he is in the pursuit of his craft, oscillating wildly between critically acclaimed roles and questionable, eyebrow-raising choices. Cage wowed us in \u003cem>Wild at Heart\u003c/em>, \u003cem>Moonstruck\u003c/em>, and \u003cem>Matchstick Men\u003c/em>, left our jaws and hearts on the floor in \u003cem>Leaving Las Vegas\u003c/em>, and then left us grimacing with some, uh, less than stellar projects (\u003cem>Season of the Witch\u003c/em>, anyone?). Sometimes his intensity simmers under the surface, and sometimes he \u003ca href=\"https://www.youtube.com/watch?v=xP1-oquwoL8\" target=\"_blank\">lets it all out\u003c/a>. The point is, even though I am not a fan with capital F, Nicolas Cage is very much a part of my pop culture knowledge. This is clearly something I share with Ezra Croft, the curator of the upcoming exhibit, who felt there was something to be mined in our collective fascination with the actor.\u003c/p>\n\u003cp>I've been acquainted with Ezra for a number of years, and he's always had a mischievous, irreverent sense of humor. Although our paths haven't crossed in quite a while, when I learned about the show, I knew I had to pick his brain a little bit, and so we caught up via e-mail.\u003c/p>\n\u003cfigure id=\"attachment_11756\" class=\"wp-caption alignright\" style=\"max-width: 240px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/Miriam-Dinkens.jpg\">\u003cimg class=\"wp-image-11756 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/Miriam-Dinkens.jpg\" alt=\"Miriam Dinkens\" width=\"240\" height=\"373\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/04/Miriam-Dinkens.jpg 618w, https://ww2.kqed.org/app/uploads/sites/12/2014/04/Miriam-Dinkens-400x621.jpg 400w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Miriam Dinkens\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED Pop: I know your idea for the event was to host an art show that was playful and fun, but why Nicolas Cage, specifically? \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Ezra Croft:\u003c/strong> I chose Nicolas Cage specifically because of the gamut of strange emotions he evokes. He's been ingrained in our culture through his movies and personal antics, and I think that someone with such eccentric status easily proves an excellent study into the iconic and strange. His choices to take roles in more cheesy movies I think admirably show his nonconformist nature, as this art show is reflecting. It embraces the needlessly dramatic. In this, he has fallen from the \"A-list's\" good graces, but still continues to thrive in the movie industry. He's had such dramatic highs and abysmal lows!\u003c/p>\n\u003cp>\u003cstrong>Were you considering any other theme?\u003c/strong>\u003c/p>\n\u003cp>Before I settled on this, I had considered other subjects, such as Christopher Walken, \u003cem>Law and Order\u003c/em>, and Bill Murray. I am planning a dramatically awesome event called \"The Murray Affair\" for autumn, so be ready for that.\u003c/p>\n\u003cp>\u003cstrong>Would you say the show is a parody or a tribute?\u003c/strong>\u003c/p>\n\u003cp>Many people first thought this show was a parody show, only reflecting internet memes, but it's far beyond that. Many of [Cage's] true fans and haters have stepped forward and made art, both at his expense and [paying tribute] to his legendary status. As his film career over the years has shown with the public, it's dramatic, serious, silly and true to Cage's nature -- irresistible with a hint of madness.\u003c/p>\n\u003cfigure id=\"attachment_11761\" class=\"wp-caption alignleft\" style=\"max-width: 240px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/timothytang.jpg\">\u003cimg class=\"wp-image-11761 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/timothytang.jpg\" alt=\"Artist: Timothy Tang\" width=\"240\" height=\"370\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/04/timothytang.jpg 560w, https://ww2.kqed.org/app/uploads/sites/12/2014/04/timothytang-400x617.jpg 400w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Timothy Tang\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sounds like the reception has been overwhelmingly positive. Any negative feedback?\u003c/strong>\u003c/p>\n\u003cp>I've received some small criticism, one writer calling it a \"hipster art show,\" but I'm not phased by it.\u003c/p>\n\u003cp>\u003cstrong>You've received countless submissions. What mediums are people using to pay homage?\u003c/strong>\u003c/p>\n\u003cp>Most works will be done in traditional paint, but there will be a sculpture comprised of hundreds off little cage faces, video projection art and some digital art.\u003c/p>\n\u003cp>\u003cstrong>What do you think Nic Cage himself would say about the art show?\u003c/strong>\u003c/p>\n\u003cp>I hope that if Nicolas Cage attended the show, he would have a good time and feel that his true fans were roasting him. It is an homage at heart, and we hope he would know that we enjoy the fantastic situations he embraces on screen.\u003c/p>\n\u003cp>\u003cstrong>This is your first major art show. What's next?\u003c/strong>\u003c/p>\n\u003cp>This show is going to New York and Los Angeles, all scheduling permitting. I have several other events in the making, but I'm keeping them secret for now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Nicolas Cage Art Show and Musical Shenanigans party takes place Saturday, April 12 at Balançoire. Full event details can be found on \u003ca href=\"https://www.facebook.com/events/262169750625120/\">the event page\u003c/a> on Facebook.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Thwack Factor': San Francisco DIY Game Inventors on the Brink",
"headTitle": "‘Thwack Factor’: San Francisco DIY Game Inventors on the Brink | KQED",
"content": "\u003cp>After toiling for more than a decade in the garage of new proverbs, next month \u003cstrong>two San Francisco musicians-turned-DIY inventors\u003c/strong> are releasing their next-wave target game, \u003ca title=\"Kooba Game\" href=\"http://koobagame.com\">Kooba,\u003c/a> to the states. \u003c/p>\n\u003cp>The creation of Stephen de Zordo (a former pro bodyboarder already responsible for a toy industry all-time monster hit) and Scott Shanks (a sculptor and 78rpm deejay), Kooba is a game of physical skill that’s sorta kissing cousins to darts except, in this case, one uses a pair of sticks to launch magnetic projectiles at the wall-mounted game board. Eyes and hands are coordinated, competitions are mounted, and fun not staring at a screen is had.\u003c/p>\n\u003cp>What started out as an unexpectedly dangerous prototype created out of repurposed materials went on to become an early crowd-funded Kickstarter project. It later became a consumer-safe, crowd-vetted hit at \u003ca title=\"Maker Faire\" href=\"http://makerfaire.com/bay-area-2014\">Maker Faire\u003c/a>, that “science fair meets county fair” of someone’s do-it-yourself fever dream. Newly armed with the prestigious \u003ca title=\"American Package Award 2014\" href=\"http://www.gdusa.com/contests/apda14/winners/gallery.php?c=sports_toys_games\">2014 American Package Award\u003c/a>, Kooba will be making the leap this June from hand-built labor of love to a high-quality, impeccably designed, mass-produced must-have consumer item available across the country at specialty boutiques, chain toy stores of the anthropomorphic giraffe mascot variety, and even the hallowed shelves of SFMOMA’s museum shoppe.\u003c/p>\n\u003cp>I recently interrupted Stephen and Scott’s heated lunchtime game of \u003ca title=\"Mousetrap\" href=\"http://en.wikipedia.org/wiki/Mouse_Trap_%28game%29\">\u003cem>Mousetrap\u003c/em>\u003c/a> to get the lowdown.\u003c/p>\n\u003cp>\u003cstrong>How did you guys get into this racket in the first place? \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stephen de Zordo: I invented a toy back in 1989. After coming back from surfing one day, I was playing with tops on the floor in my friend’s garage. I was spinning them in a large spiral patterns, and began wondering how you could capture or trace the spin patterns. I was very into graphic design at the time. Then I realized you could put a pen into the end of the top and \u003cem>boom\u003c/em>! I got together with some family members, we sold the idea to a distributor and launched \u003ca title=\"Doo\" href=\"http://www.amazon.com/Doodletop-Single-colors-may-vary/dp/B000F4G5I2\">DoodleTop\u003c/a> in 1990. It immediately found success. DoodleTop was the toy industry’s #1 Stocking Stuffer of 1993. We ended up selling tens of millions of them.\u003c/p>\n\u003cfigure id=\"attachment_10136090\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/doodletop-spiral.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/doodletop-spiral.jpg\" alt=\"DoodleTop - in action\" width=\"800\" height=\"600\" class=\"size-full wp-image-10136090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/doodletop-spiral.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/doodletop-spiral-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/doodletop-spiral-300x225.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">DoodleTop – in action \u003ccite>(Courtesy of Anthony Bedard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>There’s a toy industry Stocking Stuffer award?\u003c/strong>\u003c/p>\n\u003cp>de Zordo: There is! And we won a bunch of other awards for it like Top Impulse Toy. It’s still in production to this day.\u003c/p>\n\u003cp>Scott Shanks: Stephen and I knew each other from George Washington High School here in San Francisco. In the late 90s, we’d been collaborating on various art, music, and creative projects together. I was sick of working in web design and wanted to get into designing toys. Meanwhile, Stephen wanted to get out of the toy business and involved in the digital world. So we were coming from completely opposite directions. We started inventing stuff on lots of cocktail napkins.\u003c/p>\n\u003cp>\u003cstrong>What was the genesis or creative spark for Kooba?\u003c/strong>\u003c/p>\n\u003cp>de Zordo: We were trying to invent a whole new way to propel things – but not by kicking, or throwing, or bouncing them.\u003c/p>\n\u003cp>Shanks: We started slinging metal rings off the end of sticks with terrifying velocity. Once we started breaking bottles and sending these steel rings deep into walls, that’s when we knew we had something. Danger being one of the greatest elements of all successful physical toys.\u003c/p>\n\u003cp>de Zordo: Think about a \u003ca title=\"SuperBall\" href=\"http://www.wham-o.com/brands/superball.html\">SuperBall\u003c/a>. The first thing you want to do is throw that thing right back into your face off the ground. That’s the kind of stuff we grew up with. We love things that have elements of surprise and danger.\u003c/p>\n\u003cfigure id=\"attachment_10136089\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/KOOBA-pckg-with-aeros.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/KOOBA-pckg-with-aeros.jpg\" alt=\"Kooba packaging (recipient of a 2014 American Package Design Award, designed by San Francisco firm Stapley Hildebrand\" width=\"800\" height=\"641\" class=\"size-full wp-image-10136089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/KOOBA-pckg-with-aeros.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/KOOBA-pckg-with-aeros-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/KOOBA-pckg-with-aeros-300x240.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kooba packaging (recipient of a 2014 American Package Design Award, designed by San Francisco firm Stapley Hildebrand \u003ccite>(Courtesy of Anthony Bedard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why did you decide to invent a physical game instead of creating a mobile app?\u003c/strong>\u003c/p>\n\u003cp>Shanks: They didn’t exist when we started this project! We started developing early versions of Kooba in the late 90s, way before the iPhone.\u003c/p>\n\u003cp>de Zordo: People weren’t touching their computer screens yet, just getting pissed off at them.\u003c/p>\n\u003cp>\u003cstrong>Were there any historical precedents for your game?\u003c/strong>\u003c/p>\n\u003cp>Shanks: After we had our fun destroying everything, we did patent searches and found a sticks-and-hoops game from the 1800s called \u003ca title=\"Game of Graces\" href=\"http://fairetymetoys.com/pmwiki.php?n=main.graces\">Game of Graces\u003c/a> (\u003cem>‘meant to help preserve young ladies’ femininity by instructing them on the art of graceful movement’\u003c/em>). But that was a game of catch and we’d already been playing ours as a target game. Target shooting is way more fun. At that point, we had to figure out a way to make our game physically safer to play so we lightened up the materials and then asked ourselves how we could make the projectiles stick to a board, like darts but with magnets instead. It became sort of a target game mixed with a board game.\u003c/p>\n\u003cp>\u003cstrong>Before discovering that I hadn’t pressed the “record” button on my iPhone for this interview, you were discussing how Kooba is a new type of “play pattern”.\u003c/strong>\u003c/p>\n\u003cp>de Zordo: I’ve always been interested in new and inventive ways to do stuff. When we came up with this idea, I realized it was an innovative play pattern – play patterns are what the toy industry talks about when you physically do something. We didn’t set out to invent a game. That’s not it. We set out for a whole new play pattern, found one, and then had to figure out a way to make it into something that wasn’t going to kill you. Rather than coming up with something to slap Spongebob’s image on or some other licensed property, the play pattern is key for us. Not just filling another hole on the toy store shelf.\u003c/p>\n\u003cp>Shanks: Doing it on a target board opened up a lot more possibilities than just getting something into a hole or knocking something over.\u003c/p>\n\u003cfigure id=\"attachment_10136088\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Stephen-and-aero.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Stephen-and-aero.jpg\" alt='Close up of Kooba \"aero\" magnetic game piece' width=\"800\" height=\"533\" class=\"size-full wp-image-10136088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Stephen-and-aero.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Stephen-and-aero-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Stephen-and-aero-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Close up of Kooba “aero” magnetic game piece \u003ccite>(Courtesy of Anthony Bedard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was the first prototype like?\u003c/strong>\u003c/p>\n\u003cp>de Zordo: We went on a sourcing binge. Scott created a prototype out of arc welded metal rods, cardboard, felt, headliner from a car. We were repurposing materials from everywhere. The shooting sticks, for example, used to be antenna rods. And there was a big moment when we found shower curtain grommets and repurposed the button snaps for the aeros (\u003cem>the flying magnetic pieces one shoots at the game board\u003c/em>).\u003c/p>\n\u003cp>Shanks: We were trying to find a way to fasten the magnets to the neoprene. I found a tool to pressure fit the magnet into the female end of a button snap with a little dab of epoxy for good measure. I was doing this at the desk of my old web design job.\u003c/p>\n\u003cp>\u003cstrong>You left an early prototype behind at someone’s house by accident?\u003c/strong>\u003c/p>\n\u003cp>I brought the prototype home, left it in a bag in my room and then went on a month-long trip. When I came back, the board was up on the wall and my roommates were playing it even though they’d never been shown how. At that point in the project we were being super-secretive so I was angry they had played it but they were telling us how rad it was and their enthusiasm was so inspirational that it motivated us to take it to the next level. At that point we decided to try to license it to one of the big guys and we re-ignited all my toy industry relationships.\u003c/p>\n\u003cp>\u003cstrong>How’d that go? Were any of your old contacts interested?\u003c/strong>\u003c/p>\n\u003cp>de Zordo: The people we showed it to liked it but didn’t know what to do with it. Once the big guys turned us down, we shelved it for a little bit and tried to figure out our next move. Then Kickstarter came along and we realized it could be our funding platform. We raised about $3,000, a tiny sum by current Kickstarter standards, and got to work on the next generation of the prototype. And that dovetailed with \u003ca title=\"Maker Movement\" href=\"http://en.wikipedia.org/wiki/Maker_culture\">the Maker movement\u003c/a> – the design philosophy promoting repurposed materials, thinking differently about design, designing for environment.\u003c/p>\n\u003cp>\u003cstrong>Unlike bands trying to fund their albums, a game prototype actually seems like an interesting use for Kickstarter.\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>de Zordo: A few years ago, you never went through these channels because they didn’t exist. The Maker movement, Maker Faire, and Kickstarter, those crosshairs all aligned for us. We rethought the entire thing. We said, f*** the big guys, we can do this ourselves. We re-shifted our focus onto how we could do this and make it ourselves.\u003c/p>\n\u003cfigure id=\"attachment_10136096\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/KOOBA-Board-hanging.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/KOOBA-Board-hanging.jpg\" alt=\"Kooba board - hanging\" width=\"800\" height=\"726\" class=\"size-full wp-image-10136096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/KOOBA-Board-hanging.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/KOOBA-Board-hanging-400x363.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/KOOBA-Board-hanging-300x272.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kooba board – hanging \u003ccite>(Courtesy of Anthony Bedard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is “screen time” Kooba’s biggest rival?\u003c/strong>\u003c/p>\n\u003cp>de Zordo: To compete with screen time, you have to create an engaging experience. Our product gives people feedback. We’ve designed that into it. You can see the excitement in players’ eyes when they actually hit the board after physically manipulating this object. When we take it out to the public, which we’ve done numerous times at Maker Faire and other events in the city, people really latch onto it. People love it. The games get really competitive. It’s purely because of the physicality of the product. We put a lot of thought into the thud and thwack. The thwack factor (\u003cem>laughs\u003c/em>).\u003c/p>\n\u003cp>Shanks: Every time we take it out people start coming up with different ideas for games they can play. We felt we should make a relatively nondescript board that allows people to come up with their own ideas for games, something that would be more of a physical gaming platform.