window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_10131039": {
"type": "attachments",
"id": "arts_10131039",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10131039",
"found": true
},
"parent": 131039,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/12/designviolence-360-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/12/designviolence-360.jpg",
"width": 640,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/12/designviolence-360-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/12/designviolence-360-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/12/designviolence-360-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/12/designviolence-360-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/12/designviolence-360-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/12/designviolence-360-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1387409490,
"modified": 1387409490,
"caption": null,
"description": null,
"title": "Experimenting Online: MoMA's 'Design and Violence'-\u003ci>Dispensary\u003c/i>, 1997, Diller + Scofidio; Photo: Michael Moran/OTTO",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10130516": {
"type": "attachments",
"id": "arts_10130516",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10130516",
"found": true
},
"parent": 130516,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/12/moreartbooks360-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/12/moreartbooks360.jpg",
"width": 640,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/12/moreartbooks360-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/12/moreartbooks360-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/12/moreartbooks360-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/12/moreartbooks360-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/12/moreartbooks360-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/12/moreartbooks360-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1386894045,
"modified": 1386894045,
"caption": null,
"description": null,
"title": "More Art Books for the Holidays, Please-\u003ci>The Collected Knitting of Loes Veenstra\u003c/i>",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10130175": {
"type": "attachments",
"id": "arts_10130175",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10130175",
"found": true
},
"parent": 130175,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/12/krampus3606-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/12/krampus3606.jpg",
"width": 640,
"height": 360
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/12/krampus3606-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/12/krampus3606-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1386464262,
"modified": 1386464262,
"caption": null,
"description": null,
"title": "Merry Krampus!-Last Gasp's Krampus series",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10129604": {
"type": "attachments",
"id": "arts_10129604",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10129604",
"found": true
},
"parent": 129604,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/michael-snow-360-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/michael-snow-360.jpg",
"width": 640,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/michael-snow-360-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/michael-snow-360-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/michael-snow-360-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/michael-snow-360-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/michael-snow-360-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/michael-snow-360-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1385506610,
"modified": 1385506610,
"caption": null,
"description": null,
"title": "Viewing One Piece at a Time at Pied-à-terre-Michael Snow, \u003ci>Solar Breath\u003c/i>",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10129551": {
"type": "attachments",
"id": "arts_10129551",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10129551",
"found": true
},
"parent": 129551,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/hd-oneill-360-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/hd-oneill-360.jpg",
"width": 640,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/hd-oneill-360-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/hd-oneill-360-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/hd-oneill-360-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/hd-oneill-360-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/hd-oneill-360-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/hd-oneill-360-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1385409565,
"modified": 1385409565,
"caption": null,
"description": null,
"title": "MFA vs. Residency-Pat O'Neill, \u003ci> Horizontal Boundaries, \u003c/i>2008",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10128760": {
"type": "attachments",
"id": "arts_10128760",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10128760",
"found": true
},
"parent": 10136047,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/vanLankveld640x360-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/vanLankveld640x360.jpg",
"width": 640,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/vanLankveld640x360-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/vanLankveld640x360-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/vanLankveld640x360-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/vanLankveld640x360-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/vanLankveld640x360-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/vanLankveld640x360-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1384201553,
"modified": 1384201553,
"caption": null,
"description": null,
"title": "A Spark in the Dark-Rezi van Lankveld, \u003ci>Wajang\u003c/i>, 2013",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10128518": {
"type": "attachments",
"id": "arts_10128518",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10128518",
"found": true
},
"parent": 10134695,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/treefall-3604-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/treefall-3604.jpg",
"width": 640,
"height": 360
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/treefall-3604-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/11/treefall-3604-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1383861399,
"modified": 1383861399,
"caption": null,
"description": null,
"title": "Tree Fall: Andy Goldsworthy's Newest Installation at the Presidio-Andy Goldsworthy, \u003ci>Tree Fall\u003c/i> (2013), installation view; photo: JanStürmann/FOR-SITE Foundation",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10127849": {
"type": "attachments",
"id": "arts_10127849",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10127849",
"found": true
},
"parent": 127849,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/hd-olowska-360-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/hd-olowska-360.jpg",
"width": 640,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/hd-olowska-360-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/hd-olowska-360-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/hd-olowska-360-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/hd-olowska-360-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/hd-olowska-360-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/hd-olowska-360-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1382993591,
"modified": 1382993591,
"caption": null,
"description": null,
"title": "An Institutional Setting-Paulina Olowska, \u003ci>Chess player 1\u003c/i>, 2010",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10127032": {
"type": "attachments",
"id": "arts_10127032",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10127032",
"found": true
},
"parent": 127032,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/hd-bender-3606-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/hd-bender-3606.jpg",
"width": 640,
"height": 360
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/hd-bender-3606-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/hd-bender-3606-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1381782641,
"modified": 1381782641,
"caption": null,
"description": null,
"title": "How to Find Artists-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10126964": {
"type": "attachments",
"id": "arts_10126964",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10126964",
"found": true
},
"parent": 126964,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/sfrec4-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/sfrec4.jpg",
"width": 640,
"height": 360
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/sfrec4-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/sfrec4-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1381526333,
"modified": 1381526333,
"caption": null,
"description": null,
"title": "The Government Shuts Down Art in San Francisco-\u003ca href=\"http://www.flickr.com/photos/ari/8847891626/\">Steve Rhodes/Flickr\u003c/a>Credit: \u003ca href=\"http://www.flickr.com/photos/ari/8847891626/\">Steve Rhodes/Flickr\u003c/a>",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10126095": {
"type": "attachments",
"id": "arts_10126095",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10126095",
"found": true
},
"parent": 126095,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/mcg-360-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/mcg-360.jpg",
"width": 640,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/mcg-360-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/mcg-360-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/mcg-360-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/mcg-360-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/mcg-360-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/mcg-360-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1379544929,
"modified": 1379544929,
"caption": null,
"description": null,
"title": "Ryan McGinley's (Wholesome) Wall of Flesh-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10126027": {
"type": "attachments",
"id": "arts_10126027",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10126027",
"found": true
},
"parent": 126027,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/moment-360-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/moment-360.jpg",
"width": 640,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/moment-360-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/moment-360-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/moment-360-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/moment-360-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/moment-360-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/moment-360-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1379453627,
"modified": 1379453627,
"caption": null,
"description": null,
"title": "Good Things Require Money: THE THING Quarterly's 'Moment to Moment'-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"kfarr": {
"type": "authors",
"id": "16",
"meta": {
"index": "authors_1716337520",
"id": "16",
"found": true
},
"name": "Kristin Farr",
"firstName": "Kristin",
"lastName": "Farr",
"slug": "kfarr",
"email": "kfarr@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Kristin Farr is the creator and producer of KQED's Emmy Award-winning web video series, Art School, and she is also a contributing editor for Juxtapoz magazine. Her artwork has been exhibited at galleries around the Bay Area including YBCA, Fifty24SF, Anno Domini and The Bedford Gallery. Her FarrOut art app for iOS was released in 2013. She lives in the East Bay and her favorite color is all of them.",
"avatar": "https://secure.gravatar.com/avatar/96aae7842c46004b98e00051e9e0d71f?s=600&d=blank&r=g",
"twitter": "kristinfarr",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kristin Farr | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/96aae7842c46004b98e00051e9e0d71f?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/96aae7842c46004b98e00051e9e0d71f?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kfarr"
},
"lmak": {
"type": "authors",
"id": "52",
"meta": {
"index": "authors_1716337520",
"id": "52",
"found": true
},
"name": "Liz Mak",
"firstName": "Liz",
"lastName": "Mak",
"slug": "lmak",
"email": "elizabethjmak@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "\u003ca title=\"Liz Mak\" href=\"http://lizmak.com\" target=\"_blank\">Liz Mak\u003c/a> is a writer and multimedia producer living in Oakland. Her pieces have been published by \u003cem>The New York Times\u003c/em>, NPR, and KALW, among others.",