\u003c/p>\n\u003cp>de Zordo: People used to invent games and toys that you play \u003cem>with\u003c/em>. Now, everything plays \u003cem>for\u003c/em> you. It’s generally, \u003cem>hey do this, tap this\u003c/em> and it guides you along the way. And if it’s tied to a licensed property, you already have a predisposed dialogue. But with our game, there is no narrative. It’s wide open. We tried to design for the experience, not necessarily for the market. The market would tell us to do things very differently. But we designed it for the consumer.\u003c/p>\n\u003cp>\u003cstrong>The burning question our readership has been waiting all interview for me to ask: Is Kooba the next \u003ca title=\"Hula Hoop\" href=\"http://inventors.about.com/od/hstartinventions/a/Hula_Hoop.htm\">Hula Hoop\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>de Zordo: That would be awesome. I would hope it ramps up a bit slower than that but it does have that “back to the experience” factor.\u003c/p>\n\u003cp>Shanks: Playing Kooba is an addictive experience. You can get good enough to make a decent shot, but it’s challenging to make a perfect shot and do it consistently. It’s hard to do and I’ve been playing versions of this game for 10 years now.\u003c/p>\n\u003cp>\u003cstrong>Where would you rank Kooba among other \u003ca title=\"Bay Area inventions\" href=\"http://blog.sfgate.com/stew/2014/05/01/tv-google-and-bendy-straws-bay-area-inventions-and-discoveries/\">noted San Francisco/Bay Area inventions \u003c/a>such as the bendy straw, the Popsicle, the squeegee, television, and Eggo’s?\u003c/strong>\u003c/p>\n\u003cp>de Zordo: No question: somewhere in between Eggo’s and television.\u003c/p>\n\u003cp>——————————-\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Stephen de Zordo and Scott Shanks will be doing live demonstrations of Kooba and displaying all of its prototypes at the \u003ca title=\"Kooba at Maker Faire\" href=\"http://makerfaire.com/makers/kooba-the-revolutionary-targetgame/\">Maker Faire Bay Area 2014\u003c/a> at the San Mateo Events Center on Saturday, May 17\u003csup>th\u003c/sup>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After toiling for more than a decade in the garage of new proverbs, next month \u003cstrong>two San Francisco musicians-turned-DIY inventors\u003c/strong> are releasing their next-wave target game, \u003ca title=\"Kooba Game\" href=\"http://koobagame.com\">Kooba,\u003c/a> to the states. \u003c/p>\n\u003cp>The creation of Stephen de Zordo (a former pro bodyboarder already responsible for a toy industry all-time monster hit) and Scott Shanks (a sculptor and 78rpm deejay), Kooba is a game of physical skill that’s sorta kissing cousins to darts except, in this case, one uses a pair of sticks to launch magnetic projectiles at the wall-mounted game board. Eyes and hands are coordinated, competitions are mounted, and fun not staring at a screen is had.\u003c/p>\n\u003cp>What started out as an unexpectedly dangerous prototype created out of repurposed materials went on to become an early crowd-funded Kickstarter project. It later became a consumer-safe, crowd-vetted hit at \u003ca title=\"Maker Faire\" href=\"http://makerfaire.com/bay-area-2014\">Maker Faire\u003c/a>, that “science fair meets county fair” of someone’s do-it-yourself fever dream. Newly armed with the prestigious \u003ca title=\"American Package Award 2014\" href=\"http://www.gdusa.com/contests/apda14/winners/gallery.php?c=sports_toys_games\">2014 American Package Award\u003c/a>, Kooba will be making the leap this June from hand-built labor of love to a high-quality, impeccably designed, mass-produced must-have consumer item available across the country at specialty boutiques, chain toy stores of the anthropomorphic giraffe mascot variety, and even the hallowed shelves of SFMOMA’s museum shoppe.\u003c/p>\n\u003cp>I recently interrupted Stephen and Scott’s heated lunchtime game of \u003ca title=\"Mousetrap\" href=\"http://en.wikipedia.org/wiki/Mouse_Trap_%28game%29\">\u003cem>Mousetrap\u003c/em>\u003c/a> to get the lowdown.\u003c/p>\n\u003cp>\u003cstrong>How did you guys get into this racket in the first place? \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stephen de Zordo: I invented a toy back in 1989. After coming back from surfing one day, I was playing with tops on the floor in my friend’s garage. I was spinning them in a large spiral patterns, and began wondering how you could capture or trace the spin patterns. I was very into graphic design at the time. Then I realized you could put a pen into the end of the top and \u003cem>boom\u003c/em>! I got together with some family members, we sold the idea to a distributor and launched \u003ca title=\"Doo\" href=\"http://www.amazon.com/Doodletop-Single-colors-may-vary/dp/B000F4G5I2\">DoodleTop\u003c/a> in 1990. It immediately found success. DoodleTop was the toy industry’s #1 Stocking Stuffer of 1993. We ended up selling tens of millions of them.\u003c/p>\n\u003cfigure id=\"attachment_10136090\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/doodletop-spiral.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/doodletop-spiral.jpg\" alt=\"DoodleTop - in action\" width=\"800\" height=\"600\" class=\"size-full wp-image-10136090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/doodletop-spiral.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/doodletop-spiral-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/doodletop-spiral-300x225.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">DoodleTop – in action \u003ccite>(Courtesy of Anthony Bedard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>There’s a toy industry Stocking Stuffer award?\u003c/strong>\u003c/p>\n\u003cp>de Zordo: There is! And we won a bunch of other awards for it like Top Impulse Toy. It’s still in production to this day.\u003c/p>\n\u003cp>Scott Shanks: Stephen and I knew each other from George Washington High School here in San Francisco. In the late 90s, we’d been collaborating on various art, music, and creative projects together. I was sick of working in web design and wanted to get into designing toys. Meanwhile, Stephen wanted to get out of the toy business and involved in the digital world. So we were coming from completely opposite directions. We started inventing stuff on lots of cocktail napkins.\u003c/p>\n\u003cp>\u003cstrong>What was the genesis or creative spark for Kooba?\u003c/strong>\u003c/p>\n\u003cp>de Zordo: We were trying to invent a whole new way to propel things – but not by kicking, or throwing, or bouncing them.\u003c/p>\n\u003cp>Shanks: We started slinging metal rings off the end of sticks with terrifying velocity. Once we started breaking bottles and sending these steel rings deep into walls, that’s when we knew we had something. Danger being one of the greatest elements of all successful physical toys.\u003c/p>\n\u003cp>de Zordo: Think about a \u003ca title=\"SuperBall\" href=\"http://www.wham-o.com/brands/superball.html\">SuperBall\u003c/a>. The first thing you want to do is throw that thing right back into your face off the ground. That’s the kind of stuff we grew up with. We love things that have elements of surprise and danger.\u003c/p>\n\u003cfigure id=\"attachment_10136089\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/KOOBA-pckg-with-aeros.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/KOOBA-pckg-with-aeros.jpg\" alt=\"Kooba packaging (recipient of a 2014 American Package Design Award, designed by San Francisco firm Stapley Hildebrand\" width=\"800\" height=\"641\" class=\"size-full wp-image-10136089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/KOOBA-pckg-with-aeros.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/KOOBA-pckg-with-aeros-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/KOOBA-pckg-with-aeros-300x240.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kooba packaging (recipient of a 2014 American Package Design Award, designed by San Francisco firm Stapley Hildebrand \u003ccite>(Courtesy of Anthony Bedard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why did you decide to invent a physical game instead of creating a mobile app?\u003c/strong>\u003c/p>\n\u003cp>Shanks: They didn’t exist when we started this project! We started developing early versions of Kooba in the late 90s, way before the iPhone.\u003c/p>\n\u003cp>de Zordo: People weren’t touching their computer screens yet, just getting pissed off at them.\u003c/p>\n\u003cp>\u003cstrong>Were there any historical precedents for your game?\u003c/strong>\u003c/p>\n\u003cp>Shanks: After we had our fun destroying everything, we did patent searches and found a sticks-and-hoops game from the 1800s called \u003ca title=\"Game of Graces\" href=\"http://fairetymetoys.com/pmwiki.php?n=main.graces\">Game of Graces\u003c/a> (\u003cem>‘meant to help preserve young ladies’ femininity by instructing them on the art of graceful movement’\u003c/em>). But that was a game of catch and we’d already been playing ours as a target game. Target shooting is way more fun. At that point, we had to figure out a way to make our game physically safer to play so we lightened up the materials and then asked ourselves how we could make the projectiles stick to a board, like darts but with magnets instead. It became sort of a target game mixed with a board game.\u003c/p>\n\u003cp>\u003cstrong>Before discovering that I hadn’t pressed the “record” button on my iPhone for this interview, you were discussing how Kooba is a new type of “play pattern”.\u003c/strong>\u003c/p>\n\u003cp>de Zordo: I’ve always been interested in new and inventive ways to do stuff. When we came up with this idea, I realized it was an innovative play pattern – play patterns are what the toy industry talks about when you physically do something. We didn’t set out to invent a game. That’s not it. We set out for a whole new play pattern, found one, and then had to figure out a way to make it into something that wasn’t going to kill you. Rather than coming up with something to slap Spongebob’s image on or some other licensed property, the play pattern is key for us. Not just filling another hole on the toy store shelf.\u003c/p>\n\u003cp>Shanks: Doing it on a target board opened up a lot more possibilities than just getting something into a hole or knocking something over.\u003c/p>\n\u003cfigure id=\"attachment_10136088\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Stephen-and-aero.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Stephen-and-aero.jpg\" alt='Close up of Kooba \"aero\" magnetic game piece' width=\"800\" height=\"533\" class=\"size-full wp-image-10136088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Stephen-and-aero.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Stephen-and-aero-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Stephen-and-aero-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Close up of Kooba “aero” magnetic game piece \u003ccite>(Courtesy of Anthony Bedard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was the first prototype like?\u003c/strong>\u003c/p>\n\u003cp>de Zordo: We went on a sourcing binge. Scott created a prototype out of arc welded metal rods, cardboard, felt, headliner from a car. We were repurposing materials from everywhere. The shooting sticks, for example, used to be antenna rods. And there was a big moment when we found shower curtain grommets and repurposed the button snaps for the aeros (\u003cem>the flying magnetic pieces one shoots at the game board\u003c/em>).\u003c/p>\n\u003cp>Shanks: We were trying to find a way to fasten the magnets to the neoprene. I found a tool to pressure fit the magnet into the female end of a button snap with a little dab of epoxy for good measure. I was doing this at the desk of my old web design job.\u003c/p>\n\u003cp>\u003cstrong>You left an early prototype behind at someone’s house by accident?\u003c/strong>\u003c/p>\n\u003cp>I brought the prototype home, left it in a bag in my room and then went on a month-long trip. When I came back, the board was up on the wall and my roommates were playing it even though they’d never been shown how. At that point in the project we were being super-secretive so I was angry they had played it but they were telling us how rad it was and their enthusiasm was so inspirational that it motivated us to take it to the next level. At that point we decided to try to license it to one of the big guys and we re-ignited all my toy industry relationships.\u003c/p>\n\u003cp>\u003cstrong>How’d that go? Were any of your old contacts interested?\u003c/strong>\u003c/p>\n\u003cp>de Zordo: The people we showed it to liked it but didn’t know what to do with it. Once the big guys turned us down, we shelved it for a little bit and tried to figure out our next move. Then Kickstarter came along and we realized it could be our funding platform. We raised about $3,000, a tiny sum by current Kickstarter standards, and got to work on the next generation of the prototype. And that dovetailed with \u003ca title=\"Maker Movement\" href=\"http://en.wikipedia.org/wiki/Maker_culture\">the Maker movement\u003c/a> – the design philosophy promoting repurposed materials, thinking differently about design, designing for environment.\u003c/p>\n\u003cp>\u003cstrong>Unlike bands trying to fund their albums, a game prototype actually seems like an interesting use for Kickstarter.\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>de Zordo: A few years ago, you never went through these channels because they didn’t exist. The Maker movement, Maker Faire, and Kickstarter, those crosshairs all aligned for us. We rethought the entire thing. We said, f*** the big guys, we can do this ourselves. We re-shifted our focus onto how we could do this and make it ourselves.\u003c/p>\n\u003cfigure id=\"attachment_10136096\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/KOOBA-Board-hanging.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/KOOBA-Board-hanging.jpg\" alt=\"Kooba board - hanging\" width=\"800\" height=\"726\" class=\"size-full wp-image-10136096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/KOOBA-Board-hanging.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/KOOBA-Board-hanging-400x363.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/KOOBA-Board-hanging-300x272.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kooba board – hanging \u003ccite>(Courtesy of Anthony Bedard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is “screen time” Kooba’s biggest rival?\u003c/strong>\u003c/p>\n\u003cp>de Zordo: To compete with screen time, you have to create an engaging experience. Our product gives people feedback. We’ve designed that into it. You can see the excitement in players’ eyes when they actually hit the board after physically manipulating this object. When we take it out to the public, which we’ve done numerous times at Maker Faire and other events in the city, people really latch onto it. People love it. The games get really competitive. It’s purely because of the physicality of the product. We put a lot of thought into the thud and thwack. The thwack factor (\u003cem>laughs\u003c/em>).\u003c/p>\n\u003cp>Shanks: Every time we take it out people start coming up with different ideas for games they can play. We felt we should make a relatively nondescript board that allows people to come up with their own ideas for games, something that would be more of a physical gaming platform.\u003c/p>\n\u003cp>de Zordo: People used to invent games and toys that you play \u003cem>with\u003c/em>. Now, everything plays \u003cem>for\u003c/em> you. It’s generally, \u003cem>hey do this, tap this\u003c/em> and it guides you along the way. And if it’s tied to a licensed property, you already have a predisposed dialogue. But with our game, there is no narrative. It’s wide open. We tried to design for the experience, not necessarily for the market. The market would tell us to do things very differently. But we designed it for the consumer.\u003c/p>\n\u003cp>\u003cstrong>The burning question our readership has been waiting all interview for me to ask: Is Kooba the next \u003ca title=\"Hula Hoop\" href=\"http://inventors.about.com/od/hstartinventions/a/Hula_Hoop.htm\">Hula Hoop\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>de Zordo: That would be awesome. I would hope it ramps up a bit slower than that but it does have that “back to the experience” factor.\u003c/p>\n\u003cp>Shanks: Playing Kooba is an addictive experience. You can get good enough to make a decent shot, but it’s challenging to make a perfect shot and do it consistently. It’s hard to do and I’ve been playing versions of this game for 10 years now.\u003c/p>\n\u003cp>\u003cstrong>Where would you rank Kooba among other \u003ca title=\"Bay Area inventions\" href=\"http://blog.sfgate.com/stew/2014/05/01/tv-google-and-bendy-straws-bay-area-inventions-and-discoveries/\">noted San Francisco/Bay Area inventions \u003c/a>such as the bendy straw, the Popsicle, the squeegee, television, and Eggo’s?\u003c/strong>\u003c/p>\n\u003cp>de Zordo: No question: somewhere in between Eggo’s and television.\u003c/p>\n\u003cp>——————————-\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stephen de Zordo and Scott Shanks will be doing live demonstrations of Kooba and displaying all of its prototypes at the \u003ca title=\"Kooba at Maker Faire\" href=\"http://makerfaire.com/makers/kooba-the-revolutionary-targetgame/\">Maker Faire Bay Area 2014\u003c/a> at the San Mateo Events Center on Saturday, May 17\u003csup>th\u003c/sup>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Thanks H.R. Giger for All the Sleepless Nights",
"headTitle": "Thanks H.R. Giger for All the Sleepless Nights | KQED",
"content": "\u003cp>H.R. Giger was the guy who made me sleep with the lights on for years.\u003c/p>\n\u003cp>The iconic Swiss painter and sculptor, who died yesterday at the age of 74, reportedly suffered from night terrors for much of his life, so perhaps his inimitable art was his revenge upon the world. He is usually called a “surrealist,” but millions of people who couldn’t name another one of those knew him as the guy who created the titular beast for Ridley Scott’s classic 1979 horror film \u003cem>Alien\u003c/em> — a dripping, phallic insect with a long, serrated tail and a spring-loaded second jaw that shoots out of its glistening mouth. A thing with teeth inside of a thing with teeth.\u003c/p>\n\u003cp>You wouldn’t expect this particular creation to become a consensus candidate, but it did. Decades after \u003cem>Alien\u003c/em> hit theatres (the picture will turn 35 Memorial Day weekend), the creature’s status as the cinema’s most nightmarish beast is untouched. Even subsequent movie monsters designed by Giger, who became a hot commodity after \u003cem>Alien\u003c/em>, can’t come close.\u003c/p>\n\u003cp>Giger was in his late thirties when Scott hired him to create not just a monster (based on the one seen in Giger’s painting “Necronomicon IV”), but to design much of the film surrounding it. Giger created the first half of his creature’s two-stage life-cycle — the crab-like “facehugger” that affixes itself to its victim’s face and then implants a fast-maturing embryo inside the host’s abdomen that will later explode from the chest.\u003c/p>\n\u003cfigure id=\"attachment_10135952\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Chestburster-crop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Chestburster-crop.jpg\" alt=\"The "chestburster" is one of the many deeply unsettling images of 1979's Alien, probably the best-known work of designer H.R. Giger. Giger's original chestburster design changed substantially as he inched toward this final version with director Ridley Scott and others.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10135952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Chestburster-crop.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Chestburster-crop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Chestburster-crop-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The “chestburster” is one of the many deeply unsettling images of 1979’s Alien, probably the best-known work of designer H.R. Giger. Giger’s original chestburster design changed substantially as he inched toward this final version with director Ridley Scott and others. \u003ccite>(20th Century Fox/PictureDesk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also designed the horseshoe-shapted alien craft where the unlucky crew of the Earth-based freighter Nostromo encounters a patch of sweaty, translucent eggs. Those were his designs, too. Like many of the creatures in Giger’s paintings, these elements all seemed to posit a technology wherein rib cages and sex organs of both genders were the primary building materials. (\u003cem>Alien\u003c/em> won an Oscar for its visual effects; it was nominated for art direction but lost to \u003cem>All That Jazz\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Scott’s disappointing 2012 film \u003cem>Prometheus\u003c/em> was an attempt to answer \u003cem>Alien\u003c/em> fans’ decades-old questions about the race of creatures to whom this ship belonged. As is so often the case, \u003ca href=\"http://www.npr.org/blogs/monkeysee/2012/06/08/154572020/hello-again-my-gooey-friends-on-loving-alien-and-seeing-prometheus\">the solution felt matter-of-fact where the mystery had felt vast and unknowable\u003c/a>. Almost inevitably, \u003ca href=\"http://chrisklimek.com/2012/10/18/making-of-documentary-the-furious-gods-reveals-the-people-who-actually-made-prometheus-had-no-idea-wtf-either/\">the film was a letdown\u003c/a>.\u003c/p>\n\u003cp>The cliche about the makers of violent, horrific or sexually extreme creative work is that they’re sweetest, most approachable people you could ever meet. Giger was emphatically not that. The reason his interview segments on the \u003cem>Alien\u003c/em> Anthology DVD/Blu Ray box sets remain a touchstone in geek circles is that Giger comes off as an even more frightening weirdo savant than his work would indicate. Pasty and pale and prematurely gray, dressed all in black, his Swiss-accented English dropping inflections in all the wrong places, and seated, naturally, in a high-backed chair that looks like it was assembled from the spinal columns of gorillas, he delivers the goods.\u003c/p>\n\u003cp>He pronounces dinosaur like “dine-oh-sour.”\u003c/p>\n\u003cp>He says stuff like this: “The light, it hurts me. If you have too much sun, then you will be in the shadow. And I like always to be in the shadow, in the dark.”\u003c/p>\n\u003cp>That’s a rough transcription. He has a tendency to let his sentences trail off.\u003c/p>\n\u003cp>Naturally, he fondles a pussycat, like the one whose hiss and slow retreat signals the mature, full-size alien’s entrance — a majestic, slow descent into frame from the ceiling, about 60 percent of the way through the movie.\u003c/p>\n\u003cp>Matt Gourley, one of the creators of the brilliant comedy podcast Superego, has a recurring bit where he uses his uncanny Giger impression to put this kinky vampire in mundane domestic situations, like when his son needs him to sign a school permission slip and Giger won’t stop saying things like, “I made an acoustic sex fetus!” My favorite one is where he reads \u003cem>The Night Before Christmas\u003c/em> as Giger. “Let’s skip ahead to where they die,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Alien\u003c/em> largely follows the \u003cem>Jaws\u003c/em> rule, withholding a full, clear view of the creature until late in the film. But the fright-embryo is implanted in your belly long before that, churning in your intestines, long before we see it, because of the terrifying visit to that Giger-designed \u003cem>Alien\u003c/em> ship in the first act of the picture. \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=Thanks+To+H.R.+Giger%2C+For+All+The+Sleepless+Nights&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>H.R. Giger was the guy who made me sleep with the lights on for years.\u003c/p>\n\u003cp>The iconic Swiss painter and sculptor, who died yesterday at the age of 74, reportedly suffered from night terrors for much of his life, so perhaps his inimitable art was his revenge upon the world. He is usually called a “surrealist,” but millions of people who couldn’t name another one of those knew him as the guy who created the titular beast for Ridley Scott’s classic 1979 horror film \u003cem>Alien\u003c/em> — a dripping, phallic insect with a long, serrated tail and a spring-loaded second jaw that shoots out of its glistening mouth. A thing with teeth inside of a thing with teeth.\u003c/p>\n\u003cp>You wouldn’t expect this particular creation to become a consensus candidate, but it did. Decades after \u003cem>Alien\u003c/em> hit theatres (the picture will turn 35 Memorial Day weekend), the creature’s status as the cinema’s most nightmarish beast is untouched. Even subsequent movie monsters designed by Giger, who became a hot commodity after \u003cem>Alien\u003c/em>, can’t come close.\u003c/p>\n\u003cp>Giger was in his late thirties when Scott hired him to create not just a monster (based on the one seen in Giger’s painting “Necronomicon IV”), but to design much of the film surrounding it. Giger created the first half of his creature’s two-stage life-cycle — the crab-like “facehugger” that affixes itself to its victim’s face and then implants a fast-maturing embryo inside the host’s abdomen that will later explode from the chest.\u003c/p>\n\u003cfigure id=\"attachment_10135952\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Chestburster-crop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Chestburster-crop.jpg\" alt=\"The "chestburster" is one of the many deeply unsettling images of 1979's Alien, probably the best-known work of designer H.R. Giger. Giger's original chestburster design changed substantially as he inched toward this final version with director Ridley Scott and others.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10135952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Chestburster-crop.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Chestburster-crop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Chestburster-crop-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The “chestburster” is one of the many deeply unsettling images of 1979’s Alien, probably the best-known work of designer H.R. Giger. Giger’s original chestburster design changed substantially as he inched toward this final version with director Ridley Scott and others. \u003ccite>(20th Century Fox/PictureDesk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also designed the horseshoe-shapted alien craft where the unlucky crew of the Earth-based freighter Nostromo encounters a patch of sweaty, translucent eggs. Those were his designs, too. Like many of the creatures in Giger’s paintings, these elements all seemed to posit a technology wherein rib cages and sex organs of both genders were the primary building materials. (\u003cem>Alien\u003c/em> won an Oscar for its visual effects; it was nominated for art direction but lost to \u003cem>All That Jazz\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Scott’s disappointing 2012 film \u003cem>Prometheus\u003c/em> was an attempt to answer \u003cem>Alien\u003c/em> fans’ decades-old questions about the race of creatures to whom this ship belonged. As is so often the case, \u003ca href=\"http://www.npr.org/blogs/monkeysee/2012/06/08/154572020/hello-again-my-gooey-friends-on-loving-alien-and-seeing-prometheus\">the solution felt matter-of-fact where the mystery had felt vast and unknowable\u003c/a>. Almost inevitably, \u003ca href=\"http://chrisklimek.com/2012/10/18/making-of-documentary-the-furious-gods-reveals-the-people-who-actually-made-prometheus-had-no-idea-wtf-either/\">the film was a letdown\u003c/a>.\u003c/p>\n\u003cp>The cliche about the makers of violent, horrific or sexually extreme creative work is that they’re sweetest, most approachable people you could ever meet. Giger was emphatically not that. The reason his interview segments on the \u003cem>Alien\u003c/em> Anthology DVD/Blu Ray box sets remain a touchstone in geek circles is that Giger comes off as an even more frightening weirdo savant than his work would indicate. Pasty and pale and prematurely gray, dressed all in black, his Swiss-accented English dropping inflections in all the wrong places, and seated, naturally, in a high-backed chair that looks like it was assembled from the spinal columns of gorillas, he delivers the goods.\u003c/p>\n\u003cp>He pronounces dinosaur like “dine-oh-sour.”\u003c/p>\n\u003cp>He says stuff like this: “The light, it hurts me. If you have too much sun, then you will be in the shadow. And I like always to be in the shadow, in the dark.”\u003c/p>\n\u003cp>That’s a rough transcription. He has a tendency to let his sentences trail off.\u003c/p>\n\u003cp>Naturally, he fondles a pussycat, like the one whose hiss and slow retreat signals the mature, full-size alien’s entrance — a majestic, slow descent into frame from the ceiling, about 60 percent of the way through the movie.\u003c/p>\n\u003cp>Matt Gourley, one of the creators of the brilliant comedy podcast Superego, has a recurring bit where he uses his uncanny Giger impression to put this kinky vampire in mundane domestic situations, like when his son needs him to sign a school permission slip and Giger won’t stop saying things like, “I made an acoustic sex fetus!” My favorite one is where he reads \u003cem>The Night Before Christmas\u003c/em> as Giger. “Let’s skip ahead to where they die,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Alien\u003c/em> largely follows the \u003cem>Jaws\u003c/em> rule, withholding a full, clear view of the creature until late in the film. But the fright-embryo is implanted in your belly long before that, churning in your intestines, long before we see it, because of the terrifying visit to that Giger-designed \u003cem>Alien\u003c/em> ship in the first act of the picture. \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=Thanks+To+H.R.+Giger%2C+For+All+The+Sleepless+Nights&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Due to an incoming and highly anticipated art exhibit, Alcatraz prison may be harder to get into than out of this fall. Sure, seats are always hard to get on the \u003ca href=\"http://www.alcatrazcruises.com/\" target=\"_blank\" rel=\"noopener\">Alcatraz Cruises ferry,\u003c/a> despite the 17 departures a day from Pier 33 in San Francisco. But empty seats may become an even scarcer commodity come Sept. 27, when an installation by art superstar Ai Weiwei opens on the island.\u003c/p>\n\u003cp>Workers will begin assembling \u003ca href=\"http://www.for-site.org/project/ai-weiwei-alcatraz/\" target=\"_blank\" rel=\"noopener\">\u003ci>@Large: Ai Weiwei on Alcatraz\u003c/i>\u003c/a> in buildings that are part of the old military and federal prison in late August. It’s a perfect venue for an artist who has riled government officials in Beijing to the point of his own imprisonment.\u003c/p>\n\u003cp>Denise Rasmussen, the director of sales and marketing for Alcatraz Cruises, says visitors who want to reserve tickets can take advantage of a few good tricks.\u003c/p>\n\u003cfigure id=\"attachment_10135908\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/ai-weiwei-studio.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135908 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/ai-weiwei-studio-400x266.jpg\" alt=\"Ai Weiwei in his Beijing Studio\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/ai-weiwei-studio-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/ai-weiwei-studio-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/ai-weiwei-studio.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei in his Beijing studio \u003ccite>(alcatrazcruises.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To start with, she says, “buy your tickets early.” The Alcatraz Cruises website will begin offering seats on the island ferry a rolling 90 days in advance, starting on June 27.\u003c/p>\n\u003cp>About 1.4 million people visit Alcatraz every year—filling the boats to 95 percent capacity, but the exhibit will run from late September until late April, and Rasmussen says the crowds thin out considerably during the cold, rainy weeks of early winter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When we really have a lot of availability,” Rasmussen says, “is the first two weeks of November, and then the first two weeks of December, the last 3 weeks of January, and pretty much all of February.” Rasmussen says boats are often less than half full in February.\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/149556587″ params=”color=ff5500&auto_play=false&hide_related=false&show_artwork=true” width=”100%” height=”166″ iframe=”true” /]\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Once they’re on the island, visitors will have access to parts of the old federal prison that are normally off limits to the public. Cheryl Haines, executive director for the \u003ca href=\"http://www.for-site.org/\" target=\"_blank\" rel=\"noopener\">For-Site Foundation\u003c/a> and curator for @Large, says Ai Weiwei’s mix of sculpture, sound and mixed-media works will fill the New Industries Building, where “privileged” inmates could work for pay; the prison hospital, including the psychiatric wards; and the small A Block of cells that date to Alcatraz’s use as a military prison for enemies of the state and conscientious objectors.\u003c/p>\n\u003cp>Haines says Alcatraz is made to order for a conceptual artist like Ai Weiwei, who’s art often examines the power of the state to censor speech and limit the freedom of its citizens. The commission will cost more than $3 million in materials and other expenses, but Haines says Ai Weiwei is not taking any fee for his work.\u003c/p>\n\u003cp>Haines has curated other shows in the \u003ca href=\"http://www.nps.gov/goga/index.htm\" target=\"_blank\" rel=\"noopener\">Golden Gate National Recreation Area\u003c/a> (GGNRA), which manages Alcatraz. She says the GGNRA and its parent agency, the National Parks Service, have been model partners, despite the potential for controversy.\u003c/p>\n\u003cp>“They’ve been utterly open about trusting the artist and working the site in a way that will encourage visitors to understand deeper issues, issues of detainment, issues of prisoners of conscience, and the need for basic human rights internationally,” said Haines.\u003c/p>\n\u003cp>“We didn’t put sideboards around the creativity here,” said Howard Levitt, director of communications and partnerships with the GGNRA. But Levitt is quick to add that “The resource isn’t damaged. And each of the pieces created for this relate to a theme of Alcatraz in a direct way.”\u003c/p>\n\u003cfigure id=\"attachment_10135918\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Alcatraz-Lincoln-quote-Crop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135918 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Alcatraz-Lincoln-quote-Crop.jpg\" alt=\"Photo of banner displaying Alcatraz-Lincoln quote on suspension of Habeas Corpus from Alcatraz Cruises terminal\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Alcatraz-Lincoln-quote-Crop.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Alcatraz-Lincoln-quote-Crop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Alcatraz-Lincoln-quote-Crop-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alcatraz Island has a rich history: a sign at the Alcatraz Cruises ferry terminal displays a quote from President Lincoln’s order suspending prisoners’ legal rights during the Civil War. \u003ccite>(Cyrus Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What happens if the artist comments on the US detention of prisoners at Guantanamo, or the National Security Agency’s eavesdropping policies?\u003c/p>\n\u003cp>“National parks are places where we tell stories and reveal history and the meaning of history,” said Levitt. “But that’s what makes parks interesting. They’re places where people can explore their own values and judgments about things.”\u003c/p>\n\u003cp>Because Ai Weiwei can’t travel, curator Haines has made five trips to Beijing to provide him with videos, maps and diagrams of the island as a guide for his installation.\u003c/p>\n\u003cp>I asked her if she knows what he’s making. She said she does but she can’t tell.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets for \u003ci>@Large: Ai Weiwei\u003c/i> \u003cem>on Alcatraz\u003c/em> go on sale June 27. For \u003ca href=\"http://www.alcatrazcruises.com/website/ai-weiwei.aspx\" target=\"_blank\" rel=\"noopener\">tickets and more information,\u003c/a> visit www.alcatrazcruises.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Due to an incoming and highly anticipated art exhibit, Alcatraz prison may be harder to get into than out of this fall. Sure, seats are always hard to get on the \u003ca href=\"http://www.alcatrazcruises.com/\" target=\"_blank\" rel=\"noopener\">Alcatraz Cruises ferry,\u003c/a> despite the 17 departures a day from Pier 33 in San Francisco. But empty seats may become an even scarcer commodity come Sept. 27, when an installation by art superstar Ai Weiwei opens on the island.\u003c/p>\n\u003cp>Workers will begin assembling \u003ca href=\"http://www.for-site.org/project/ai-weiwei-alcatraz/\" target=\"_blank\" rel=\"noopener\">\u003ci>@Large: Ai Weiwei on Alcatraz\u003c/i>\u003c/a> in buildings that are part of the old military and federal prison in late August. It’s a perfect venue for an artist who has riled government officials in Beijing to the point of his own imprisonment.