"avatar": "https://secure.gravatar.com/avatar/c446422ba2772b86aab5aa2f1f33c8d7?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
}
],
"headData": {
"title": "Liz Mak | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/c446422ba2772b86aab5aa2f1f33c8d7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/c446422ba2772b86aab5aa2f1f33c8d7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/lmak"
},
"cfrock": {
"type": "authors",
"id": "58",
"meta": {
"index": "authors_1716337520",
"id": "58",
"found": true
},
"name": "Christian L. Frock",
"firstName": "Christian L.",
"lastName": "Frock",
"slug": "cfrock",
"email": "christian@invisiblevenue.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/da93aa5c1bc6f6561a99d5073186102c?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Christian L. Frock | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/da93aa5c1bc6f6561a99d5073186102c?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/da93aa5c1bc6f6561a99d5073186102c?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cfrock"
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"bgilsdorf": {
"type": "authors",
"id": "66",
"meta": {
"index": "authors_1716337520",
"id": "66",
"found": true
},
"name": "Bean Gilsdorf",
"firstName": "Bean",
"lastName": "Gilsdorf",
"slug": "bgilsdorf",
"email": "FAKE_bgilsdorf@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Bean Gilsdorf is an artist and freelance writer. She has been writing exhibition reviews, articles, and interviews for print and internet publications since 2007. Her work has been published in \u003ci>Textile: the Journal of Cloth and Culture\u003c/i>, \u003ci>Fiberarts Magazine\u003c/i> (2007-2011), and \u003ci>Surface Design Journal\u003c/i>, and she is a frequent contributor to the online contemporary art publications \u003ca href=\"http://www.artpractical.com/\">\u003ci>Art Practical\u003c/i>\u003c/a> and \u003ca href=\"http://dailyserving.com/\">\u003ci>Daily Serving\u003c/i>\u003c/a>.Gilsdorf's collages, textiles, and installations have been exhibited across the United States and in Italy, England, China, South Africa and Poland. In 2011, Gilsdorf received her MFA from the California College of the Arts. She lives in San Francisco and is a 2011-2012 Graduate Fellow at the Headlands Center for the Arts.",
"avatar": "https://secure.gravatar.com/avatar/fd913a10f237e8e3b8f96d4b6909747a?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [],
"headData": {
"title": "Bean Gilsdorf | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/fd913a10f237e8e3b8f96d4b6909747a?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/fd913a10f237e8e3b8f96d4b6909747a?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/bgilsdorf"
},
"rseikaly": {
"type": "authors",
"id": "77",
"meta": {
"index": "authors_1716337520",
"id": "77",
"found": true
},
"name": "Roula Seikaly",
"firstName": "Roula",
"lastName": "Seikaly",
"slug": "rseikaly",
"email": "roula@roulaseikaly.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Roula Seikaly in an independent writer and curator based in Berkeley, California, and Senior Editor at \u003ca href=\"http://hafny.org/\">Humble Arts Foundation\u003c/a>. She has curated exhibitions at Colorado Photographic Arts Center, Filter Photo Festival, Blue Sky Gallery, SF Camerawork, SOMArts, and the Utah Museum of Arts. She is a regular contributor to Photograph, Hyerallergic, BOMB Magazine, and KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/771cde409896af1326a07050f2e4e489?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Roula Seikaly | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/771cde409896af1326a07050f2e4e489?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/771cde409896af1326a07050f2e4e489?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/rseikaly"
},
"ghelfand": {
"type": "authors",
"id": "79",
"meta": {
"index": "authors_1716337520",
"id": "79",
"found": true
},
"name": "Glen Helfand",
"firstName": "Glen",
"lastName": "Helfand",
"slug": "ghelfand",
"email": "glenhelfand@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Glen Helfand's writing has appeared in \u003ci>Artforum\u003c/i> and at \u003ca href=\"http://artforum.com/\">Artforum.com\u003c/a>, and he's contributed to the \u003ci>San Francisco Bay Guardian\u003c/i>, \u003ca href=\"http://www.blouinartinfo.com/\">ArtInfo.com\u003c/a>, and many other periodicals and exhibition catalogs.He's a Senior Adjunct professor at California College of the Arts, where he teaches courses on contemporary art. He also teaches in the graduate and undergraduate art programs at Mills College, and at the San Francisco Art Institute where he organizes the \u003ca href=\"http://www.sfai.edu/events-by-category/public/visiting-artists-and-scholars-lecture-series\">Visiting Artists and Scholars Lecture Series\u003c/a>.He has curated exhibitions for the De Young Museum, San Francisco; the San Jose Museum of Art; the Pasadena Museum of California Art, Pasadena; Rena Bransten Gallery, San Francisco; Dust Gallery, Las Vegas; and the Mills College Art Museum, Oakland. His most recent curatorial projects include \u003cb>Temporary Structures\u003c/b>, at the Walter and McBean Galleries, San Francisco Art Institute; \u003cb>Fabricators\u003c/b>, a collaboration with Creativity Explored, at Jack Fischer Gallery, San Francisco, and \u003cb>Proximities\u003c/b>, a series of three exhibitions at the Asian Art Museum of San Francisco, which will appear through February 2014.",
"avatar": "https://secure.gravatar.com/avatar/d4af86d417087217dd9f10a7e450ba6c?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
}
],
"headData": {
"title": "Glen Helfand | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/d4af86d417087217dd9f10a7e450ba6c?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d4af86d417087217dd9f10a7e450ba6c?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ghelfand"
}
},
"pagesReducer": {
"arts_category_visualarts": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"score": 14.40303
},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"title": "Visual Arts",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 170
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=visualarts",
"seeMore": false,
"paginated": true,
"page": 170
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_131039": {
"type": "posts",
"id": "arts_131039",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "131039",
"score": null,
"sort": [
1387409490000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1387409490,
"format": "standard",
"title": "Experimenting Online: MoMA's 'Design and Violence'",
"headTitle": "Experimenting Online: MoMA’s ‘Design and Violence’ | KQED",
"content": "\u003cp>Consider the \u003ca href=\"http://www.moma.org/\">Museum of Modern Art \u003c/a>‘s latest curatorial project, \u003ci>Design and Violence\u003c/i>, as comparable to an experimental online course. It has an intriguing class description, set topics for each week, and a comments section akin to the discussion following a lecture (and like most classes, the success of this part depends on the quality and quantity of student participation).\u003c/p>\n\u003cp>The catalog description might read something like this: Designer Victor Papanek once said, “There are professions more harmful than industrial design, but only a very few of them.” \u003ci>Design and Violence\u003c/i> will explore the concept of violence in design in the context of today’s world, and deconstruct the ambiguous relationship of design and violence. Violent design often arises as the byproduct of designers making commentary, protesting, and sometimes succumbing to ambiguous morality and mistakes. “Violence,” here, is defined as “the manifestation of the power to alter circumstances against the will of others and to their detriment.”\u003c/p>\n\u003cp>Like any other course would be, there’s a bit of novelty and ingenuity involved. The project is helmed by a curatorial staff and selected weekly “authors,” whose expertise ranges from science fiction (William Gibson) to journalism (John Hockenberry) to policy planning (Anne-Marie Slaughter). And the shelf life for the project is not a quarter, nor a semester, but TBD: It may last for several months, or even years. Having begun in October, it’s too early to tell. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/designviolence1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Fountain\u003c/i>, 1997, Diller + Scofidio; Photo: Michael Moran/OTTO\u003cbr>\u003c/center>\n\u003cp>The project’s concept of violence is broad: While the curators have determined set categories — hack/infect, constrain, stun, penetrate, manipulate/control, intimidate, and explode — the violent objects that the project actually studies sometimes fall into more vague categories. There’s the fragrance made of sweat samples culled from cage fights. There’s also the Merrick Lamp — a simple IKEA design, exposed to a computer virus and conceived via a 3-D printer. (In its final version, it looks like a lamp stricken with elephantiasis.) Within the broad array of designs, many of these are objects that don’t necessarily inflict violence, but have been subject to it. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While all of the intriguing objects fall within the overlap of design and violence, they also occupy other intersections: of design and commerce, or design and protest. There’s the Guardian Angel handbag, a felt purse imprinted with the outline of a dangerous weapon, for one. According to designers, it was a handbag made in response to the media’s reaction to street violence in the Netherlands. It was also a handbag for sale, toted by pop icon Rihanna and selling for prices reaching upwards of 500 dollars. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/designviolence2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Exhaust\u003c/i>, 1997, Diller + Scofidio; Photo: Michael Moran/OTTO\u003cbr>\u003c/center>\n\u003cp>Exposition on the curated objects ranges from the personal to analytical. The authors alternate between mining their personal associations with the object at hand (martini glasses with a built-in cigarette holder) to writing more analytically (perhaps the Liberator, a gun manufactured by a 3-D printer, is not just a DIY weapon; maybe it’s also a critique of gun control and a reaffirmation of the Second Amendment!). Like a classroom, a lot of the analysis involves a close-reading of the objects, some of it grounded in fact and history, some in semi-indulgent reflection.\u003c/p>\n\u003cp>As the MoMA curators will tell you, this is a project that captures the cultural zeitgeist, with all of the selected designs made after 2001. But the project is more than rooted in the past, and for the future of the project, the curators are looking to expand with their proposed phase two. The plan is to add a Google Earth component, one that will pinpoint worldwide locations in which each object can be found. It’s supposed to allow any curious — and travel-ready — audiences to be able to physically see the object, much like a traditional exhibition display. And as the project shifts to include a more conventional exhibition space, it’ll be interesting not only to see how the curation shifts, but also to determine the success of the online component of the project itself. It is, after all, an experiment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.designandviolence.moma.org/\">more information\u003c/a> visit designandviolence.moma.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 725,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705049499,
"excerpt": "Consider the \u003ca href=\"http://www.moma.org/\">Museum of Modern Art \u003c/a>'s latest curatorial project, \u003ci>Design and Violence\u003c/i>, as comparable to an experimental online course. It has an intriguing class description, set topics for each week, and a comments section akin to the discussion following a lecture.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Consider the Museum of Modern Art 's latest curatorial project, Design and Violence, as comparable to an experimental online course. It has an intriguing class description, set topics for each week, and a comments section akin to the discussion following a lecture.",
"title": "Experimenting Online: MoMA's 'Design and Violence' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Experimenting Online: MoMA's 'Design and Violence'",
"datePublished": "2013-12-18T15:31:30-08:00",
"dateModified": "2024-01-12T00:51:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "experimenting_online_momas_design_and_violence",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/",
"sticky": false,
"path": "/arts/131039/experimenting_online_momas_design_and_violence",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Consider the \u003ca href=\"http://www.moma.org/\">Museum of Modern Art \u003c/a>‘s latest curatorial project, \u003ci>Design and Violence\u003c/i>, as comparable to an experimental online course. It has an intriguing class description, set topics for each week, and a comments section akin to the discussion following a lecture (and like most classes, the success of this part depends on the quality and quantity of student participation).\u003c/p>\n\u003cp>The catalog description might read something like this: Designer Victor Papanek once said, “There are professions more harmful than industrial design, but only a very few of them.” \u003ci>Design and Violence\u003c/i> will explore the concept of violence in design in the context of today’s world, and deconstruct the ambiguous relationship of design and violence. Violent design often arises as the byproduct of designers making commentary, protesting, and sometimes succumbing to ambiguous morality and mistakes. “Violence,” here, is defined as “the manifestation of the power to alter circumstances against the will of others and to their detriment.”\u003c/p>\n\u003cp>Like any other course would be, there’s a bit of novelty and ingenuity involved. The project is helmed by a curatorial staff and selected weekly “authors,” whose expertise ranges from science fiction (William Gibson) to journalism (John Hockenberry) to policy planning (Anne-Marie Slaughter). And the shelf life for the project is not a quarter, nor a semester, but TBD: It may last for several months, or even years. Having begun in October, it’s too early to tell. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/designviolence1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Fountain\u003c/i>, 1997, Diller + Scofidio; Photo: Michael Moran/OTTO\u003cbr>\u003c/center>\n\u003cp>The project’s concept of violence is broad: While the curators have determined set categories — hack/infect, constrain, stun, penetrate, manipulate/control, intimidate, and explode — the violent objects that the project actually studies sometimes fall into more vague categories. There’s the fragrance made of sweat samples culled from cage fights. There’s also the Merrick Lamp — a simple IKEA design, exposed to a computer virus and conceived via a 3-D printer. (In its final version, it looks like a lamp stricken with elephantiasis.) Within the broad array of designs, many of these are objects that don’t necessarily inflict violence, but have been subject to it. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While all of the intriguing objects fall within the overlap of design and violence, they also occupy other intersections: of design and commerce, or design and protest. There’s the Guardian Angel handbag, a felt purse imprinted with the outline of a dangerous weapon, for one. According to designers, it was a handbag made in response to the media’s reaction to street violence in the Netherlands. It was also a handbag for sale, toted by pop icon Rihanna and selling for prices reaching upwards of 500 dollars. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/designviolence2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Exhaust\u003c/i>, 1997, Diller + Scofidio; Photo: Michael Moran/OTTO\u003cbr>\u003c/center>\n\u003cp>Exposition on the curated objects ranges from the personal to analytical. The authors alternate between mining their personal associations with the object at hand (martini glasses with a built-in cigarette holder) to writing more analytically (perhaps the Liberator, a gun manufactured by a 3-D printer, is not just a DIY weapon; maybe it’s also a critique of gun control and a reaffirmation of the Second Amendment!). Like a classroom, a lot of the analysis involves a close-reading of the objects, some of it grounded in fact and history, some in semi-indulgent reflection.\u003c/p>\n\u003cp>As the MoMA curators will tell you, this is a project that captures the cultural zeitgeist, with all of the selected designs made after 2001. But the project is more than rooted in the past, and for the future of the project, the curators are looking to expand with their proposed phase two. The plan is to add a Google Earth component, one that will pinpoint worldwide locations in which each object can be found. It’s supposed to allow any curious — and travel-ready — audiences to be able to physically see the object, much like a traditional exhibition display. And as the project shifts to include a more conventional exhibition space, it’ll be interesting not only to see how the curation shifts, but also to determine the success of the online component of the project itself. It is, after all, an experiment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.designandviolence.moma.org/\">more information\u003c/a> visit designandviolence.moma.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/131039/experimenting_online_momas_design_and_violence",
"authors": [
"52"
],
"categories": [
"arts_70"
],
"featImg": "arts_10131039",
"label": "arts"
},
"arts_130516": {
"type": "posts",
"id": "arts_130516",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "130516",
"score": null,
"sort": [
1386894045000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1386894045,
"format": "standard",
"title": "More Art Books for the Holidays, Please",
"headTitle": "More Art Books for the Holidays, Please | KQED",
"content": "\u003cp>People judge you by your bookshelf, so help out your friends and family members by expanding the art sections of their home libraries this holiday season. Here’s a list of new items, perfect for gifting, from local booksellers, Last Gasp and Park Life.\u003c/p>\n\u003cp>For the knitters: Expand their horizons with a stunning, minimalist book, \u003ca href=\"http://www.parklifestore.com/Merchant2/merchant.mvc?Screen=PROD&Store_Code=PLS&Product_Code=LOESVENNSTRA&Category_Code=DESIGN\">\u003ci>The Collected Knitting of Loes Veenstra (Het Verzameld Breiwerk van Loes Veenstra)\u003c/i>\u003c/a>. This dedicated knitter made over 500 sweaters since 1955 and kept them in boxes. They have never been worn, and are now documented, individually, by artist Christien Meindertsma in this chunky little paperback that I used like a flipbook to watch happy sweaters of all shapes and colors dance across the pages.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/13/incurabledisorder.jpg\" style=\"margin-bottom: 10px; alt=\" elizabeth mcgrath incurable disorder>\u003c/center>\n\u003cp>For the misfits: Paging through Elizabeth McGrath’s new monograph, \u003ca href=\"http://www.lastgasp.com/d/38995/incurable-disorder%20\">\u003ci>Incurable Disorder\u003c/i>\u003c/a>, is like riding a rickety antique carnival ride through a haunted house of forgotten toys that have come to life and are desperate to play with you. Her oeuvre includes sculptural works laden with meaningful stories that convey acceptance of all circus freaks. Besides delighting in an in-depth look at her work over the years, it’s inspiring to see how McGrath’s use of materials has unfolded, especially with the introduction of crystals. Go the extra mile when gifting this book by having McGrath autograph it at one of her upcoming signings: \u003ca href=\"http://www.lovedtodeath.com/\">Loved to Death\u003c/a> on December 18 and \u003ca href=\"https://www.facebook.com/events/163398203870162\">Cakeland\u003c/a> on December 21, 2013.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/13/lipton.jpg\" style=\"margin-bottom: 10px; alt=\" the drawings of laurie lipton>\u003c/center>\n\u003cp>For the intense: Laurie Lipton’s drawings are pretty much unreal. The level of detail is sickening. People will stare at her work for long periods of time, mouths agape, wondering if she \u003ci>really drew that\u003c/i>. At the same time, viewers’ minds are blown with the content: intense dancing skeletons, faces being poked and prodded, robot dolls, cannibalism and scary babies are just a few of Lipton’s subjects, and she puppeteers them through insane situations. There is no relaxed Lipton drawing, and that’s what makes her superhuman. I can only look at \u003ca href=\"http://www.lastgasp.com/d/40052/the-drawings-of-laurie-lipton\">\u003ci>The Drawings of Laurie Lipton\u003c/i>\u003c/a> in short spurts before I have to stick the book in the freezer. Then I occasionally take it out for a few more peeks and scary thrills. Lipton also has \u003ca href=\"http://www.lastgasp.com/story/2013/12/liptoninsf\">upcoming Bay Area book signings\u003c/a> December 12-14, 2013.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/13/thesmiths.jpg\" style=\"margin-bottom: 10px; alt=\" kevin cummins morrissey and the smiths>\u003c/center>\n\u003cp>For the Morrissey lovers: Park Life has a classy postcard set that comes in a handsome green box full of black-and-white photos of Morrissey… looking handsome. In this \u003ca href=\"http://www.parklifestore.com/Merchant2/merchant.mvc?Screen=PROD&Store_Code=PLS&Product_Code=SMITHSPHOTOBOX&Category_Code=PHOTO\">\u003ci>Morrissey & The Smiths\u003c/i>\u003c/a> collection, Kevin Cummins’ rare or never-before-scene shots are finally published, and a true fan would probably frame each and every one in order to better examine the many faces of Morrissey. Inside the box, each card is different, and you’ll find Morrissey brooding, relaxing, contemplating, hugging, singing in party-mode and so much more.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/13/ballad.jpg\" style=\"margin-bottom: 10px; alt=\" blexbolex ballad>\u003c/center>\n\u003cp>For the whimsical: \u003ca href=\"http://www.brainpickings.org/index.php/2013/10/28/ballad-blexbolex-enchanted-lion/\">\u003ci>Ballad\u003c/i>\u003c/a> is a colorful, visual story dreamed up by French graphic artist, Blexbolex, and tells the tale of a child who takes the same road to school every day, “and how his small world suddenly becomes enormous.” The artist’s comic screen-print style is beloved by many and lends itself well to this simplified storytelling mode that reads like a graphic novel or a vintage children’s book, and is a follow up to 2011’s \u003ca href=\"http://vimeo.com/29156761\">\u003ci>People\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/13/hoteloracle.jpg\" style=\"margin-bottom: 10px; alt=\" jason fulford hotel oracle>\u003c/center>\n\u003cp>For the Instagrammers: \u003ca href=\"http://www.parklifestore.com/Merchant2/merchant.mvc?Screen=PROD&Store_Code=PLS&Product_Code=HOTELORACLE&Category_Code=\">\u003ci>Hotel Oracle\u003c/i>\u003c/a> seems like your average art photo book at first. Images are laid out on white pages with lots of negative space, and the narrative is vague. But photographer Jason Fulford has created something a little more magical by letting his images illustrate little story vignettes made up of just a sentence or two, here and there, mixed in throughout the book between his square images of mundane scenes and random oddities. The images express little glimmers of insight into who we are as people in the universe. A photograph of a typical, round banquet table with a white tablecloth and three candles appears on two pages in a row. The subtle difference between the two images clearly excited the artist, and it’s fun to try and see these images through Fulford’s eyes and wonder what he enjoyed about that tablecloth, or that stubby tree or that bowl of egg yolks. His photos evoke contemplation of the stories behind objects and moments, and what those stories say about us. And there’s plenty of room for interpretation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Find all of these books and many more at Park Life, Last Gasp, and other local indie booksellers. Shop local!\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 771,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705049520,
"excerpt": "Gift guide alert! File under \"art\" and \"books\" and \"art books.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Gift guide alert! File under "art" and "books" and "art books."",
"title": "More Art Books for the Holidays, Please | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "More Art Books for the Holidays, Please",
"datePublished": "2013-12-12T16:20:45-08:00",