\u003c/p>\n\u003cp>Denise Rasmussen, the director of sales and marketing for Alcatraz Cruises, says visitors who want to reserve tickets can take advantage of a few good tricks.\u003c/p>\n\u003cfigure id=\"attachment_10135908\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/ai-weiwei-studio.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135908 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/ai-weiwei-studio-400x266.jpg\" alt=\"Ai Weiwei in his Beijing Studio\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/ai-weiwei-studio-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/ai-weiwei-studio-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/ai-weiwei-studio.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei in his Beijing studio \u003ccite>(alcatrazcruises.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To start with, she says, “buy your tickets early.” The Alcatraz Cruises website will begin offering seats on the island ferry a rolling 90 days in advance, starting on June 27.\u003c/p>\n\u003cp>About 1.4 million people visit Alcatraz every year—filling the boats to 95 percent capacity, but the exhibit will run from late September until late April, and Rasmussen says the crowds thin out considerably during the cold, rainy weeks of early winter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When we really have a lot of availability,” Rasmussen says, “is the first two weeks of November, and then the first two weeks of December, the last 3 weeks of January, and pretty much all of February.” Rasmussen says boats are often less than half full in February.\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/149556587″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_artwork=true”'\n title='”https://api.soundcloud.com/tracks/149556587″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Once they’re on the island, visitors will have access to parts of the old federal prison that are normally off limits to the public. Cheryl Haines, executive director for the \u003ca href=\"http://www.for-site.org/\" target=\"_blank\" rel=\"noopener\">For-Site Foundation\u003c/a> and curator for @Large, says Ai Weiwei’s mix of sculpture, sound and mixed-media works will fill the New Industries Building, where “privileged” inmates could work for pay; the prison hospital, including the psychiatric wards; and the small A Block of cells that date to Alcatraz’s use as a military prison for enemies of the state and conscientious objectors.\u003c/p>\n\u003cp>Haines says Alcatraz is made to order for a conceptual artist like Ai Weiwei, who’s art often examines the power of the state to censor speech and limit the freedom of its citizens. The commission will cost more than $3 million in materials and other expenses, but Haines says Ai Weiwei is not taking any fee for his work.\u003c/p>\n\u003cp>Haines has curated other shows in the \u003ca href=\"http://www.nps.gov/goga/index.htm\" target=\"_blank\" rel=\"noopener\">Golden Gate National Recreation Area\u003c/a> (GGNRA), which manages Alcatraz. She says the GGNRA and its parent agency, the National Parks Service, have been model partners, despite the potential for controversy.\u003c/p>\n\u003cp>“They’ve been utterly open about trusting the artist and working the site in a way that will encourage visitors to understand deeper issues, issues of detainment, issues of prisoners of conscience, and the need for basic human rights internationally,” said Haines.\u003c/p>\n\u003cp>“We didn’t put sideboards around the creativity here,” said Howard Levitt, director of communications and partnerships with the GGNRA. But Levitt is quick to add that “The resource isn’t damaged. And each of the pieces created for this relate to a theme of Alcatraz in a direct way.”\u003c/p>\n\u003cfigure id=\"attachment_10135918\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Alcatraz-Lincoln-quote-Crop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135918 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Alcatraz-Lincoln-quote-Crop.jpg\" alt=\"Photo of banner displaying Alcatraz-Lincoln quote on suspension of Habeas Corpus from Alcatraz Cruises terminal\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Alcatraz-Lincoln-quote-Crop.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Alcatraz-Lincoln-quote-Crop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Alcatraz-Lincoln-quote-Crop-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alcatraz Island has a rich history: a sign at the Alcatraz Cruises ferry terminal displays a quote from President Lincoln’s order suspending prisoners’ legal rights during the Civil War. \u003ccite>(Cyrus Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What happens if the artist comments on the US detention of prisoners at Guantanamo, or the National Security Agency’s eavesdropping policies?\u003c/p>\n\u003cp>“National parks are places where we tell stories and reveal history and the meaning of history,” said Levitt. “But that’s what makes parks interesting. They’re places where people can explore their own values and judgments about things.”\u003c/p>\n\u003cp>Because Ai Weiwei can’t travel, curator Haines has made five trips to Beijing to provide him with videos, maps and diagrams of the island as a guide for his installation.\u003c/p>\n\u003cp>I asked her if she knows what he’s making. She said she does but she can’t tell.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets for \u003ci>@Large: Ai Weiwei\u003c/i> \u003cem>on Alcatraz\u003c/em> go on sale June 27. For \u003ca href=\"http://www.alcatrazcruises.com/website/ai-weiwei.aspx\" target=\"_blank\" rel=\"noopener\">tickets and more information,\u003c/a> visit www.alcatrazcruises.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
"blocks": [],
"publishDate": 1399937422,
"format": "standard",
"title": "Beyond the Studio: What Do Artists/Writers/Curators Need?",
"headTitle": "Beyond the Studio: What Do Artists/Writers/Curators Need? | KQED",
"content": "\u003cp>Recently, as an experiment, I posted a very basic question to artists, writers, and curators among my friends and followers on Facebook: What do you need? I deliberately avoided elaboration and left my question open-ended, specifically for the purpose of allowing people to answer however they’d like. To my thinking, they would respond with their most pressing need, as opposed to offering a kind of pie-in-the-sky wish list.\u003c/p>\n\u003cp>The answers, some seventy or so in total, were surprisingly direct and, for the most part, relatively modest in scope. No one said they needed a million dollars, for example — in fact, several talked about the desire to simply break even. “Time” was the most frequent answer, something that most everyone can relate to, whether or not they are creative. There were also repeated calls for community, mentorship, and inclusiveness, as well innovative new ideas about how to leverage support for artists. The resulting compilation offers a composite view of the answers I received.\u003c/p>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/David-Fullarton.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10135643\" style=\"margin-bottom: 5px;\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/David-Fullarton-300x300.jpg\" alt=\"David Fullarton\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/David-Fullarton-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/David-Fullarton-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/David-Fullarton-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/David-Fullarton-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/David-Fullarton-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/David-Fullarton-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/David-Fullarton-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/David-Fullarton.jpg 476w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>David Fullarton\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>Time is what I need. And that pretty much comes down to money, because if art made me money I wouldn’t have to spend my time working for money.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Elizabeth-Travelslight-e1399935930102.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10135645 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Elizabeth-Travelslight-e1399935930102.jpg\" alt=\"Elizabeth Travelslight\" width=\"300\" height=\"300\">\u003c/a>\n\u003ch3>Elizabeth Travelslight\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>Affordable child care; affordable studio space; affordable health care; affordable housing; affordable public transportation; meaningful, diverse, community engagement; fundamental human rights as essential community values.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Leslie-Dreyer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-10135669\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Leslie-Dreyer-300x293.jpg\" alt=\"Leslie Dreyer\" width=\"300\" height=\"293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Leslie-Dreyer-300x293.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Leslie-Dreyer-400x391.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Leslie-Dreyer-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Leslie-Dreyer-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Leslie-Dreyer.jpg 417w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Leslie Dreyer\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>Community land trusts, and an end to the capitalist system, … um, let’s start with that.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Anuradha-Vikram.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10135646\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Anuradha-Vikram-300x300.jpg\" alt=\"Anuradha Vikram\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Anuradha-Vikram-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Anuradha-Vikram-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Anuradha-Vikram-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Anuradha-Vikram-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Anuradha-Vikram-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Anuradha-Vikram-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Anuradha-Vikram-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Anuradha-Vikram.jpg 600w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Anuradha Vikram\u003c/h3>\n\u003cp>\u003cem>Curator and Writer\u003c/em>\u003c/p>\n\u003cp>Compelling discourse. Mentors. Honest feedback. Not to be the only brown face in a room.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Megan-Wilson.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10135647\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Megan-Wilson-225x300.jpg\" alt=\"Megan Wilson\" width=\"300\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Megan-Wilson-225x300.jpg 225w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Megan-Wilson-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Megan-Wilson.jpg 550w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Megan Wilson\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>On a larger scale, I need and would like to see the arts community in the Bay Area become more politically/socially aware, engaged, and active. I know there are a lot of great efforts/projects out there – I’d love to see more. Many of the needs listed here are interrelated to greater forces – e.g. the lack of affordability for housing and studio space related to municipal and state planning, permitting and legislation. Additionally, many of us are having to work much harder and longer hours to pay our basic bills, leaving less time for pursuing our work and connecting more directly. As a community, we have so much power — I’d love to see that leveraged towards more equitable standards in the Bay Area that support a healthier environment for all of us to be able to fulfill our needs and truly flourish individually and collectively.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Mark-Shunney.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10135648\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Mark-Shunney-225x300.jpg\" alt=\"Mark Shunney\" width=\"300\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Mark-Shunney-225x300.jpg 225w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Mark-Shunney-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Mark-Shunney.jpg 720w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Mark Shunney\u003c/h3>\n\u003cp>\u003cem>Curator\u003c/em>\u003c/p>\n\u003cp>Less boundaries/borders. Create more of a center that is inclusive. Build a strong network that isn’t so divided. Grants now stop in Alameda County and don’t roll over the hill to Santa Cruz and beyond. I don’t feel it stops there. Currently we have all these isolated scenes- SF, Oakland, Berkley, Palo Alto, San Jose, Santa Cruz… You can see why art fairs have been so successful in the world recently. It is the private sector that has seen this problem and brought it together, replicating a situation (for a weekend) like cities (NYC or Paris) had for decades in the past. SF and beyond have never figured this one out and I feel that is why it has always had an odd reputation in the international art world. I feel it needs to be somewhere virtual and physical. A way to move into a better economy for the artist and also help guide government policy in the favor of better support for the arts and cultural community.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Fredericko-Alvarado.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10135649\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Fredericko-Alvarado-300x225.jpg\" alt=\"Fredericko Alvarado\" width=\"300\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Fredericko-Alvarado-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Fredericko-Alvarado-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Fredericko-Alvarado.jpg 640w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Fredericko Alvarado\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>More breaks: opportunities to be seen and heard with out having to pour out savings to create an experience or with out having to be the niche artist of its time. Creating sustainable practices with out worrying about becoming desolate and homeless. No part times rather full time equitable gains with in society. A value that holds steady after wonderful works created.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Rhiannon-E.-MacFadyen.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10135650 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Rhiannon-E.-MacFadyen-300x225.jpg\" alt=\"Rhiannon E. MacFadyen\" width=\"300\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Rhiannon-E.-MacFadyen-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Rhiannon-E.-MacFadyen-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Rhiannon-E.-MacFadyen.jpg 1280w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Rhiannon MacFadyen\u003c/h3>\n\u003cp>\u003cem>Artist and Curator \u003c/em>\u003c/p>\n\u003cp>Personally: A stable break-even income. Professionally: Support (funding, career support, etc.) for independent curators.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Ealish-Sowerby.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10135651 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Ealish-Sowerby-300x269.jpg\" alt=\"Ealish Sowerby\" width=\"300\" height=\"269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Ealish-Sowerby-300x269.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Ealish-Sowerby-400x359.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Ealish-Sowerby.jpg 404w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Ealish Sowerby\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>Help with marketing and networking.\u003c/p>\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Linda-Braz1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Linda-Braz1-400x533.jpg\" alt=\"Linda Braz\" width=\"300\" height=\"400\" class=\"alignright size-thumbnail wp-image-10135945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Linda-Braz1-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Linda-Braz1-225x300.jpg 225w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Linda-Braz1-1080x1440.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Linda-Braz1.jpg 1224w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Linda Braz\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>Would love to do a residency some day but hard to do when trying to run a business. When I seem to have the time I don’t have the inclination, when I have inspiration I am frantically trying to make the time.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Matt-Sussman.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10135652\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Matt-Sussman.jpg\" alt=\"Matt Sussman\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matt-Sussman.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matt-Sussman-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matt-Sussman-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matt-Sussman-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matt-Sussman-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matt-Sussman-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Matt Sussman\u003c/h3>\n\u003cp>\u003cem>Writer\u003c/em>\u003c/p>\n\u003cp>I need precarity to no longer be the norm for most “gainful employment” situations related to the arts and/or humanities.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Michele-Pred.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10135653 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Michele-Pred-300x225.jpg\" alt=\"Michele Pred\" width=\"300\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Michele-Pred-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Michele-Pred-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Michele-Pred.jpg 960w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Michele Pred\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>I was poor for a very long time, but making art and happy, I wouldn’t have done it any other way. Now I don’t have as much time for my art, but I still keep _very_ busy with creating and showing my work. These are choices I have made (like having a child) but I wouldn’t be able to live without creating. With all that said, I think the biggest thing we all need is community.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Jesus-Barraza.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10135654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Jesus-Barraza-225x300.jpg\" alt=\"Jesus Barraza\" width=\"300\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Jesus-Barraza-225x300.jpg 225w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Jesus-Barraza-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Jesus-Barraza-1080x1440.