"dateModified": "2024-01-12T00:52:00-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "more_art_books_for_the_holidays_please",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/",
"sticky": false,
"path": "/arts/130516/more_art_books_for_the_holidays_please",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>People judge you by your bookshelf, so help out your friends and family members by expanding the art sections of their home libraries this holiday season. Here’s a list of new items, perfect for gifting, from local booksellers, Last Gasp and Park Life.\u003c/p>\n\u003cp>For the knitters: Expand their horizons with a stunning, minimalist book, \u003ca href=\"http://www.parklifestore.com/Merchant2/merchant.mvc?Screen=PROD&Store_Code=PLS&Product_Code=LOESVENNSTRA&Category_Code=DESIGN\">\u003ci>The Collected Knitting of Loes Veenstra (Het Verzameld Breiwerk van Loes Veenstra)\u003c/i>\u003c/a>. This dedicated knitter made over 500 sweaters since 1955 and kept them in boxes. They have never been worn, and are now documented, individually, by artist Christien Meindertsma in this chunky little paperback that I used like a flipbook to watch happy sweaters of all shapes and colors dance across the pages.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/13/incurabledisorder.jpg\" style=\"margin-bottom: 10px; alt=\" elizabeth mcgrath incurable disorder>\u003c/center>\n\u003cp>For the misfits: Paging through Elizabeth McGrath’s new monograph, \u003ca href=\"http://www.lastgasp.com/d/38995/incurable-disorder%20\">\u003ci>Incurable Disorder\u003c/i>\u003c/a>, is like riding a rickety antique carnival ride through a haunted house of forgotten toys that have come to life and are desperate to play with you. Her oeuvre includes sculptural works laden with meaningful stories that convey acceptance of all circus freaks. Besides delighting in an in-depth look at her work over the years, it’s inspiring to see how McGrath’s use of materials has unfolded, especially with the introduction of crystals. Go the extra mile when gifting this book by having McGrath autograph it at one of her upcoming signings: \u003ca href=\"http://www.lovedtodeath.com/\">Loved to Death\u003c/a> on December 18 and \u003ca href=\"https://www.facebook.com/events/163398203870162\">Cakeland\u003c/a> on December 21, 2013.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/13/lipton.jpg\" style=\"margin-bottom: 10px; alt=\" the drawings of laurie lipton>\u003c/center>\n\u003cp>For the intense: Laurie Lipton’s drawings are pretty much unreal. The level of detail is sickening. People will stare at her work for long periods of time, mouths agape, wondering if she \u003ci>really drew that\u003c/i>. At the same time, viewers’ minds are blown with the content: intense dancing skeletons, faces being poked and prodded, robot dolls, cannibalism and scary babies are just a few of Lipton’s subjects, and she puppeteers them through insane situations. There is no relaxed Lipton drawing, and that’s what makes her superhuman. I can only look at \u003ca href=\"http://www.lastgasp.com/d/40052/the-drawings-of-laurie-lipton\">\u003ci>The Drawings of Laurie Lipton\u003c/i>\u003c/a> in short spurts before I have to stick the book in the freezer. Then I occasionally take it out for a few more peeks and scary thrills. Lipton also has \u003ca href=\"http://www.lastgasp.com/story/2013/12/liptoninsf\">upcoming Bay Area book signings\u003c/a> December 12-14, 2013.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/13/thesmiths.jpg\" style=\"margin-bottom: 10px; alt=\" kevin cummins morrissey and the smiths>\u003c/center>\n\u003cp>For the Morrissey lovers: Park Life has a classy postcard set that comes in a handsome green box full of black-and-white photos of Morrissey… looking handsome. In this \u003ca href=\"http://www.parklifestore.com/Merchant2/merchant.mvc?Screen=PROD&Store_Code=PLS&Product_Code=SMITHSPHOTOBOX&Category_Code=PHOTO\">\u003ci>Morrissey & The Smiths\u003c/i>\u003c/a> collection, Kevin Cummins’ rare or never-before-scene shots are finally published, and a true fan would probably frame each and every one in order to better examine the many faces of Morrissey. Inside the box, each card is different, and you’ll find Morrissey brooding, relaxing, contemplating, hugging, singing in party-mode and so much more.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/13/ballad.jpg\" style=\"margin-bottom: 10px; alt=\" blexbolex ballad>\u003c/center>\n\u003cp>For the whimsical: \u003ca href=\"http://www.brainpickings.org/index.php/2013/10/28/ballad-blexbolex-enchanted-lion/\">\u003ci>Ballad\u003c/i>\u003c/a> is a colorful, visual story dreamed up by French graphic artist, Blexbolex, and tells the tale of a child who takes the same road to school every day, “and how his small world suddenly becomes enormous.” The artist’s comic screen-print style is beloved by many and lends itself well to this simplified storytelling mode that reads like a graphic novel or a vintage children’s book, and is a follow up to 2011’s \u003ca href=\"http://vimeo.com/29156761\">\u003ci>People\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/13/hoteloracle.jpg\" style=\"margin-bottom: 10px; alt=\" jason fulford hotel oracle>\u003c/center>\n\u003cp>For the Instagrammers: \u003ca href=\"http://www.parklifestore.com/Merchant2/merchant.mvc?Screen=PROD&Store_Code=PLS&Product_Code=HOTELORACLE&Category_Code=\">\u003ci>Hotel Oracle\u003c/i>\u003c/a> seems like your average art photo book at first. Images are laid out on white pages with lots of negative space, and the narrative is vague. But photographer Jason Fulford has created something a little more magical by letting his images illustrate little story vignettes made up of just a sentence or two, here and there, mixed in throughout the book between his square images of mundane scenes and random oddities. The images express little glimmers of insight into who we are as people in the universe. A photograph of a typical, round banquet table with a white tablecloth and three candles appears on two pages in a row. The subtle difference between the two images clearly excited the artist, and it’s fun to try and see these images through Fulford’s eyes and wonder what he enjoyed about that tablecloth, or that stubby tree or that bowl of egg yolks. His photos evoke contemplation of the stories behind objects and moments, and what those stories say about us. And there’s plenty of room for interpretation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Find all of these books and many more at Park Life, Last Gasp, and other local indie booksellers. Shop local!\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/130516/more_art_books_for_the_holidays_please",
"authors": [
"16"
],
"categories": [
"arts_70"
],
"featImg": "arts_10130516",
"label": "arts"
},
"arts_130175": {
"type": "posts",
"id": "arts_130175",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "130175",
"score": null,
"sort": [
1386464262000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1386464262,
"format": "standard",
"title": "Merry Krampus!",
"headTitle": "Merry Krampus! | KQED",
"content": "\u003cp>If children misbehave in the US, they’re threatened with a lump of coal or no visit from Santa. If kids are bad in Europe, the devil comes calling and his name is “Krampus.” Run for your life! This dude is a scary faun-type character who will sneak into your house and rip your ears off or kidnap you if you sass your parents \u003ci>one more time!\u003c/i> And don’t even think about stealing that candy; Krampus is watching and he’s making his own kind of list. Naughty kids get hit with sticks.\u003c/p>\n\u003cp>There are many iterations of Krampus across Europe, and he is part of holiday celebrations in Germany, Austria, Croatia and other locations. The original St. Nicolas feast day is on December 6, and Krampus comes out the night before to chase after children and frighten them into being good by jangling rusty chains and bells. Nothing is scarier than rusty metal objects and goat monsters! Check out \u003ca href=\"http://www.theatlantic.com/infocus/2013/12/krampus-saint-nicholas-dark-companion/100639/\">The Atlantic’s epic slideshow\u003c/a> of Krampus celebrations across the land.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/07/krampus1.jpg\" style=\"margin-bottom: 10px\" alt=\"Last Gasp's Krampus\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/07/krampuscards.jpg\" style=\"margin-bottom: 10px\" alt=\"Last Gasp's Krampus\">\u003c/p>\n\u003cp>Local publisher and book shop\u003ca href=\"http://www.lastgasp.com/\">Last Gasp\u003c/a> has a \u003ca href=\"http://www.lastgasp.com/?search=krampus\">large collection of devilish Krampus items\u003c/a> for the holidays. Why not scare the crap out of your grandma when you invite her to play gin rummy with your new deck of Krampus playing cards? Or teach the little rascals in your life a lesson with a book full of Krampus stickers to remind them what could happen if they act rotten. Decorate their presents with scary Krampus faces and their horrified reactions could be fun for the whole family! The Krampus greeting cards also come in handy for wishing your enemies an unhappy holiday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/07/krampusbook.jpg\" style=\"margin-bottom: 10px\" alt=\"Last Gasp's Krampus\">\u003c/p>\n\u003cp>For dark art lovers, \u003ci>Krampus: The Devil of Christmas\u003c/i>, a book of illustrations, is a perfect holiday token. Each vintage interpretation of the anti-Santa being creepy and torturing kids has its own special details, and author/designer Monte Beauchamp provides all the history and mythology you need to know.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Need more Krampus? Check out a group art show of Krampus-inspired work at \u003ca href=\"http://www.63bluxomestreetgallery.com/\">63 Bluxome Street Gallery\u003c/a>, open through January 31, 2014. Merry Krampus to all, and to all a good nightmare.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 366,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705049533,
"excerpt": "Local book shop and publisher Last Gasp has a large collection of devilish items celebrating Krampus, Santa's Satanic twin.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Local book shop and publisher Last Gasp has a large collection of devilish items celebrating Krampus, Santa's Satanic twin.",
"title": "Merry Krampus! | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Merry Krampus!",
"datePublished": "2013-12-07T16:57:42-08:00",
"dateModified": "2024-01-12T00:52:13-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "merry_krampus",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/",
"sticky": false,
"path": "/arts/130175/merry_krampus",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If children misbehave in the US, they’re threatened with a lump of coal or no visit from Santa. If kids are bad in Europe, the devil comes calling and his name is “Krampus.” Run for your life! This dude is a scary faun-type character who will sneak into your house and rip your ears off or kidnap you if you sass your parents \u003ci>one more time!\u003c/i> And don’t even think about stealing that candy; Krampus is watching and he’s making his own kind of list. Naughty kids get hit with sticks.\u003c/p>\n\u003cp>There are many iterations of Krampus across Europe, and he is part of holiday celebrations in Germany, Austria, Croatia and other locations. The original St. Nicolas feast day is on December 6, and Krampus comes out the night before to chase after children and frighten them into being good by jangling rusty chains and bells. Nothing is scarier than rusty metal objects and goat monsters! Check out \u003ca href=\"http://www.theatlantic.com/infocus/2013/12/krampus-saint-nicholas-dark-companion/100639/\">The Atlantic’s epic slideshow\u003c/a> of Krampus celebrations across the land.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/07/krampus1.jpg\" style=\"margin-bottom: 10px\" alt=\"Last Gasp's Krampus\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/07/krampuscards.jpg\" style=\"margin-bottom: 10px\" alt=\"Last Gasp's Krampus\">\u003c/p>\n\u003cp>Local publisher and book shop\u003ca href=\"http://www.lastgasp.com/\">Last Gasp\u003c/a> has a \u003ca href=\"http://www.lastgasp.com/?search=krampus\">large collection of devilish Krampus items\u003c/a> for the holidays. Why not scare the crap out of your grandma when you invite her to play gin rummy with your new deck of Krampus playing cards? Or teach the little rascals in your life a lesson with a book full of Krampus stickers to remind them what could happen if they act rotten. Decorate their presents with scary Krampus faces and their horrified reactions could be fun for the whole family! The Krampus greeting cards also come in handy for wishing your enemies an unhappy holiday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/07/krampusbook.jpg\" style=\"margin-bottom: 10px\" alt=\"Last Gasp's Krampus\">\u003c/p>\n\u003cp>For dark art lovers, \u003ci>Krampus: The Devil of Christmas\u003c/i>, a book of illustrations, is a perfect holiday token. Each vintage interpretation of the anti-Santa being creepy and torturing kids has its own special details, and author/designer Monte Beauchamp provides all the history and mythology you need to know.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Need more Krampus? Check out a group art show of Krampus-inspired work at \u003ca href=\"http://www.63bluxomestreetgallery.com/\">63 Bluxome Street Gallery\u003c/a>, open through January 31, 2014. Merry Krampus to all, and to all a good nightmare.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/130175/merry_krampus",
"authors": [
"16"
],
"categories": [
"arts_70"
],
"featImg": "arts_10130175",
"label": "arts"
},
"arts_129604": {
"type": "posts",
"id": "arts_129604",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "129604",
"score": null,
"sort": [
1385506610000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1385506610,
"format": "standard",
"title": "Viewing One Piece at a Time at Pied-à-terre",
"headTitle": "Viewing One Piece at a Time at Pied-à-terre | KQED",
"content": "\u003cp>Hidden from view, inside the garage of a nondescript Richmond neighborhood home, is \u003ca href=\"http://www.pied-terre.com/\">Pied-à-terre\u003c/a>, an “occasional off-space and publishing house” run by artist McIntyre Parker. Showing only one work at a time, Parker keeps the self-funded operation as small as possible, creating an intimate viewing experience for each piece. Pied-à-terre (literally “foot on the ground”) is a perfect name for the slightly-below street level gallery space Parker carved out of his garage almost five years ago. Bringing artworks in from artists around the world, Pied-à-terre provides locals with an opportunity to experience pieces it might be impossible to see otherwise, all within a surprising and memorable space.\u003c/p>\n\u003cp>I visited Pied-à-terre on a sunny Sunday afternoon during the final viewing hours for the last show, a video by Canadian artist Michael Snow titled \u003ci>Solar Breath (Northern Caryatids)\u003c/i>. Parker rolled up the garage door and welcomed me onto a cleared-off viewing platform. A simple set-up of one projector, two speakers, a DVD player and four chairs provided the setting for Snow’s mesmerizing 62-minute piece.\u003c/p>\n\u003cp>Parker added a bit of white wall to the garage’s exposed wooden framework for this particular show, but beyond this necessary touch, he makes no attempts to gussy up the garage or hide its contents. The minimalism of each exhibition creates clear demarcation between it and the organized clutter of household storage. In fact, the darkened domestic space provided the perfect ambiance for \u003ci>Solar Breath\u003c/i>, a fixed-camera shot of curtains in the artist’s Newfoundland summer cabin.\u003c/p>\n\u003cp>In Snow’s video, a strange wind gently moves the left curtain both in and out, causing it to hit the window’s screen with a satisfying “fwomp” again and again. Visually, it strikes a similar chord to Andrew Wyeth’s iconic tempera painting \u003ca href=\"http://www.nga.gov/content/ngaweb/Collection/art-object-page.143926.html\">\u003ci>Wind from the Sea\u003c/i>\u003c/a>, in which a transparent curtain flutters before an empty country road. Glimpses here of the land outside are fleeting. Small domestic sounds — cooking, conversational murmurs, utensils against plates — blended during my viewing with muffled street noises from outside.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/michael-snow-1.jpg\" alt=\"\">\u003cbr>\nParker sought out \u003ci>Solar Breath\u003c/i> after seeing it at MoMA years ago. He uses his curatorial process as a way to bring works he wants to see, objects he would like to spend time with, to San Francisco. In this way, Pied-à-terre is a vital contribution to the local arts environment, providing glimpses of works and artists’ practices from beyond the often-hermetic Bay Area scene. From \u003ca href=\"http://charlottemoth.com/\">Charlotte Moth\u003c/a> to \u003ca href=\"http://www.marymarygallery.co.uk/index.php/artists/lorna_macintyre/\">Lorna Macintyre\u003c/a>, the artists who exhibit at Pied-à-terre are not likely to show up in your average Bay Area commercial gallery.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An economy of means permeates the entire project: showing one piece at a time, Parker splits shipping costs with the artists and the space is covered by his rent. In 2011 he received an Alternative Exposure grant from Southern Exposure to help support the space. Instead of coming off as either low-budget or overly precious, the works shown at Pied-à-terre are thoughtfully selected through Parker’s intuitive and careful process and exhibited with equal sensitivity. Donating his energy and time, Parker offers Pied-à-terre to the public like a gift. When the next piece comes into town, (\u003ca href=\"http://www.lisaradon.com/\">Lisa Radon\u003c/a> in the spring), be sure to knock on the garage and have a singular experience of your own.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.pied-terre.com/\">more information\u003c/a> visit pied-terre.com.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 593,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705049561,
"excerpt": "In the Richmond, a garage exhibition space showcases one piece of art at a time, providing locals with rare, international treats.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In the Richmond, a garage exhibition space showcases one piece of art at a time, providing locals with rare, international treats.",
"title": "Viewing One Piece at a Time at Pied-à-terre | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Viewing One Piece at a Time at Pied-à-terre",
"datePublished": "2013-11-26T14:56:50-08:00",
"dateModified": "2024-01-12T00:52:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "viewing_one_piece_at_a_time_at_piedagraveterre",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/129604/viewing_one_piece_at_a_time_at_piedagraveterre",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hidden from view, inside the garage of a nondescript Richmond neighborhood home, is \u003ca href=\"http://www.pied-terre.com/\">Pied-à-terre\u003c/a>, an “occasional off-space and publishing house” run by artist McIntyre Parker. Showing only one work at a time, Parker keeps the self-funded operation as small as possible, creating an intimate viewing experience for each piece. Pied-à-terre (literally “foot on the ground”) is a perfect name for the slightly-below street level gallery space Parker carved out of his garage almost five years ago. Bringing artworks in from artists around the world, Pied-à-terre provides locals with an opportunity to experience pieces it might be impossible to see otherwise, all within a surprising and memorable space.\u003c/p>\n\u003cp>I visited Pied-à-terre on a sunny Sunday afternoon during the final viewing hours for the last show, a video by Canadian artist Michael Snow titled \u003ci>Solar Breath (Northern Caryatids)\u003c/i>. Parker rolled up the garage door and welcomed me onto a cleared-off viewing platform. A simple set-up of one projector, two speakers, a DVD player and four chairs provided the setting for Snow’s mesmerizing 62-minute piece.\u003c/p>\n\u003cp>Parker added a bit of white wall to the garage’s exposed wooden framework for this particular show, but beyond this necessary touch, he makes no attempts to gussy up the garage or hide its contents. The minimalism of each exhibition creates clear demarcation between it and the organized clutter of household storage. In fact, the darkened domestic space provided the perfect ambiance for \u003ci>Solar Breath\u003c/i>, a fixed-camera shot of curtains in the artist’s Newfoundland summer cabin.\u003c/p>\n\u003cp>In Snow’s video, a strange wind gently moves the left curtain both in and out, causing it to hit the window’s screen with a satisfying “fwomp” again and again. Visually, it strikes a similar chord to Andrew Wyeth’s iconic tempera painting \u003ca href=\"http://www.nga.gov/content/ngaweb/Collection/art-object-page.143926.html\">\u003ci>Wind from the Sea\u003c/i>\u003c/a>, in which a transparent curtain flutters before an empty country road. Glimpses here of the land outside are fleeting. Small domestic sounds — cooking, conversational murmurs, utensils against plates — blended during my viewing with muffled street noises from outside.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/michael-snow-1.jpg\" alt=\"\">\u003cbr>\nParker sought out \u003ci>Solar Breath\u003c/i> after seeing it at MoMA years ago. He uses his curatorial process as a way to bring works he wants to see, objects he would like to spend time with, to San Francisco. In this way, Pied-à-terre is a vital contribution to the local arts environment, providing glimpses of works and artists’ practices from beyond the often-hermetic Bay Area scene. From \u003ca href=\"http://charlottemoth.com/\">Charlotte Moth\u003c/a> to \u003ca href=\"http://www.marymarygallery.co.uk/index.php/artists/lorna_macintyre/\">Lorna Macintyre\u003c/a>, the artists who exhibit at Pied-à-terre are not likely to show up in your average Bay Area commercial gallery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An economy of means permeates the entire project: showing one piece at a time, Parker splits shipping costs with the artists and the space is covered by his rent. In 2011 he received an Alternative Exposure grant from Southern Exposure to help support the space. Instead of coming off as either low-budget or overly precious, the works shown at Pied-à-terre are thoughtfully selected through Parker’s intuitive and careful process and exhibited with equal sensitivity. Donating his energy and time, Parker offers Pied-à-terre to the public like a gift. When the next piece comes into town, (\u003ca href=\"http://www.lisaradon.com/\">Lisa Radon\u003c/a> in the spring), be sure to knock on the garage and have a singular experience of your own.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.pied-terre.com/\">more information\u003c/a> visit pied-terre.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/129604/viewing_one_piece_at_a_time_at_piedagraveterre",
"authors": [
"61"
],
"categories": [
"arts_70"
],
"featImg": "arts_10129604",
"label": "arts"
},
"arts_129551": {
"type": "posts",
"id": "arts_129551",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "129551",
"score": null,
"sort": [
1385409565000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1385409565,
"format": "standard",
"title": "MFA vs. Residency",
"headTitle": "MFA vs. Residency | KQED",