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Jesus-Barraza.jpg 1200w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Jesus Baraza\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>Mentorship is a big thing for me, I am lucky to have some one to work with right now who I can look for feedback and guidance. That is huge for me as I am working on expanding my practice, I look for artists who can help me through this process of creation.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Dorothy-Santos.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10135655 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Dorothy-Santos-300x300.jpg\" alt=\"Dorothy Santos\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Dorothy-Santos-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Dorothy-Santos-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Dorothy-Santos-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Dorothy-Santos-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Dorothy-Santos-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Dorothy-Santos-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Dorothy-Santos-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Dorothy-Santos.jpg 480w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Dorothy Santos\u003c/h3>\n\u003cp>\u003cem>Writer and Curator \u003c/em>\u003c/p>\n\u003cp>Affordable Education. While I didn’t have to go to grad school to be a writer, it adds to my credibility and desire to be with the community that understands and wants to work with me. My education, while I greatly appreciate the experience, is ridiculously expensive. The question that comes to mind is, “How am I going to pay for something that is supposed to benefit me and help me serve the (arts) community, when that same community wouldn’t be able to help sustain me in the long run?”\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Taraneh-Hemami.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10135661 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Taraneh-Hemami-300x199.jpg\" alt=\"Taraneh Hemami\" width=\"300\" height=\"199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Taraneh-Hemami-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Taraneh-Hemami-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Taraneh-Hemami-1440x959.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Taraneh-Hemami.jpg 2048w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Taraneh Hemami\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>My first response was audiences — but of course everything everyone has mentioned including freeing time to make work rather all else that goes into securing time, including help with admin/fundraising/publicity/resources/labor.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Matthew-Harrison-Tedford.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10135656 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Matthew-Harrison-Tedford-300x300.jpg\" alt=\"Matthew Harrison Tedford\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matthew-Harrison-Tedford-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matthew-Harrison-Tedford-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matthew-Harrison-Tedford-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matthew-Harrison-Tedford-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matthew-Harrison-Tedford-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matthew-Harrison-Tedford-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matthew-Harrison-Tedford-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matthew-Harrison-Tedford.jpg 640w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Matthew Harrison Tedford\u003c/h3>\n\u003cp>Writer\u003c/p>\n\u003cp>One of the things I think about most is readers. Really, I need more readers. Obviously, I already have whatever readership comes with wherever I publish on a given day. But I’m always looking for ways to expand beyond this. There are a few reasons for this. One is practical and business oriented: when my work is more widely seen, I’m more likely to be approached by new publications, people are more likely to know of my work and if, god willing, they don’t hate it, look for it in the future. The more meaningful reason is that I’m clearly not writing about contemporary art for money or fame but because I feel like I have something to say to others. I don’t much care if I write something I’m really proud of that no one reads. Knowing that my work is making it to people’s eyes is what inspires and encourages me more than fancy bylines or whatever.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Christine-Wong-Yap1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10135664 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Christine-Wong-Yap1-300x224.jpg\" alt=\"Christine Wong Yap\" width=\"300\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Christine-Wong-Yap1-300x224.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Christine-Wong-Yap1-400x298.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Christine-Wong-Yap1.jpg 960w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Christine Wong Yap\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>A U. S. version of \u003ca href=\"http://www.carfac.ca/\">CARFAC\u003c/a>. [CARFAC is a nonprofit advocacy organization for Canadian artists.] And/or, widespread adoption of \u003ca href=\"http://www.wageforwork.com/\">W. A. G. E.\u003c/a> \u003ca href=\"http://www.wageforwork.com/certification/1/about-certification\">certification\u003c/a>. [W. A G. E. is Working Artists and the Greater Economy, a New York-based activist group that focuses on regulating the payment of artist fees by nonprofit arts institutions. W. A. G. E. Certification recognizes organizations that voluntarily adhere to a best practices model and commitment to paying artist fees.] And/or, foundations to require grantees to pay artists for exhibiting.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Sarah-Ratchye.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10135658\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Sarah-Ratchye-225x300.jpg\" alt=\"Sarah Ratchye\" width=\"300\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Ratchye-225x300.jpg 225w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Ratchye-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Ratchye.jpg 960w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Sarah Ratchye\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>I want my taxes to go toward guaranteed annual support in the form of grants of real estate and/or rent money for non-profit art organizations. Space for exhibitions, classes, and subsidized studios should be expansive and safe. I think these organizations should be responsible for funding and running their programs and for being active, visible, and valuable in their communities. I would like the city to relieve them of having to worry about affording their buildings. This is one huge thing that would lift these groups up to really make a difference in artist’s lives and in the exchange of art ideas in the city.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Sarah-Applebaum-e1399936447534.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10135659 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Sarah-Applebaum-e1399936447534-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Applebaum-e1399936447534-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Applebaum-e1399936447534-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Applebaum-e1399936447534-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Applebaum-e1399936447534-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Applebaum-e1399936447534-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Applebaum-e1399936447534-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Applebaum-e1399936447534-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Applebaum-e1399936447534.jpg 480w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Sarah Applebaum\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>A UNION. Guilds? Please organize me.\u003c/p>\n\u003c/aside>\n\u003cp>If you care about living in a community with art and creativity, prioritize the needs of artists, which incidentally often reflect the most basic needs of a healthy community. Figuring out what artists need isn’t complicated — start by listening.\u003c/p>\n\u003cp>\u003ci>What do you need to make your work, Reader? Add your thoughts in the Comments section below.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Recently, as an experiment, I posted a very basic question to artists, writers, and curators among my friends and followers on Facebook: What do you need?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Recently, as an experiment, I posted a very basic question to artists, writers, and curators among my friends and followers on Facebook: What do you need? I deliberately avoided elaboration and left my question open-ended, specifically for the purpose of allowing people to answer however they’d like. To my thinking, they would respond with their most pressing need, as opposed to offering a kind of pie-in-the-sky wish list.\u003c/p>\n\u003cp>The answers, some seventy or so in total, were surprisingly direct and, for the most part, relatively modest in scope. No one said they needed a million dollars, for example — in fact, several talked about the desire to simply break even. “Time” was the most frequent answer, something that most everyone can relate to, whether or not they are creative. There were also repeated calls for community, mentorship, and inclusiveness, as well innovative new ideas about how to leverage support for artists. The resulting compilation offers a composite view of the answers I received.\u003c/p>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/David-Fullarton.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10135643\" style=\"margin-bottom: 5px;\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/David-Fullarton-300x300.jpg\" alt=\"David Fullarton\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/David-Fullarton-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/David-Fullarton-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/David-Fullarton-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/David-Fullarton-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/David-Fullarton-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/David-Fullarton-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/David-Fullarton-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/David-Fullarton.jpg 476w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>David Fullarton\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>Time is what I need. And that pretty much comes down to money, because if art made me money I wouldn’t have to spend my time working for money.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Elizabeth-Travelslight-e1399935930102.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10135645 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Elizabeth-Travelslight-e1399935930102.jpg\" alt=\"Elizabeth Travelslight\" width=\"300\" height=\"300\">\u003c/a>\n\u003ch3>Elizabeth Travelslight\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>Affordable child care; affordable studio space; affordable health care; affordable housing; affordable public transportation; meaningful, diverse, community engagement; fundamental human rights as essential community values.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Leslie-Dreyer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-10135669\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Leslie-Dreyer-300x293.jpg\" alt=\"Leslie Dreyer\" width=\"300\" height=\"293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Leslie-Dreyer-300x293.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Leslie-Dreyer-400x391.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Leslie-Dreyer-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Leslie-Dreyer-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Leslie-Dreyer.jpg 417w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Leslie Dreyer\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>Community land trusts, and an end to the capitalist system, … um, let’s start with that.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Anuradha-Vikram.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10135646\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Anuradha-Vikram-300x300.jpg\" alt=\"Anuradha Vikram\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Anuradha-Vikram-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Anuradha-Vikram-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Anuradha-Vikram-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Anuradha-Vikram-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Anuradha-Vikram-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Anuradha-Vikram-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Anuradha-Vikram-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Anuradha-Vikram.jpg 600w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Anuradha Vikram\u003c/h3>\n\u003cp>\u003cem>Curator and Writer\u003c/em>\u003c/p>\n\u003cp>Compelling discourse. Mentors. Honest feedback. Not to be the only brown face in a room.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Megan-Wilson.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10135647\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Megan-Wilson-225x300.jpg\" alt=\"Megan Wilson\" width=\"300\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Megan-Wilson-225x300.jpg 225w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Megan-Wilson-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Megan-Wilson.jpg 550w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Megan Wilson\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>On a larger scale, I need and would like to see the arts community in the Bay Area become more politically/socially aware, engaged, and active. I know there are a lot of great efforts/projects out there – I’d love to see more. Many of the needs listed here are interrelated to greater forces – e.g. the lack of affordability for housing and studio space related to municipal and state planning, permitting and legislation. Additionally, many of us are having to work much harder and longer hours to pay our basic bills, leaving less time for pursuing our work and connecting more directly. As a community, we have so much power — I’d love to see that leveraged towards more equitable standards in the Bay Area that support a healthier environment for all of us to be able to fulfill our needs and truly flourish individually and collectively.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Mark-Shunney.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10135648\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Mark-Shunney-225x300.jpg\" alt=\"Mark Shunney\" width=\"300\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Mark-Shunney-225x300.jpg 225w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Mark-Shunney-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Mark-Shunney.jpg 720w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Mark Shunney\u003c/h3>\n\u003cp>\u003cem>Curator\u003c/em>\u003c/p>\n\u003cp>Less boundaries/borders. Create more of a center that is inclusive. Build a strong network that isn’t so divided. Grants now stop in Alameda County and don’t roll over the hill to Santa Cruz and beyond. I don’t feel it stops there. Currently we have all these isolated scenes- SF, Oakland, Berkley, Palo Alto, San Jose, Santa Cruz… You can see why art fairs have been so successful in the world recently. It is the private sector that has seen this problem and brought it together, replicating a situation (for a weekend) like cities (NYC or Paris) had for decades in the past. SF and beyond have never figured this one out and I feel that is why it has always had an odd reputation in the international art world. I feel it needs to be somewhere virtual and physical. A way to move into a better economy for the artist and also help guide government policy in the favor of better support for the arts and cultural community.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Fredericko-Alvarado.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10135649\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Fredericko-Alvarado-300x225.jpg\" alt=\"Fredericko Alvarado\" width=\"300\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Fredericko-Alvarado-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Fredericko-Alvarado-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Fredericko-Alvarado.jpg 640w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Fredericko Alvarado\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>More breaks: opportunities to be seen and heard with out having to pour out savings to create an experience or with out having to be the niche artist of its time. Creating sustainable practices with out worrying about becoming desolate and homeless. No part times rather full time equitable gains with in society. A value that holds steady after wonderful works created.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Rhiannon-E.-MacFadyen.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10135650 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Rhiannon-E.-MacFadyen-300x225.jpg\" alt=\"Rhiannon E. MacFadyen\" width=\"300\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Rhiannon-E.-MacFadyen-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Rhiannon-E.-MacFadyen-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Rhiannon-E.-MacFadyen.jpg 1280w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Rhiannon MacFadyen\u003c/h3>\n\u003cp>\u003cem>Artist and Curator \u003c/em>\u003c/p>\n\u003cp>Personally: A stable break-even income. Professionally: Support (funding, career support, etc.) for independent curators.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Ealish-Sowerby.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10135651 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Ealish-Sowerby-300x269.jpg\" alt=\"Ealish Sowerby\" width=\"300\" height=\"269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Ealish-Sowerby-300x269.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Ealish-Sowerby-400x359.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Ealish-Sowerby.jpg 404w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Ealish Sowerby\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>Help with marketing and networking.