"content": "\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>How valuable is an MFA these days and is it really worth the cost? I’ve spent the last 2 months researching schools and preparing applications for MFA programs in several different countries (my partner’s job might require me to study abroad). I would like the degree not because I am interested in teaching, but because I am interested in the intensity of a two-year program to cultivate solid research and focus on work amidst peers and access to faculty input. In some cases, however, the cost for international students is very high. I just took part in an artist residency that left me wondering: if I’m not that interested in teaching, is it really necessary to have the MFA or could I have comparable experience with multiple residencies and save the money? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The answer to this question depends a lot on what kind of person you are. Do you like deadlines? Are you disciplined and self-motivated? If aliens were invading earth in a month, would you voluntarily do hundreds of pushups a day and build a tank out of junkyard cars in order to defeat them? Or are you like me, who would eat all the cookies I could put my hands on and then find a hole in which to quietly die? If you’d answer in the former, then perhaps you have the drive to create and execute an intense plan for self-education. \u003c/p>\n\u003cp>Here’s what the MFA is: two years of studio time interrupted by seminars, readings, papers, presentations, and bitch sessions with classmates over cheap drinks. It’s an artificial structure designed to cram as much as possible into your head in a very short time. Every day is intense and even though it is a scaffolded ordeal, it is still much more self-directed than the typical undergraduate experience. In an MFA program, you have to create and think very deeply about creating at the same time, and this (plus all the hangovers you’ll suffer) is what makes it completely exhausting. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-oneill.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Pat O’Neill, \u003ci> Foregrounds, \u003c/i>1979\u003cbr>\u003c/center>\n\u003cp>If you set out on your own, there are three main components to an MFA program that you’re going to have to try to replicate: studio time, coursework, and conversation. The first is easy if you’re at a series of residency programs, so let’s put this one aside.\u003c/p>\n\u003cp>The second component, coursework and research, is also not too difficult: try to obtain the syllabi for the seminars you might take at an MFA program (many professors put their syllabi online), and follow along; or you might look for online or distance-learning courses. If you opt to be on your own, you’re still going to have to spend some money on books and journals, and be aware that you won’t be replicating the actual experience of lectures and discussions unless you can make some kind of serious \u003ca href=\"http://en.wikipedia.org/wiki/Slavoj_%C5%BDi%C5%BEek\">Zizek\u003c/a> book club. If you’re diligent and have access to materials you can educate yourself; but the downside of not being in an actual classroom is that you’re going to pronounce the names of all the theorists incorrectly.\u003c/p>\n\u003cp>The last part, the ongoing deep discussion that graduate school provides, is incredibly hard to replicate. Your peers at a residency program might be well educated and down to discuss theory and practice — or they might be using their residency time to take a vacation or get laid. You’ll have to find other ways to stimulate your intellect and get feedback on your work, and here’s where we circle around to diligence and motivation again. Will you have the confidence and drive to contact artists, writers, critics, and curators in your area to do studio visits? Do you have the administrative skills to contact these folks in advance if you are traveling to different residencies? Do you take rejection well?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If it’s intensity you want, then well-chosen residency programs can provide it. If you want an education, you can get most of the way there on your own by being disciplined and passionate. If you want to focus on discussion and critique, then you might consider another option, like a low-residency MFA or a self-created artists’ critique/study group. In the end, only you can answer the question about value and cost because there are too many variables (we haven’t even discussed access to facilities, or making contacts, or having serious emotional sustenance for your work), but I support your desire for an independent education that doesn’t put you in a financial abyss. Check out some related questions that I’ve answered for Help Desk \u003ca href=\"http://dailyserving.com/2012/02/help-desk-school-daze/\">here\u003c/a> and \u003ca href=\"http://dailyserving.com/2013/06/help-desk-getting-schooled/\">here\u003c/a>. Good luck!\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 862,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705049565,
"excerpt": "In which our sage advice columnist provides thoughts on getting schooled.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In which our sage advice columnist provides thoughts on getting schooled.",
"title": "MFA vs. Residency | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "MFA vs. Residency",
"datePublished": "2013-11-25T11:59:25-08:00",
"dateModified": "2024-01-12T00:52:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "mfa_vs_residency",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/programs/helpdesk/",
"sticky": false,
"path": "/arts/129551/mfa_vs_residency",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>How valuable is an MFA these days and is it really worth the cost? I’ve spent the last 2 months researching schools and preparing applications for MFA programs in several different countries (my partner’s job might require me to study abroad). I would like the degree not because I am interested in teaching, but because I am interested in the intensity of a two-year program to cultivate solid research and focus on work amidst peers and access to faculty input. In some cases, however, the cost for international students is very high. I just took part in an artist residency that left me wondering: if I’m not that interested in teaching, is it really necessary to have the MFA or could I have comparable experience with multiple residencies and save the money? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The answer to this question depends a lot on what kind of person you are. Do you like deadlines? Are you disciplined and self-motivated? If aliens were invading earth in a month, would you voluntarily do hundreds of pushups a day and build a tank out of junkyard cars in order to defeat them? Or are you like me, who would eat all the cookies I could put my hands on and then find a hole in which to quietly die? If you’d answer in the former, then perhaps you have the drive to create and execute an intense plan for self-education. \u003c/p>\n\u003cp>Here’s what the MFA is: two years of studio time interrupted by seminars, readings, papers, presentations, and bitch sessions with classmates over cheap drinks. It’s an artificial structure designed to cram as much as possible into your head in a very short time. Every day is intense and even though it is a scaffolded ordeal, it is still much more self-directed than the typical undergraduate experience. In an MFA program, you have to create and think very deeply about creating at the same time, and this (plus all the hangovers you’ll suffer) is what makes it completely exhausting. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-oneill.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Pat O’Neill, \u003ci> Foregrounds, \u003c/i>1979\u003cbr>\u003c/center>\n\u003cp>If you set out on your own, there are three main components to an MFA program that you’re going to have to try to replicate: studio time, coursework, and conversation. The first is easy if you’re at a series of residency programs, so let’s put this one aside.\u003c/p>\n\u003cp>The second component, coursework and research, is also not too difficult: try to obtain the syllabi for the seminars you might take at an MFA program (many professors put their syllabi online), and follow along; or you might look for online or distance-learning courses. If you opt to be on your own, you’re still going to have to spend some money on books and journals, and be aware that you won’t be replicating the actual experience of lectures and discussions unless you can make some kind of serious \u003ca href=\"http://en.wikipedia.org/wiki/Slavoj_%C5%BDi%C5%BEek\">Zizek\u003c/a> book club. If you’re diligent and have access to materials you can educate yourself; but the downside of not being in an actual classroom is that you’re going to pronounce the names of all the theorists incorrectly.\u003c/p>\n\u003cp>The last part, the ongoing deep discussion that graduate school provides, is incredibly hard to replicate. Your peers at a residency program might be well educated and down to discuss theory and practice — or they might be using their residency time to take a vacation or get laid. You’ll have to find other ways to stimulate your intellect and get feedback on your work, and here’s where we circle around to diligence and motivation again. Will you have the confidence and drive to contact artists, writers, critics, and curators in your area to do studio visits? Do you have the administrative skills to contact these folks in advance if you are traveling to different residencies? Do you take rejection well?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If it’s intensity you want, then well-chosen residency programs can provide it. If you want an education, you can get most of the way there on your own by being disciplined and passionate. If you want to focus on discussion and critique, then you might consider another option, like a low-residency MFA or a self-created artists’ critique/study group. In the end, only you can answer the question about value and cost because there are too many variables (we haven’t even discussed access to facilities, or making contacts, or having serious emotional sustenance for your work), but I support your desire for an independent education that doesn’t put you in a financial abyss. Check out some related questions that I’ve answered for Help Desk \u003ca href=\"http://dailyserving.com/2012/02/help-desk-school-daze/\">here\u003c/a> and \u003ca href=\"http://dailyserving.com/2013/06/help-desk-getting-schooled/\">here\u003c/a>. Good luck!\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/129551/mfa_vs_residency",
"authors": [
"66"
],
"categories": [
"arts_70"
],
"tags": [
"arts_342"
],
"featImg": "arts_10129551",
"label": "arts"
},
"arts_10136047": {
"type": "posts",
"id": "arts_10136047",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10136047",
"score": null,
"sort": [
1384201553000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1384201553,
"format": "standard",
"title": "A Spark in the Dark",
"headTitle": "A Spark in the Dark | KQED",
"content": "\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I graduated from college about a year ago, and have been pursuing art passionately and persistently ever since. My work is well received and I’ve participated in shows, but I’m used to being generally unnoticed. When it dawned on me that ardor does not equal opportunity, I came to another blindingly obvious realization — I know virtually nothing about building a career as an artist past this point. How do all of these young, contemporary artists that I admire get to where they are now? My whole life is art. I’ve never had more faith in anything, and can’t see myself doing anything else. My point is that I am unacceptably clueless about how to reach an audience in a way that I would like to. I’m aware that being an artist isn’t a walk in the park, but right now I’m stuck in a rut. What do I need to do to keep moving forward? I don’t want to lose my spark because I’m in the dark. \u003c/b>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>I wish I could give you a fun and non-cynical pep talk along the lines of: \u003ci>Just work hard and the magic will happen!\u003c/i>, but you’ve already figured out that you can work your fingers to bloody nubs and still no one at Art Basel will know your name. Your question, though, is a good one: it’s the fundamental—perhaps-axiological query of the emerging artist living in the shadow of late-market capitalism: “I am passionate about art; how do I garner acclaim and money for my work?” And you’ll find any number of peppy answers if you poke around in art-career books, but my advice is that you keep these two things as far from each other as you can, because — and this is the really important part — \u003ci>you can only really control one of them\u003c/i>. \u003c/p>\n\u003cp>The point I’d like to make about control is central to your concern about how young contemporary artists got where they are now. These days, most young hotshots attended highfalutin’ MFA programs in New York or LA, where their work was seen by high-level gallerists and/or curators, some of whom were paid to take a look. Most of these artists had early market successes that were driven by a dealer who was willing to speculate on the value of their work. Many artists have been plucked from the deep, dark well of obscurity by a high-powered curator who put their work into a high-profile show at a major institution. When you weigh it in the balance, it turns out that these artists did not have much control over their careers beyond getting into top-notch schools and thereby having access to VIPs — someone else with money, influence, and power made it happen. I’m not trying to cast doubt on these artists’ relative talent or make pessimistic comparisons to the likelihood of you reaching your own goals, but it’s crucial that you understand that a rapid ascent to the dizzy heights of \u003ci>Artforum\u003c/i> Mountain is not in the power of the artist alone. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/11/11/vanLankveldAqua.jpg\" style=\"margin-bottom: 10px;\" alt=\"rezi van lenkveld aqua\">\u003cbr>Rezi van Lankveld, \u003ci>Agua\u003c/i>, 2013\u003cbr>\u003c/center>\n\u003cp>That said, it is absolutely possible to meet people who believe in your work and who will help you move your career forward. You can start by building yourself a website with crisp, professional images that convey exactly what your work is, with accompanying texts that briefly explain what and how and why you do what you do. You can invite curators and gallerists and writers to your studio to chat about the work. You can submit images to online and print publications that showcase the work of emerging artists. Those \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333\">art-career books\u003c/a> will tell you in great detail how you can do all this. You can also look at some previous Help Desk columns \u003ca href=\"http://dailyserving.com/2012/09/help-desk-represent-me/\">here\u003c/a> and \u003ca href=\"http://dailyserving.com/2012/07/help-desk-making-a-statement/\">here\u003c/a>.\u003c/p>\n\u003cp>But the spark I’m worried about is not the one that lives in public. Not to be too negative, but what happens if you suffer a year, or a decade, or a lifetime of having your work ignored by the art establishment? How will you maintain the flame of your faith in art? It’s essential that you put fortifications and safeguards into your practice so that navigating the vagaries of this shitty market-driven system doesn’t pulverize your psyche to a sour pulp. The most important thing you can do is to make loads of art friends — the real ones, not the competitive bullies — because it’s crucial to surround yourself with people who understand the process of being an artist and who will both hold your hand through bad times and celebrate with you in good ones. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>You are right to point out that being an artist isn’t a walk in the park (unless that park is dark and cold, uphill both ways, with sinister whispers coming from behind the bushes); yet I hope you will find ways to sustain your passion. In the lowest of times, make sure to go see great art in person frequently, because it will fill you with wonder and remind you of why you became an artist in the first place. Looking at art and talking with your friends will also motivate you to keep working in the studio, which is indispensable for your mental health. You’re young, so your watchwords should be \u003ci>experiment\u003c/i> and \u003ci>expand\u003c/i> — tattoo these terms on your wrists if you must, but make sure to make this your mantra every time you set out to work. Above all, try to remember that building a career as an artist is not the same as \u003ci>being\u003c/i> an artist, and you can “move forward” in more ways than are recognized by the current gallery/biennial/museum system. Keep the faith, and good luck!\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1066,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705049590,
"excerpt": "In which our optimistic advice columnist gives a pep talk to an artist struggling to keep the faith.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In which our optimistic advice columnist gives a pep talk to an artist struggling to keep the faith.",
"title": "A Spark in the Dark | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Spark in the Dark",
"datePublished": "2013-11-11T12:25:53-08:00",
"dateModified": "2024-01-12T00:53:10-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a_spark_in_the_dark",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/programs/helpdesk/",
"sticky": false,
"path": "/arts/10136047/a_spark_in_the_dark",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I graduated from college about a year ago, and have been pursuing art passionately and persistently ever since. My work is well received and I’ve participated in shows, but I’m used to being generally unnoticed. When it dawned on me that ardor does not equal opportunity, I came to another blindingly obvious realization — I know virtually nothing about building a career as an artist past this point. How do all of these young, contemporary artists that I admire get to where they are now? My whole life is art. I’ve never had more faith in anything, and can’t see myself doing anything else. My point is that I am unacceptably clueless about how to reach an audience in a way that I would like to. I’m aware that being an artist isn’t a walk in the park, but right now I’m stuck in a rut. What do I need to do to keep moving forward? I don’t want to lose my spark because I’m in the dark. \u003c/b>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>I wish I could give you a fun and non-cynical pep talk along the lines of: \u003ci>Just work hard and the magic will happen!\u003c/i>, but you’ve already figured out that you can work your fingers to bloody nubs and still no one at Art Basel will know your name. Your question, though, is a good one: it’s the fundamental—perhaps-axiological query of the emerging artist living in the shadow of late-market capitalism: “I am passionate about art; how do I garner acclaim and money for my work?” And you’ll find any number of peppy answers if you poke around in art-career books, but my advice is that you keep these two things as far from each other as you can, because — and this is the really important part — \u003ci>you can only really control one of them\u003c/i>. \u003c/p>\n\u003cp>The point I’d like to make about control is central to your concern about how young contemporary artists got where they are now. These days, most young hotshots attended highfalutin’ MFA programs in New York or LA, where their work was seen by high-level gallerists and/or curators, some of whom were paid to take a look. Most of these artists had early market successes that were driven by a dealer who was willing to speculate on the value of their work. Many artists have been plucked from the deep, dark well of obscurity by a high-powered curator who put their work into a high-profile show at a major institution. When you weigh it in the balance, it turns out that these artists did not have much control over their careers beyond getting into top-notch schools and thereby having access to VIPs — someone else with money, influence, and power made it happen. I’m not trying to cast doubt on these artists’ relative talent or make pessimistic comparisons to the likelihood of you reaching your own goals, but it’s crucial that you understand that a rapid ascent to the dizzy heights of \u003ci>Artforum\u003c/i> Mountain is not in the power of the artist alone. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/11/11/vanLankveldAqua.jpg\" style=\"margin-bottom: 10px;\" alt=\"rezi van lenkveld aqua\">\u003cbr>Rezi van Lankveld, \u003ci>Agua\u003c/i>, 2013\u003cbr>\u003c/center>\n\u003cp>That said, it is absolutely possible to meet people who believe in your work and who will help you move your career forward. You can start by building yourself a website with crisp, professional images that convey exactly what your work is, with accompanying texts that briefly explain what and how and why you do what you do. You can invite curators and gallerists and writers to your studio to chat about the work. You can submit images to online and print publications that showcase the work of emerging artists. Those \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333\">art-career books\u003c/a> will tell you in great detail how you can do all this. You can also look at some previous Help Desk columns \u003ca href=\"http://dailyserving.com/2012/09/help-desk-represent-me/\">here\u003c/a> and \u003ca href=\"http://dailyserving.com/2012/07/help-desk-making-a-statement/\">here\u003c/a>.\u003c/p>\n\u003cp>But the spark I’m worried about is not the one that lives in public. Not to be too negative, but what happens if you suffer a year, or a decade, or a lifetime of having your work ignored by the art establishment? How will you maintain the flame of your faith in art? It’s essential that you put fortifications and safeguards into your practice so that navigating the vagaries of this shitty market-driven system doesn’t pulverize your psyche to a sour pulp. The most important thing you can do is to make loads of art friends — the real ones, not the competitive bullies — because it’s crucial to surround yourself with people who understand the process of being an artist and who will both hold your hand through bad times and celebrate with you in good ones. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You are right to point out that being an artist isn’t a walk in the park (unless that park is dark and cold, uphill both ways, with sinister whispers coming from behind the bushes); yet I hope you will find ways to sustain your passion. In the lowest of times, make sure to go see great art in person frequently, because it will fill you with wonder and remind you of why you became an artist in the first place. Looking at art and talking with your friends will also motivate you to keep working in the studio, which is indispensable for your mental health. You’re young, so your watchwords should be \u003ci>experiment\u003c/i> and \u003ci>expand\u003c/i> — tattoo these terms on your wrists if you must, but make sure to make this your mantra every time you set out to work. Above all, try to remember that building a career as an artist is not the same as \u003ci>being\u003c/i> an artist, and you can “move forward” in more ways than are recognized by the current gallery/biennial/museum system. Keep the faith, and good luck!\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10136047/a_spark_in_the_dark",
"authors": [
"66"
],
"categories": [
"arts_70"
],
"tags": [
"arts_342"
],
"featImg": "arts_10128760",
"label": "arts"
},
"arts_10134695": {
"type": "posts",
"id": "arts_10134695",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10134695",
"score": null,
"sort": [
1383861399000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1383861399,
"format": "standard",
"title": "Tree Fall: Andy Goldsworthy's Newest Installation at the Presidio",
"headTitle": "Tree Fall: Andy Goldsworthy’s Newest Installation at the Presidio | KQED",
"content": "\u003cp>Over the last five years a series of sculptures by British artist Andy Goldsworthy have appeared in various sites around the Presidio, the expansive former military base adjacent to the Golden Gate Bridge. \u003ci>Spire\u003c/i> (2008) makes use of thirty-seven felled Monterey Cypress trees in an architectural formation reminiscent of great church spires. \u003ci>Wood Line\u003c/i> (2008) repurposes eucalyptus branch trimmings sourced from various projects that required tree removal, including the recent reconstruction of the Golden Gate Bridge’s southern approach, to create a winding sculpture on the Presidio’s oldest foot path, known to many as Lover’s Lane.\u003c/p>\n\u003cp>Each project follows in the long tradition of Goldsworthy’s work, which primarily repurposes natural elements to engender a greater consideration of both the natural and the built environment. His latest installation \u003ci>Tree Fall\u003c/i> (2013) debuted last month. While it is an obvious continuation on earlier themes, its placement in the former Civil War-era Powder Magazine on the Main Post offers provocative new possibilities in considering how man-made conditions collide with nature.\u003c/p>\n\u003cp>It must first be said that this work is both very much in keeping with the artist’s larger body of work and simultaneously radically different from past approaches. The Powder Magazine is a small, discreet building positioned on the far end of a large green belt surrounded by intersecting streets and parking lots, east of the Main Parade Ground. Its original function was to house gunpowder and munitions — the walls are four-feet thick stone slabs, while the doomed ceiling was built to channel accidental explosions upwards to protect people and neighboring buildings. \u003ci>Tree Fall\u003c/i> occupies this domed ceiling and the viewer is immediately positioned beneath the work upon entry, a literal allusion to the artist’s ongoing inquiry about what goes on beneath the surface of things.