\u003c/p>\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Linda-Braz1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Linda-Braz1-400x533.jpg\" alt=\"Linda Braz\" width=\"300\" height=\"400\" class=\"alignright size-thumbnail wp-image-10135945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Linda-Braz1-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Linda-Braz1-225x300.jpg 225w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Linda-Braz1-1080x1440.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Linda-Braz1.jpg 1224w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Linda Braz\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>Would love to do a residency some day but hard to do when trying to run a business. When I seem to have the time I don’t have the inclination, when I have inspiration I am frantically trying to make the time.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Matt-Sussman.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10135652\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Matt-Sussman.jpg\" alt=\"Matt Sussman\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matt-Sussman.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matt-Sussman-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matt-Sussman-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matt-Sussman-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matt-Sussman-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matt-Sussman-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Matt Sussman\u003c/h3>\n\u003cp>\u003cem>Writer\u003c/em>\u003c/p>\n\u003cp>I need precarity to no longer be the norm for most “gainful employment” situations related to the arts and/or humanities.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Michele-Pred.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10135653 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Michele-Pred-300x225.jpg\" alt=\"Michele Pred\" width=\"300\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Michele-Pred-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Michele-Pred-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Michele-Pred.jpg 960w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Michele Pred\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>I was poor for a very long time, but making art and happy, I wouldn’t have done it any other way. Now I don’t have as much time for my art, but I still keep _very_ busy with creating and showing my work. These are choices I have made (like having a child) but I wouldn’t be able to live without creating. With all that said, I think the biggest thing we all need is community.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Jesus-Barraza.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10135654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Jesus-Barraza-225x300.jpg\" alt=\"Jesus Barraza\" width=\"300\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Jesus-Barraza-225x300.jpg 225w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Jesus-Barraza-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Jesus-Barraza-1080x1440.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Jesus-Barraza.jpg 1200w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Jesus Baraza\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>Mentorship is a big thing for me, I am lucky to have some one to work with right now who I can look for feedback and guidance. That is huge for me as I am working on expanding my practice, I look for artists who can help me through this process of creation.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Dorothy-Santos.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10135655 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Dorothy-Santos-300x300.jpg\" alt=\"Dorothy Santos\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Dorothy-Santos-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Dorothy-Santos-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Dorothy-Santos-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Dorothy-Santos-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Dorothy-Santos-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Dorothy-Santos-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Dorothy-Santos-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Dorothy-Santos.jpg 480w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Dorothy Santos\u003c/h3>\n\u003cp>\u003cem>Writer and Curator \u003c/em>\u003c/p>\n\u003cp>Affordable Education. While I didn’t have to go to grad school to be a writer, it adds to my credibility and desire to be with the community that understands and wants to work with me. My education, while I greatly appreciate the experience, is ridiculously expensive. The question that comes to mind is, “How am I going to pay for something that is supposed to benefit me and help me serve the (arts) community, when that same community wouldn’t be able to help sustain me in the long run?”\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Taraneh-Hemami.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10135661 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Taraneh-Hemami-300x199.jpg\" alt=\"Taraneh Hemami\" width=\"300\" height=\"199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Taraneh-Hemami-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Taraneh-Hemami-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Taraneh-Hemami-1440x959.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Taraneh-Hemami.jpg 2048w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Taraneh Hemami\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>My first response was audiences — but of course everything everyone has mentioned including freeing time to make work rather all else that goes into securing time, including help with admin/fundraising/publicity/resources/labor.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Matthew-Harrison-Tedford.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10135656 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Matthew-Harrison-Tedford-300x300.jpg\" alt=\"Matthew Harrison Tedford\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matthew-Harrison-Tedford-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matthew-Harrison-Tedford-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matthew-Harrison-Tedford-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matthew-Harrison-Tedford-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matthew-Harrison-Tedford-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matthew-Harrison-Tedford-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matthew-Harrison-Tedford-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Matthew-Harrison-Tedford.jpg 640w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Matthew Harrison Tedford\u003c/h3>\n\u003cp>Writer\u003c/p>\n\u003cp>One of the things I think about most is readers. Really, I need more readers. Obviously, I already have whatever readership comes with wherever I publish on a given day. But I’m always looking for ways to expand beyond this. There are a few reasons for this. One is practical and business oriented: when my work is more widely seen, I’m more likely to be approached by new publications, people are more likely to know of my work and if, god willing, they don’t hate it, look for it in the future. The more meaningful reason is that I’m clearly not writing about contemporary art for money or fame but because I feel like I have something to say to others. I don’t much care if I write something I’m really proud of that no one reads. Knowing that my work is making it to people’s eyes is what inspires and encourages me more than fancy bylines or whatever.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Christine-Wong-Yap1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10135664 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Christine-Wong-Yap1-300x224.jpg\" alt=\"Christine Wong Yap\" width=\"300\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Christine-Wong-Yap1-300x224.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Christine-Wong-Yap1-400x298.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Christine-Wong-Yap1.jpg 960w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Christine Wong Yap\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>A U. S. version of \u003ca href=\"http://www.carfac.ca/\">CARFAC\u003c/a>. [CARFAC is a nonprofit advocacy organization for Canadian artists.] And/or, widespread adoption of \u003ca href=\"http://www.wageforwork.com/\">W. A. G. E.\u003c/a> \u003ca href=\"http://www.wageforwork.com/certification/1/about-certification\">certification\u003c/a>. [W. A G. E. is Working Artists and the Greater Economy, a New York-based activist group that focuses on regulating the payment of artist fees by nonprofit arts institutions. W. A. G. E. Certification recognizes organizations that voluntarily adhere to a best practices model and commitment to paying artist fees.] And/or, foundations to require grantees to pay artists for exhibiting.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Sarah-Ratchye.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10135658\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Sarah-Ratchye-225x300.jpg\" alt=\"Sarah Ratchye\" width=\"300\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Ratchye-225x300.jpg 225w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Ratchye-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Ratchye.jpg 960w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Sarah Ratchye\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>I want my taxes to go toward guaranteed annual support in the form of grants of real estate and/or rent money for non-profit art organizations. Space for exhibitions, classes, and subsidized studios should be expansive and safe. I think these organizations should be responsible for funding and running their programs and for being active, visible, and valuable in their communities. I would like the city to relieve them of having to worry about affording their buildings. This is one huge thing that would lift these groups up to really make a difference in artist’s lives and in the exchange of art ideas in the city.\u003c/p>\n\u003c/aside>\n\u003caside class=\"aligncenter\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Sarah-Applebaum-e1399936447534.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10135659 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Sarah-Applebaum-e1399936447534-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Applebaum-e1399936447534-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Applebaum-e1399936447534-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Applebaum-e1399936447534-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Applebaum-e1399936447534-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Applebaum-e1399936447534-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Applebaum-e1399936447534-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Applebaum-e1399936447534-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Sarah-Applebaum-e1399936447534.jpg 480w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\n\u003ch3>Sarah Applebaum\u003c/h3>\n\u003cp>\u003cem>Artist\u003c/em>\u003c/p>\n\u003cp>A UNION. Guilds? Please organize me.\u003c/p>\n\u003c/aside>\n\u003cp>If you care about living in a community with art and creativity, prioritize the needs of artists, which incidentally often reflect the most basic needs of a healthy community. Figuring out what artists need isn’t complicated — start by listening.\u003c/p>\n\u003cp>\u003ci>What do you need to make your work, Reader? Add your thoughts in the Comments section below.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Storms & Flooding Give New Life to Photographer's Work",
"headTitle": "Storms & Flooding Give New Life to Photographer’s Work | KQED",
"content": "\u003cp>It was October 2012 when Hurricane Sandy bore down on New York City with a ferocity not seen since Katrina barreled over the Gulf Coast barely seven years before. There was little New Yorkers, or anyone in the storm’s path, could do other than prepare themselves for the inevitable worst that is the grim consequence of extreme weather.\u003c/p>\n\u003cp>The American social philosopher Eric Hoffer suggested that Nature is not subject to humane concessions such as compassion or understanding, and that its only punishment is death. It’s a dark, yet accurate assessment of the climactic forces that influence all life on this planet. Yet, out of destruction often springs the unexpected, as was the experience of acclaimed photographer Hiroshi Sugimoto.\u003c/p>\n\u003cp>Sugimoto, who lives between New York and his native Japan, rode out Hurricane Sandy like many other New Yorkers, watching the skies and hoping for the best as the rain fell and the waters around the city rose. After the Hudson River breached its banks and flooded several neighborhoods, Sugimoto discovered that the storage unit that was supposed to protect his work could not hold back the floodwaters. Numerous artists faced the same dismal reality that their work had been lost. But rather than cast off the damaged objects, Sugimoto explored the elements that altered his prints and gave rise to an unanticipated aesthetic evolution.\u003c/p>\n\u003cp>\u003cb>Hiroshi Sugimoto: Acts of God\u003c/b> is the latest installation of the photographer’s work at Fraenkel Gallery, and it is anchored by the breathtaking, multi-paneled piece entitled \u003ci>Last Supper: Acts of God\u003c/i>(1999/2012). Measuring over 24 feet in length, the piece features a scene of wax figures representing the last meeting of Jesus Christ and his 12 Apostles, referencing numerous paintings but most notably Leonardo Da Vinci’s famed composition in the refectory of Santa Maria delle Grazie in Milan. Sugimoto’s \u003ci>Last Supper\u003c/i> was captured in a wax museum in Izu, Japan for the \u003ci>Portraits\u003c/i> series, an ongoing project that began as a commission by the Deutsche Guggenheim in 1999 and portrays notable figures who lived before the advent of photography, and “live” again both in wax and the photographic image. Minimal illumination throughout the exhibition creates a welcomed and contemplative setting in each of the three galleries.\u003c/p>\n\u003cfigure id=\"attachment_10135462\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/2_Sugimoto_The-Last-Supper-Acts-of-God_detail_1999-2012.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135462 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/2_Sugimoto_The-Last-Supper-Acts-of-God_detail_1999-2012-1325x1440.jpg\" alt=\"Hiroshi Sugimoto, The Last Supper: Acts of God detail, 1999-2012; courtesy of Fraenkel Gallery\" width=\"640\" height=\"695\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hiroshi Sugimoto, The Last Supper: Acts of God detail, 1999-2012; courtesy of Fraenkel Gallery\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Last Supper\u003c/i> consists of five panels, four presenting groups of apostles as they flank Jesus Christ at the center. The figures are life size, each bearing artificial skin, hair, and clothing that render the forms eerie and life-like. Directly referencing Leonardo’s composition, all attention is focused on Christ, yet interactions between and reactions of the apostles create micro scenes in each panel. The figures appear to cajole, rebuke, and accuse one another at the news that one among them would betray their leader, creating a dramatic tension that is offset by Christ’s gentle manner and gesture at the composition’s center.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prior to its watery makeover, I imagine that the scene exuded competing senses of activity and serenity. In the aftermath however, with spoiled emulsion and water-born mold combining to color and warp the print surfaces, the scene finds balance between chaos and calm. Though a glaze was applied to the surface in order to arrest the spread of mold, the photograph will continue to deteriorate as time and exposure to light leave their mark. The fragile state of the panels, likened to the deterioration of Leonardo’s tempura composition, further aligns these pieces and the subject they portray.\u003c/p>\n\u003cfigure id=\"attachment_10135465\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/4_Sugimoto_In-Praise-of-Shadows-980817_1998.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135465 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/4_Sugimoto_In-Praise-of-Shadows-980817_1998-1155x1440.jpg\" alt=\"Hiroshi Sugimoto, In Praise of Shadows, 1998; courtesy of Fraenkel Gallery\" width=\"640\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/4_Sugimoto_In-Praise-of-Shadows-980817_1998-1155x1440.jpg 1155w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/4_Sugimoto_In-Praise-of-Shadows-980817_1998-400x498.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/4_Sugimoto_In-Praise-of-Shadows-980817_1998-240x300.jpg 240w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hiroshi Sugimoto, In Praise of Shadows, 1998; courtesy of Fraenkel Gallery\u003c/figcaption>\u003c/figure>\n\u003cp>Sugimoto’s exploration of control and chaos within nature is magnified when other photographs in the installation are considered. Selections from \u003ci>In Praise of Shadows\u003c/i> (1998) and \u003ci>Sea of Galilee, Golan\u003c/i>(1992) from the \u003ci>Seascapes\u003c/i> series demonstrate the photographer’s sustained interest the relationship inherent to time and photographic practice. The six photographs representing \u003ci>In Praise of Shadows\u003c/i> record the photographer’s work with contained fire. The flickering candle flames, captured over a lengthy exposure time, appear as bursts of light originating from a deep, unknowable darkness. Citing Japanese novelist Jun’ichiro Tanizaki’s distaste for “violent” artificial light as an unwelcome aspect of modern life, Sugimoto searches for what is ancient and most alluring about fire. Moreover, these pieces stand as a visual metaphor of impermanence, how quickly life may be lit and subsequently extinguished.\u003c/p>\n\u003cp>Similarly captured over the course of a long exposure, \u003ci>Sea of Galilee, Golan\u003c/i>, a large composition in which sky and water blur at the horizon line, takes up another primal element a measure of both time and faith. Accompanied by a Biblical passage attributed to Matthew, water becomes a crucible in which spiritual and corporeal devotion are tested and faith is rewarded.\u003c/p>\n\u003cfigure id=\"attachment_10135467\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/3_Sugimoto_Sea-of-Galilee-Golan_1992.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135467 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/3_Sugimoto_Sea-of-Galilee-Golan_1992-1440x1123.jpg\" alt=\"Hiroshi Sugimoto, Sea of Galilee, Golan, 1992; courtesy of Fraenkel Gallery\" width=\"640\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/3_Sugimoto_Sea-of-Galilee-Golan_1992-1440x1123.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/3_Sugimoto_Sea-of-Galilee-Golan_1992-400x311.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/3_Sugimoto_Sea-of-Galilee-Golan_1992-300x233.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hiroshi Sugimoto, Sea of Galilee, Golan, 1992; courtesy of Fraenkel Gallery\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Hiroshi Sugimoto: Acts of God\u003c/b> raises its most lasting point when considered in totality: the “domestication” of Nature, a near singular goal that has possessed humankind throughout our time on the planet is a laughable impossibility, despite our best efforts. She will have her way, and rightly punish our hubris with disasters such as hurricanes, floods, and fires. On rare occasions, out of that devastation emerges something new and unexpected, and it is our great fortune to witness what is born of chaos.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Hiroshi Sugimoto: Acts of God\u003c/b> runs May 1 to July 3, 2014 at Fraenkel Gallery. For \u003ca href=\"http://fraenkelgallery.com\">more information\u003c/a> visit fraenkelgallery.com.\u003c/p>\n\n",
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"excerpt": "Hurricane Sandy ravaged photographer Hiroshi Sugimoto's archives, but instead of throwing them in the trash, Sugimoto found that his images were given a new life.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was October 2012 when Hurricane Sandy bore down on New York City with a ferocity not seen since Katrina barreled over the Gulf Coast barely seven years before. There was little New Yorkers, or anyone in the storm’s path, could do other than prepare themselves for the inevitable worst that is the grim consequence of extreme weather.\u003c/p>\n\u003cp>The American social philosopher Eric Hoffer suggested that Nature is not subject to humane concessions such as compassion or understanding, and that its only punishment is death. It’s a dark, yet accurate assessment of the climactic forces that influence all life on this planet. Yet, out of destruction often springs the unexpected, as was the experience of acclaimed photographer Hiroshi Sugimoto.\u003c/p>\n\u003cp>Sugimoto, who lives between New York and his native Japan, rode out Hurricane Sandy like many other New Yorkers, watching the skies and hoping for the best as the rain fell and the waters around the city rose. After the Hudson River breached its banks and flooded several neighborhoods, Sugimoto discovered that the storage unit that was supposed to protect his work could not hold back the floodwaters. Numerous artists faced the same dismal reality that their work had been lost. But rather than cast off the damaged objects, Sugimoto explored the elements that altered his prints and gave rise to an unanticipated aesthetic evolution.\u003c/p>\n\u003cp>\u003cb>Hiroshi Sugimoto: Acts of God\u003c/b> is the latest installation of the photographer’s work at Fraenkel Gallery, and it is anchored by the breathtaking, multi-paneled piece entitled \u003ci>Last Supper: Acts of God\u003c/i>(1999/2012). Measuring over 24 feet in length, the piece features a scene of wax figures representing the last meeting of Jesus Christ and his 12 Apostles, referencing numerous paintings but most notably Leonardo Da Vinci’s famed composition in the refectory of Santa Maria delle Grazie in Milan. Sugimoto’s \u003ci>Last Supper\u003c/i> was captured in a wax museum in Izu, Japan for the \u003ci>Portraits\u003c/i> series, an ongoing project that began as a commission by the Deutsche Guggenheim in 1999 and portrays notable figures who lived before the advent of photography, and “live” again both in wax and the photographic image. Minimal illumination throughout the exhibition creates a welcomed and contemplative setting in each of the three galleries.\u003c/p>\n\u003cfigure id=\"attachment_10135462\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/2_Sugimoto_The-Last-Supper-Acts-of-God_detail_1999-2012.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135462 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/2_Sugimoto_The-Last-Supper-Acts-of-God_detail_1999-2012-1325x1440.jpg\" alt=\"Hiroshi Sugimoto, The Last Supper: Acts of God detail, 1999-2012; courtesy of Fraenkel Gallery\" width=\"640\" height=\"695\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hiroshi Sugimoto, The Last Supper: Acts of God detail, 1999-2012; courtesy of Fraenkel Gallery\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Last Supper\u003c/i> consists of five panels, four presenting groups of apostles as they flank Jesus Christ at the center. The figures are life size, each bearing artificial skin, hair, and clothing that render the forms eerie and life-like. Directly referencing Leonardo’s composition, all attention is focused on Christ, yet interactions between and reactions of the apostles create micro scenes in each panel. The figures appear to cajole, rebuke, and accuse one another at the news that one among them would betray their leader, creating a dramatic tension that is offset by Christ’s gentle manner and gesture at the composition’s center.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prior to its watery makeover, I imagine that the scene exuded competing senses of activity and serenity. In the aftermath however, with spoiled emulsion and water-born mold combining to color and warp the print surfaces, the scene finds balance between chaos and calm. Though a glaze was applied to the surface in order to arrest the spread of mold, the photograph will continue to deteriorate as time and exposure to light leave their mark. The fragile state of the panels, likened to the deterioration of Leonardo’s tempura composition, further aligns these pieces and the subject they portray.\u003c/p>\n\u003cfigure id=\"attachment_10135465\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/4_Sugimoto_In-Praise-of-Shadows-980817_1998.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135465 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/4_Sugimoto_In-Praise-of-Shadows-980817_1998-1155x1440.jpg\" alt=\"Hiroshi Sugimoto, In Praise of Shadows, 1998; courtesy of Fraenkel Gallery\" width=\"640\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/4_Sugimoto_In-Praise-of-Shadows-980817_1998-1155x1440.jpg 1155w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/4_Sugimoto_In-Praise-of-Shadows-980817_1998-400x498.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/4_Sugimoto_In-Praise-of-Shadows-980817_1998-240x300.jpg 240w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hiroshi Sugimoto, In Praise of Shadows, 1998; courtesy of Fraenkel Gallery\u003c/figcaption>\u003c/figure>\n\u003cp>Sugimoto’s exploration of control and chaos within nature is magnified when other photographs in the installation are considered. Selections from \u003ci>In Praise of Shadows\u003c/i> (1998) and \u003ci>Sea of Galilee, Golan\u003c/i>(1992) from the \u003ci>Seascapes\u003c/i> series demonstrate the photographer’s sustained interest the relationship inherent to time and photographic practice. The six photographs representing \u003ci>In Praise of Shadows\u003c/i> record the photographer’s work with contained fire. The flickering candle flames, captured over a lengthy exposure time, appear as bursts of light originating from a deep, unknowable darkness. Citing Japanese novelist Jun’ichiro Tanizaki’s distaste for “violent” artificial light as an unwelcome aspect of modern life, Sugimoto searches for what is ancient and most alluring about fire. Moreover, these pieces stand as a visual metaphor of impermanence, how quickly life may be lit and subsequently extinguished.\u003c/p>\n\u003cp>Similarly captured over the course of a long exposure, \u003ci>Sea of Galilee, Golan\u003c/i>, a large composition in which sky and water blur at the horizon line, takes up another primal element a measure of both time and faith. Accompanied by a Biblical passage attributed to Matthew, water becomes a crucible in which spiritual and corporeal devotion are tested and faith is rewarded.\u003c/p>\n\u003cfigure id=\"attachment_10135467\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/3_Sugimoto_Sea-of-Galilee-Golan_1992.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135467 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/3_Sugimoto_Sea-of-Galilee-Golan_1992-1440x1123.jpg\" alt=\"Hiroshi Sugimoto, Sea of Galilee, Golan, 1992; courtesy of Fraenkel Gallery\" width=\"640\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/3_Sugimoto_Sea-of-Galilee-Golan_1992-1440x1123.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/3_Sugimoto_Sea-of-Galilee-Golan_1992-400x311.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/3_Sugimoto_Sea-of-Galilee-Golan_1992-300x233.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hiroshi Sugimoto, Sea of Galilee, Golan, 1992; courtesy of Fraenkel Gallery\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Hiroshi Sugimoto: Acts of God\u003c/b> raises its most lasting point when considered in totality: the “domestication” of Nature, a near singular goal that has possessed humankind throughout our time on the planet is a laughable impossibility, despite our best efforts. She will have her way, and rightly punish our hubris with disasters such as hurricanes, floods, and fires. On rare occasions, out of that devastation emerges something new and unexpected, and it is our great fortune to witness what is born of chaos.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Hiroshi Sugimoto: Acts of God\u003c/b> runs May 1 to July 3, 2014 at Fraenkel Gallery. For \u003ca href=\"http://fraenkelgallery.com\">more information\u003c/a> visit fraenkelgallery.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "All Kinds of 'Wrong' Just Right at SFAI",
"headTitle": "All Kinds of ‘Wrong’ Just Right at SFAI | KQED",
"content": "\u003cp>In George Jones’ rollicking track \u003ci>Wrong’s What I Do Best\u003c/i>, the singer claims, “I’m just trying to find myself / Before I get too old.” But ones’ search is just a ruse, as he’s got himself pretty much figured out — he’s an outlaw, a loser, a seeker of “blues and bad news.” \u003c/p>\n\u003cp>For his first curatorial effort at the San Francisco Art Institute (SFAI), Hesse McGraw, the Vice President for Exhibitions and Public Programs, joins forces with artist Aaron Spangler to gather an impressive exhibition of fifteen contemporary artists and collaboratives. Like Jones, the artist personas represented are outrageous, excessive and elusive. For \u003cb>Wrong’s What I Do Best\u003c/b>, it’s all about the story, truth (and intention) be damned.\u003c/p>\n\u003cfigure id=\"attachment_10135530\" class=\"wp-caption alignright\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135530 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/7_Bickerton-White-Head.jpg\" alt=\"Ashley Bickerton, <i>White Head I</i>, 2012; Courtesy of the artist and Lehmann Maupin, New York and Hong Kong\" width=\"510\" height=\"588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/7_Bickerton-White-Head.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/7_Bickerton-White-Head-400x461.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/7_Bickerton-White-Head-260x300.jpg 260w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Bickerton, \u003ci>White Head I\u003c/i>, 2012; Courtesy of the artist and Lehmann Maupin, New York and Hong Kong\u003c/figcaption>\u003c/figure>\n\u003cp>The installation begins just outside the Walter and McBean Galleries. To the right, floor to ceiling mirrors reflect visitors back at themselves. This show is about personhood — there’s no escaping it. The exhibition guide includes quotes from each artist instead of descriptive text or curatorial statements. In some instances, the quotes line up so well they actually call attention to details in the works. For instance, Trenton Doyle Hancock is quoted saying “I want to show that I’m not trying to cover up anything any longer.” In the top right corner of his painting, \u003ci>A New Creature #1\u003c/i>, a small hole exposes the stretcher bar behind.\u003c/p>\n\u003cp>The visual overload of Hancock’s work is matched, and possibly exceeded, by Ashley Bickerton’s contributions, which are best described as large-scale assemblages of natural and man-made overabundance. With their open mouths, prominent tongues, and enlarged, glossy eyes, her female heads are witchy representations of pure abandonment. \u003c/p>\n\u003cp>Upstairs, Jonathan Meese’s painting \u003ci>We Toll…\u003c/i> features a central figure, staring, on a canvas of thick abstract expressionism (echoed nicely in CLUB PAINT’s contributions), iron crosses on either side of her head and flames rising from below. To the right of Meese’s painting, Brad Kahlhamer’s \u003ci>Desert, Forest, City\u003c/i> is a densely populated drawing of bloody spatter, skeletons, girls in pigtails, and birds of prey. The horror vacui within both Meese and Kahlhamer’s works is echoed by the artists themselves. “In art you can never go too far,” says Meese. Kahlhamer’s stated goal is to “go completely wildcat, totally unauthorized, and let’s see what happens.”\u003c/p>\n\u003cfigure id=\"attachment_10135531\" class=\"wp-caption alignright\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135531 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/11_Lee-Rome-2.jpg\" alt=\"Nikki S. Lee, <i>Layers, Rome 2</i>, 2007; Coursty of the artist and Sikkema Jenkins & Co, New York\" width=\"510\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/11_Lee-Rome-2.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/11_Lee-Rome-2-400x509.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/11_Lee-Rome-2-235x300.jpg 235w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">Nikki S. Lee, \u003ci>Layers, Rome 2\u003c/i>, 2007; Courtesy of the artist and Sikkema Jenkins & Co, New York\u003c/figcaption>\u003c/figure>\n\u003cp>Other aspects of the show are less overtly off-the-rails. Three Dana Schutz works give mysterious narrative shape to improbable situations, including two charcoal drawings from 2014, cubist scenes crowded with nefarious figures. Marianne Vitale’s sculptures are by turns inexplicable and confrontational: a series of bronze \u003ci>Douche Bags\u003c/i> are scattered about the main gallery floor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many works feature the artists themselves. Nikki S. Lee’s Layers, \u003ci>Rome 2\u003c/i> is a double portrait of Lee — one photographic, the other hand drawn — and over seven feet tall. On video, Laurel Nakadate thrashes on an older man’s floor as he “exorcises” her. Aaron Storck’s \u003ci>12 Ways\u003c/i> shows the artist in what could be his studio doing a lot of things, none of them very productive. \u003ci>Lowrider Builder and Child\u003c/i> positions artist Liz Cohen in front of a custom hot rod with a child at her breast. In a nearby video of her bikini-clad and pregnant, she operates the car’s hydraulics. Both are part of \u003ci>Bodywork\u003c/i>, Cohen’s enormous undertaking to transform her physical self and skill set to fit into the world of custom automotives.\u003c/p>\n\u003cfigure id=\"attachment_10135529\" class=\"wp-caption alignright\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135529 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/3_Nakadate-Exorcism.jpg\" alt=\"Laurel Nakadate, <i>Exorcism in January</i>, 2009; Courtesy of Leslie Tonkonow Artworks + Projects, New York\" width=\"510\" height=\"287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/3_Nakadate-Exorcism.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/3_Nakadate-Exorcism-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/3_Nakadate-Exorcism-300x168.jpg 300w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">Laurel Nakadate, \u003ci>Exorcism in January\u003c/i>, 2009; Courtesy of Leslie Tonkonow Artworks + Projects, New York\u003c/figcaption>\u003c/figure>\n\u003cp>So many of the works in \u003cb>Wrong’s What I Do Best\u003c/b> are just snippets of larger, long term projects; for example, Tanyth Berkeley’s haunting portraits of Linda Leven, or Samara Golden’s spooky, stuffed-deer she posed under a heat lamp on the gallery’s stairs. The exhibition also relies on name recognition to fill in the gaps, which invariably leaves a portion of the audience with plenty of questions (and names to look up), which isn’t the worst thing that can happen in a large-scale group exhibition.\u003c/p>\n\u003cp>\u003cb>Wrong’s What I Do Best\u003c/b> makes an argument for embracing the outlaw ways. It positions the artists who dare to reflect the transgressive, deranged aspects of society back to the viewer as that society’s conscience (and potential saviors). Waylon Jennings sums it up the best: “I’ve always been crazy but it’s kept me from going insane.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Wrong’s What I Do Best\u003c/b> is on view at SFAI’s Walter and McBean Galleries through July 26, 2014. For \u003ca href=\"http://www.sfai.edu/wrong\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit sfai.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In George Jones’ rollicking track \u003ci>Wrong’s What I Do Best\u003c/i>, the singer claims, “I’m just trying to find myself / Before I get too old.” But ones’ search is just a ruse, as he’s got himself pretty much figured out — he’s an outlaw, a loser, a seeker of “blues and bad news.” \u003c/p>\n\u003cp>For his first curatorial effort at the San Francisco Art Institute (SFAI), Hesse McGraw, the Vice President for Exhibitions and Public Programs, joins forces with artist Aaron Spangler to gather an impressive exhibition of fifteen contemporary artists and collaboratives. Like Jones, the artist personas represented are outrageous, excessive and elusive. For \u003cb>Wrong’s What I Do Best\u003c/b>, it’s all about the story, truth (and intention) be damned.\u003c/p>\n\u003cfigure id=\"attachment_10135530\" class=\"wp-caption alignright\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135530 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/7_Bickerton-White-Head.jpg\" alt=\"Ashley Bickerton, <i>White Head I</i>, 2012; Courtesy of the artist and Lehmann Maupin, New York and Hong Kong\" width=\"510\" height=\"588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/7_Bickerton-White-Head.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/7_Bickerton-White-Head-400x461.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/7_Bickerton-White-Head-260x300.jpg 260w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Bickerton, \u003ci>White Head I\u003c/i>, 2012; Courtesy of the artist and Lehmann Maupin, New York and Hong Kong\u003c/figcaption>\u003c/figure>\n\u003cp>The installation begins just outside the Walter and McBean Galleries. To the right, floor to ceiling mirrors reflect visitors back at themselves. This show is about personhood — there’s no escaping it. The exhibition guide includes quotes from each artist instead of descriptive text or curatorial statements. In some instances, the quotes line up so well they actually call attention to details in the works. For instance, Trenton Doyle Hancock is quoted saying “I want to show that I’m not trying to cover up anything any longer.” In the top right corner of his painting, \u003ci>A New Creature #1\u003c/i>, a small hole exposes the stretcher bar behind.\u003c/p>\n\u003cp>The visual overload of Hancock’s work is matched, and possibly exceeded, by Ashley Bickerton’s contributions, which are best described as large-scale assemblages of natural and man-made overabundance. With their open mouths, prominent tongues, and enlarged, glossy eyes, her female heads are witchy representations of pure abandonment. \u003c/p>\n\u003cp>Upstairs, Jonathan Meese’s painting \u003ci>We Toll…\u003c/i> features a central figure, staring, on a canvas of thick abstract expressionism (echoed nicely in CLUB PAINT’s contributions), iron crosses on either side of her head and flames rising from below. To the right of Meese’s painting, Brad Kahlhamer’s \u003ci>Desert, Forest, City\u003c/i> is a densely populated drawing of bloody spatter, skeletons, girls in pigtails, and birds of prey. The horror vacui within both Meese and Kahlhamer’s works is echoed by the artists themselves. “In art you can never go too far,” says Meese. Kahlhamer’s stated goal is to “go completely wildcat, totally unauthorized, and let’s see what happens.”\u003c/p>\n\u003cfigure id=\"attachment_10135531\" class=\"wp-caption alignright\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135531 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/11_Lee-Rome-2.jpg\" alt=\"Nikki S. Lee, <i>Layers, Rome 2</i>, 2007; Coursty of the artist and Sikkema Jenkins & Co, New York\" width=\"510\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/11_Lee-Rome-2.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/11_Lee-Rome-2-400x509.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/11_Lee-Rome-2-235x300.jpg 235w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">Nikki S. Lee, \u003ci>Layers, Rome 2\u003c/i>, 2007; Courtesy of the artist and Sikkema Jenkins & Co, New York\u003c/figcaption>\u003c/figure>\n\u003cp>Other aspects of the show are less overtly off-the-rails. Three Dana Schutz works give mysterious narrative shape to improbable situations, including two charcoal drawings from 2014, cubist scenes crowded with nefarious figures. Marianne Vitale’s sculptures are by turns inexplicable and confrontational: a series of bronze \u003ci>Douche Bags\u003c/i> are scattered about the main gallery floor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many works feature the artists themselves. Nikki S. Lee’s Layers, \u003ci>Rome 2\u003c/i> is a double portrait of Lee — one photographic, the other hand drawn — and over seven feet tall. On video, Laurel Nakadate thrashes on an older man’s floor as he “exorcises” her. Aaron Storck’s \u003ci>12 Ways\u003c/i> shows the artist in what could be his studio doing a lot of things, none of them very productive. \u003ci>Lowrider Builder and Child\u003c/i> positions artist Liz Cohen in front of a custom hot rod with a child at her breast. In a nearby video of her bikini-clad and pregnant, she operates the car’s hydraulics. Both are part of \u003ci>Bodywork\u003c/i>, Cohen’s enormous undertaking to transform her physical self and skill set to fit into the world of custom automotives.\u003c/p>\n\u003cfigure id=\"attachment_10135529\" class=\"wp-caption alignright\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10135529 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/3_Nakadate-Exorcism.jpg\" alt=\"Laurel Nakadate, <i>Exorcism in January</i>, 2009; Courtesy of Leslie Tonkonow Artworks + Projects, New York\" width=\"510\" height=\"287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/3_Nakadate-Exorcism.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/3_Nakadate-Exorcism-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/3_Nakadate-Exorcism-300x168.jpg 300w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">Laurel Nakadate, \u003ci>Exorcism in January\u003c/i>, 2009; Courtesy of Leslie Tonkonow Artworks + Projects, New York\u003c/figcaption>\u003c/figure>\n\u003cp>So many of the works in \u003cb>Wrong’s What I Do Best\u003c/b> are just snippets of larger, long term projects; for example, Tanyth Berkeley’s haunting portraits of Linda Leven, or Samara Golden’s spooky, stuffed-deer she posed under a heat lamp on the gallery’s stairs. The exhibition also relies on name recognition to fill in the gaps, which invariably leaves a portion of the audience with plenty of questions (and names to look up), which isn’t the worst thing that can happen in a large-scale group exhibition.\u003c/p>\n\u003cp>\u003cb>Wrong’s What I Do Best\u003c/b> makes an argument for embracing the outlaw ways. It positions the artists who dare to reflect the transgressive, deranged aspects of society back to the viewer as that society’s conscience (and potential saviors). Waylon Jennings sums it up the best: “I’ve always been crazy but it’s kept me from going insane.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Wrong’s What I Do Best\u003c/b> is on view at SFAI’s Walter and McBean Galleries through July 26, 2014. For \u003ca href=\"http://www.sfai.edu/wrong\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit sfai.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>May is Asian Pacific American Heritage month and there are a plethora of fill-in-the-blank cultural heritage events you could attend. But the expansive and growing Bay Area Asian American community has much more going on than fan dances and food festivals. There are countless events, exhibitions and programs happening this month, but here are just a few sure fire ways that demonstrate Asian American culture tells us much more about American culture than it does of our distant and often mythical homelands.\u003c/p>\n\u003ch4>Mutt: Let’s All Talk About Race a play by Christopher Chen at Impact Theater with Ferocious Lotus\u003c/h4>\n\u003cp>With the primaries looming, imagine what would happen if the GOP suddenly decided to run a candidate who is \u003ca href=\"http://en.wikipedia.org/wiki/Hapa\" target=\"_blank\" rel=\"noopener\">“hapa”\u003c/a> — someone of mixed Asian decent — for the 2016 presidency? In the Glickman Award-winning new play from Christopher Chen, they do just this. \u003cem>Mutt \u003c/em>is a full force satirical confrontation of race, politics and politicians (of all varieties) and a perfect way to close out Impact Theater’s season. Through June 8. \u003ca href=\"http://impacttheatre.com/season/1314/mutt.php\" target=\"_blank\" rel=\"noopener\">For more show times and other information, \u003c/a> visit impacttheatre.com.\u003c/p>\n\u003ch4>Forbidden Cities U.S.A. exhibition at the SF Public Library.\u003c/h4>\n\u003cp>Stop by the Civic Center Off the Grid then swing by the San Francisco Public Library’s Jewett Gallery for the \u003ci>Forbidden Cities\u003c/i> exhibition. In the period between the 1930s and the ’60s, especially in San Francisco, Chinese American nightclubs, singers and dancers were experiencing their “golden age,” performing routines that were considered “white” forms of entertainment. The exhibition, in conjunction with the curator Arthur Dong’s new book \u003cem>Forbidden Cities U.S.A.: Chinese American Nightclubs 1936-1970 \u003c/em>is a unique look into a little known part of San Francisco’s history. Open until July 7; \u003ca href=\"http://sfpl.org/index.php?pg=1016349401\" target=\"_blank\" rel=\"noopener\">for hours and more information,\u003c/a> visit sfpl.org.\u003c/p>\n\u003ch4>\u003cem>Wrong’s What I Do Best\u003c/em> at San Francisco Art Institute’s Walter and McBean Galleries\u003c/h4>\n\u003cp>Put on your walking shoes, grab some dim sum in San Francisco’s Chinatown for fuel and meander through North Beach to San Francisco Art Institute’s Walter and McBean Galleries. The exhibition \u003cem>Wrong’s What I Do Best \u003c/em>will be well worth the hike which features work from the likes of Nikki S. Lee, Kara Walker, Dana Schutz, Laurel Nakadate and many more. All of the artists take on the poignantly hapless task of “playing the role of one’s self as someone else” in this multidisciplinary presentation of stirring, and at times disturbing, works. On view through July 26. \u003ca href=\"http://www.sfai.edu/wrong\" target=\"_blank\" rel=\"noopener\">For more information,\u003c/a> visit sfai.edu.\u003c/p>\n\u003ch4>\u003cem>I’m an Asian American and…\u003c/em> Reality TV series on Myx TV ’s (8/7c)\u003c/h4>\n\u003cp>If you are intent to stay home, then check out Myx TV’s new reality television show. This docu-series follows an unexpected cast of individuals from the Asian American diaspora, as they go about their daily life in Los Angeles. Each of the 10 episodes present a range of heartbreaking, comedic and sobering experiences, from lives ranging from a lawyer fighting human trafficking to a big-time radio DJ to a dating coach for virgins. The first episode features performer and comedian Kristina Wong as she uses online dating as a way to get guys with “yellow fever to do outrageous things for her,” what she calls “reparations.” Though tongue-in-cheek and at times deliciously absurd, Wong addresses real stereotypes within mainstream culture against Asian American women that do have significant impact on their lives. Episodes can also be \u003ca href=\"http://www.myx.tv/iaaa/#.U2pJ79y0beJ\" target=\"_blank\" rel=\"noopener\">viewed online\u003c/a> at www.myx.tv.\u003c/p>\n\u003ch4>Super Awesome: Art and Giant Robot exhibition at the Oakland Museum of California\u003c/h4>\n\u003cp>The OMC exhibition, at its heart, explores \u003cem>Giant Robot’s\u003c/em> robust 20-year history of Asian cultural coverage, capturing the spirit of an alternative scene that couldn’t really be pinned down and was definitely not represented in mainstream media culture. In the ’90s, \u003ci>Giant Robot\u003c/i> was a place where Asian pop culture and Asian American subculture fearlessly carved a space for itself through photocopying and stapling. What began as a lo-Fi zine printed in Eric Nakamura’s bedroom in 1994 evolved into a legit full color magazine and later expanded into several art galleries, a restaurant, stores, and much more. The exhibition highlights the artists and production of the many iterations of \u003cem>Giant Robot.\u003c/em> Open until July 27. \u003ca href=\"http://museumca.org/exhibit/superawesome-art-and-giant-robot\" target=\"_blank\" rel=\"noopener\">For museum hours and other information,\u003c/a> visit museumca.org.\u003c/p>\n\u003ch4>Astonishing Animation: The Films of Hayao Miyazaki and Studio Ghibli at Yerba Buena Center for the Arts\u003c/h4>\n\u003cp>There are many fingers still crossed hoping that acclaimed storyteller, animator and film director Hayao Miyazaki’s retirement will be short-lived — again. But while you wait for a comeback, stop by Yerba Buena Center for the Arts to see any or all of the fifteen animations from Miyazaki and Studio Ghibli being screen through May. And if Miyazaki animations are already on full rotation at home, step out anyway to catch them on the big screen again. There is nothing quite like full immersion in Miyazaki’s worlds to help usher in spring. For \u003ca href=\"http://www.ybca.org/studio-ghibli\" target=\"_blank\" rel=\"noopener\">schedules and more information,\u003c/a> visit ybca.org.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>May is Asian Pacific American Heritage month and there are a plethora of fill-in-the-blank cultural heritage events you could attend. But the expansive and growing Bay Area Asian American community has much more going on than fan dances and food festivals. There are countless events, exhibitions and programs happening this month, but here are just a few sure fire ways that demonstrate Asian American culture tells us much more about American culture than it does of our distant and often mythical homelands.\u003c/p>\n\u003ch4>Mutt: Let’s All Talk About Race a play by Christopher Chen at Impact Theater with Ferocious Lotus\u003c/h4>\n\u003cp>With the primaries looming, imagine what would happen if the GOP suddenly decided to run a candidate who is \u003ca href=\"http://en.wikipedia.org/wiki/Hapa\" target=\"_blank\" rel=\"noopener\">“hapa”\u003c/a> — someone of mixed Asian decent — for the 2016 presidency? In the Glickman Award-winning new play from Christopher Chen, they do just this. \u003cem>Mutt \u003c/em>is a full force satirical confrontation of race, politics and politicians (of all varieties) and a perfect way to close out Impact Theater’s season. Through June 8. \u003ca href=\"http://impacttheatre.com/season/1314/mutt.php\" target=\"_blank\" rel=\"noopener\">For more show times and other information, \u003c/a> visit impacttheatre.com.\u003c/p>\n\u003ch4>Forbidden Cities U.S.A. exhibition at the SF Public Library.\u003c/h4>\n\u003cp>Stop by the Civic Center Off the Grid then swing by the San Francisco Public Library’s Jewett Gallery for the \u003ci>Forbidden Cities\u003c/i> exhibition. In the period between the 1930s and the ’60s, especially in San Francisco, Chinese American nightclubs, singers and dancers were experiencing their “golden age,” performing routines that were considered “white” forms of entertainment. The exhibition, in conjunction with the curator Arthur Dong’s new book \u003cem>Forbidden Cities U.S.A.: Chinese American Nightclubs 1936-1970 \u003c/em>is a unique look into a little known part of San Francisco’s history. Open until July 7; \u003ca href=\"http://sfpl.org/index.php?pg=1016349401\" target=\"_blank\" rel=\"noopener\">for hours and more information,\u003c/a> visit sfpl.org.\u003c/p>\n\u003ch4>\u003cem>Wrong’s What I Do Best\u003c/em> at San Francisco Art Institute’s Walter and McBean Galleries\u003c/h4>\n\u003cp>Put on your walking shoes, grab some dim sum in San Francisco’s Chinatown for fuel and meander through North Beach to San Francisco Art Institute’s Walter and McBean Galleries. The exhibition \u003cem>Wrong’s What I Do Best \u003c/em>will be well worth the hike which features work from the likes of Nikki S. Lee, Kara Walker, Dana Schutz, Laurel Nakadate and many more. All of the artists take on the poignantly hapless task of “playing the role of one’s self as someone else” in this multidisciplinary presentation of stirring, and at times disturbing, works. On view through July 26. \u003ca href=\"http://www.sfai.edu/wrong\" target=\"_blank\" rel=\"noopener\">For more information,\u003c/a> visit sfai.edu.\u003c/p>\n\u003ch4>\u003cem>I’m an Asian American and…\u003c/em> Reality TV series on Myx TV ’s (8/7c)\u003c/h4>\n\u003cp>If you are intent to stay home, then check out Myx TV’s new reality television show. This docu-series follows an unexpected cast of individuals from the Asian American diaspora, as they go about their daily life in Los Angeles. Each of the 10 episodes present a range of heartbreaking, comedic and sobering experiences, from lives ranging from a lawyer fighting human trafficking to a big-time radio DJ to a dating coach for virgins. The first episode features performer and comedian Kristina Wong as she uses online dating as a way to get guys with “yellow fever to do outrageous things for her,” what she calls “reparations.” Though tongue-in-cheek and at times deliciously absurd, Wong addresses real stereotypes within mainstream culture against Asian American women that do have significant impact on their lives. Episodes can also be \u003ca href=\"http://www.myx.tv/iaaa/#.U2pJ79y0beJ\" target=\"_blank\" rel=\"noopener\">viewed online\u003c/a> at www.myx.tv.\u003c/p>\n\u003ch4>Super Awesome: Art and Giant Robot exhibition at the Oakland Museum of California\u003c/h4>\n\u003cp>The OMC exhibition, at its heart, explores \u003cem>Giant Robot’s\u003c/em> robust 20-year history of Asian cultural coverage, capturing the spirit of an alternative scene that couldn’t really be pinned down and was definitely not represented in mainstream media culture. In the ’90s, \u003ci>Giant Robot\u003c/i> was a place where Asian pop culture and Asian American subculture fearlessly carved a space for itself through photocopying and stapling. What began as a lo-Fi zine printed in Eric Nakamura’s bedroom in 1994 evolved into a legit full color magazine and later expanded into several art galleries, a restaurant, stores, and much more. The exhibition highlights the artists and production of the many iterations of \u003cem>Giant Robot.\u003c/em> Open until July 27. \u003ca href=\"http://museumca.org/exhibit/superawesome-art-and-giant-robot\" target=\"_blank\" rel=\"noopener\">For museum hours and other information,\u003c/a> visit museumca.org.\u003c/p>\n\u003ch4>Astonishing Animation: The Films of Hayao Miyazaki and Studio Ghibli at Yerba Buena Center for the Arts\u003c/h4>\n\u003cp>There are many fingers still crossed hoping that acclaimed storyteller, animator and film director Hayao Miyazaki’s retirement will be short-lived — again. But while you wait for a comeback, stop by Yerba Buena Center for the Arts to see any or all of the fifteen animations from Miyazaki and Studio Ghibli being screen through May. And if Miyazaki animations are already on full rotation at home, step out anyway to catch them on the big screen again. There is nothing quite like full immersion in Miyazaki’s worlds to help usher in spring. For \u003ca href=\"http://www.ybca.org/studio-ghibli\" target=\"_blank\" rel=\"noopener\">schedules and more information,\u003c/a> visit ybca.org.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In San Francisco’s Mission District, Evicted Artists Hold Garage Sale to Pay for Move",
"headTitle": "In San Francisco’s Mission District, Evicted Artists Hold Garage Sale to Pay for Move | KQED",
"content": "\u003cp>It’s no secret that San Francisco’s booming real estate market has made it challenging for \u003ca target=\"_self\" href=\"http://ww2.kqed.org/news/series/priced-out/\" rel=\"noopener\">anyone living on the margin\u003c/a>. <a target=_self href=\"http://ww2.kqed.org/news/2014/02/24/art-galleries-displaced-amid-san-francisco-tech-boom\" \u003ca href=\"http://ww2.kqed.org/news/san-francisco-mission-district-artists-evicted-from-longtime-home\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/san-francisco-mission-district-artists-evicted-from-longtime-home\" target=\"_self\" title=\"In San Francisco’s Mission District, Evicted Artists Hold Garage Sale to Pay for Move\" rel=\"noopener\">News Fix Arts\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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