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/treefall-1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Andy Goldsworthy, \u003ci>Tree Fall\u003c/i> (2013), installation view; photo: JanStürmann/FOR-SITE Foundation\u003c/p>\n\u003cp>An enormous tree trunk, sourced after removal during the Presidio Parkway project, is suspended across the width of the ceiling. Both the ceiling and the root are encased in dense layers of clay sourced from the Presidio. As it air-dried, a wide crackling pattern formed over the surface of the several thousand pounds of clay used to cover the bough and ceiling, creating a subtly beautiful surface evocative of both destruction and renewal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The white walls of the spare room are otherwise pristine, save for remnants of spattered clay on the iron door. Whether this residue was intentional or not is unclear, but given the exacting details of the work in general it seems like an unlikely oversight. Without the spatters, the work would appear surreal, as if a giant growth had taken over the space, whereas the presence of the spatters quietly addresses the hand of an artist in this intervention, giving the work a human quality that might otherwise be lost to perceived perfection. This also speaks to Goldsworthy’s larger agenda, as noted in the brochure, “to make connections between what we call nature and what we call man-made.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=qfKnT-8uq0I&w=480&h=270]\u003c/p>\n\u003cp>While Goldsworthy’s other works at the Presidio engender mild trail hikes through wooded spaces, \u003ci>Tree Fall\u003c/i> is uniquely positioned amidst paved roads and ample parking. One can drive up, park, and walk in — no hiking boots needed — provided one knows one’s way around the Presidio’s proliferation of white-washed buildings. Discovering the work in this way offers breath-taking views of the Golden Gate Bridge, the Bay and charming Mission-style buildings. It is easy to forget the original intentions of this place, or the long militant history that precedes it, first as a Spanish Imperial Outpost (1776-1871) and later as the seat of the Mexican Frontier (1822-1846) before it came to function as a U.S. Army Post (1846-1994). Goldsworthy’s work at the Presidio calls attention to the unusual artificial-slash-natural dynamics of the Presidio Forest — it was planted by the U.S. Army in the late 18th and early 19th century — while perhaps positing larger questions about our present-day relationship to the military industrial complex, and, by extension, gun violence.\u003c/p>\n\u003cp>It is not accidental that Goldsworthy’s title \u003ci>Tree Fall\u003c/i> summons the old philosophical question, “If a tree falls in the forest and no one is around to hear it, does it make a sound?” Here the artist amplifies this challenge with literal cracks in the surface of things. Situated as it is, \u003ci>Tree Fall\u003c/i> uniquely provokes questions about sustainability in a declining environment and in an environment of escalating violence. With \u003ci>Tree Fall\u003c/i>, Goldsworthy challenges the tendency to think “out of sight, out of mind” by complicating our relationship to what we see and where we see it. Though the work employs the familiar tropes of the artist’s larger body of work, this time the work presents pointedly new challenges, set in a modest framework designed to explode.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goldsworthy in the Presidio is organized by the FOR-SITE Foundation in partnership with the Presidio Trust; \u003ci>Tree Fall\u003c/i> is on view by appointment Saturdays and Sundays 10am – 4pm. To \u003ca href=\"http://www.for-site.org/projects/visit/\">plan a visit\u003c/a> visit for-site.org or contact the Presidio Trust at 415-561-5300.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 909,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705049596,
"excerpt": "Andy Goldsworthy's latest installation in the Civil War-era Powder Magazine at the Presidio offers provocative new possibilities in considering how man-made conditions collide with nature.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Andy Goldsworthy's latest installation in the Civil War-era Powder Magazine at the Presidio offers provocative new possibilities in considering how man-made conditions collide with nature.",
"title": "Tree Fall: Andy Goldsworthy's Newest Installation at the Presidio | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Tree Fall: Andy Goldsworthy's Newest Installation at the Presidio",
"datePublished": "2013-11-07T13:56:39-08:00",
"dateModified": "2024-01-12T00:53:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "tree_fall_andy_goldsworthys_newest_installation_at_the_presidio",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/",
"sticky": false,
"path": "/arts/10134695/tree_fall_andy_goldsworthys_newest_installation_at_the_presidio",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the last five years a series of sculptures by British artist Andy Goldsworthy have appeared in various sites around the Presidio, the expansive former military base adjacent to the Golden Gate Bridge. \u003ci>Spire\u003c/i> (2008) makes use of thirty-seven felled Monterey Cypress trees in an architectural formation reminiscent of great church spires. \u003ci>Wood Line\u003c/i> (2008) repurposes eucalyptus branch trimmings sourced from various projects that required tree removal, including the recent reconstruction of the Golden Gate Bridge’s southern approach, to create a winding sculpture on the Presidio’s oldest foot path, known to many as Lover’s Lane.\u003c/p>\n\u003cp>Each project follows in the long tradition of Goldsworthy’s work, which primarily repurposes natural elements to engender a greater consideration of both the natural and the built environment. His latest installation \u003ci>Tree Fall\u003c/i> (2013) debuted last month. While it is an obvious continuation on earlier themes, its placement in the former Civil War-era Powder Magazine on the Main Post offers provocative new possibilities in considering how man-made conditions collide with nature.\u003c/p>\n\u003cp>It must first be said that this work is both very much in keeping with the artist’s larger body of work and simultaneously radically different from past approaches. The Powder Magazine is a small, discreet building positioned on the far end of a large green belt surrounded by intersecting streets and parking lots, east of the Main Parade Ground. Its original function was to house gunpowder and munitions — the walls are four-feet thick stone slabs, while the doomed ceiling was built to channel accidental explosions upwards to protect people and neighboring buildings. \u003ci>Tree Fall\u003c/i> occupies this domed ceiling and the viewer is immediately positioned beneath the work upon entry, a literal allusion to the artist’s ongoing inquiry about what goes on beneath the surface of things.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/treefall-1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Andy Goldsworthy, \u003ci>Tree Fall\u003c/i> (2013), installation view; photo: JanStürmann/FOR-SITE Foundation\u003c/p>\n\u003cp>An enormous tree trunk, sourced after removal during the Presidio Parkway project, is suspended across the width of the ceiling. Both the ceiling and the root are encased in dense layers of clay sourced from the Presidio. As it air-dried, a wide crackling pattern formed over the surface of the several thousand pounds of clay used to cover the bough and ceiling, creating a subtly beautiful surface evocative of both destruction and renewal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The white walls of the spare room are otherwise pristine, save for remnants of spattered clay on the iron door. Whether this residue was intentional or not is unclear, but given the exacting details of the work in general it seems like an unlikely oversight. Without the spatters, the work would appear surreal, as if a giant growth had taken over the space, whereas the presence of the spatters quietly addresses the hand of an artist in this intervention, giving the work a human quality that might otherwise be lost to perceived perfection. This also speaks to Goldsworthy’s larger agenda, as noted in the brochure, “to make connections between what we call nature and what we call man-made.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qfKnT-8uq0I'\n title='//www.youtube.com/embed/qfKnT-8uq0I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>While Goldsworthy’s other works at the Presidio engender mild trail hikes through wooded spaces, \u003ci>Tree Fall\u003c/i> is uniquely positioned amidst paved roads and ample parking. One can drive up, park, and walk in — no hiking boots needed — provided one knows one’s way around the Presidio’s proliferation of white-washed buildings. Discovering the work in this way offers breath-taking views of the Golden Gate Bridge, the Bay and charming Mission-style buildings. It is easy to forget the original intentions of this place, or the long militant history that precedes it, first as a Spanish Imperial Outpost (1776-1871) and later as the seat of the Mexican Frontier (1822-1846) before it came to function as a U.S. Army Post (1846-1994). Goldsworthy’s work at the Presidio calls attention to the unusual artificial-slash-natural dynamics of the Presidio Forest — it was planted by the U.S. Army in the late 18th and early 19th century — while perhaps positing larger questions about our present-day relationship to the military industrial complex, and, by extension, gun violence.\u003c/p>\n\u003cp>It is not accidental that Goldsworthy’s title \u003ci>Tree Fall\u003c/i> summons the old philosophical question, “If a tree falls in the forest and no one is around to hear it, does it make a sound?” Here the artist amplifies this challenge with literal cracks in the surface of things. Situated as it is, \u003ci>Tree Fall\u003c/i> uniquely provokes questions about sustainability in a declining environment and in an environment of escalating violence. With \u003ci>Tree Fall\u003c/i>, Goldsworthy challenges the tendency to think “out of sight, out of mind” by complicating our relationship to what we see and where we see it. Though the work employs the familiar tropes of the artist’s larger body of work, this time the work presents pointedly new challenges, set in a modest framework designed to explode.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goldsworthy in the Presidio is organized by the FOR-SITE Foundation in partnership with the Presidio Trust; \u003ci>Tree Fall\u003c/i> is on view by appointment Saturdays and Sundays 10am – 4pm. To \u003ca href=\"http://www.for-site.org/projects/visit/\">plan a visit\u003c/a> visit for-site.org or contact the Presidio Trust at 415-561-5300.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10134695/tree_fall_andy_goldsworthys_newest_installation_at_the_presidio",
"authors": [
"58"
],
"categories": [
"arts_70"
],
"featImg": "arts_10128518",
"label": "arts"
},
"arts_127849": {
"type": "posts",
"id": "arts_127849",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "127849",
"score": null,
"sort": [
1382993591000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1382993591,
"format": "standard",
"title": "An Institutional Setting",
"headTitle": "An Institutional Setting | KQED",
"content": "\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Could you tell me the best way for a newcomer to select an appropriate art consultant in the first place? It appears to be almost impossible in this economy to get into a gallery without the proper help. I have just completed a series that would probably be better suited to an institutional setting, i.e. a winery or a business. How do I find someone to help me place this series?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Okay, so you have two issues: you want to “get into” a gallery (i.e., become a represented artist), and you want to find a permanent home for a series of works. The problem here is that you’re assuming these two goals have one solution: an art consultant; and I’m sorry to tell you that this is not how things work.\u003c/p>\n\u003cp>In all likelihood, an art consultant cannot help you become represented by a gallery. A consultant’s job is to place artwork with clients. Most consultants work with galleries, but the flow is almost always uni-directional: that is to say, the consultant gets work from a gallery, and not the other way around. But just to make sure my hunch was correct, I asked \u003ca href=\"http://outtherenyc.com/\">Maria Brito\u003c/a>, \u003ca href=\"http://outtherenyc.com/get-the-book/\">author\u003c/a> and \u003ca href=\"http://www.mariabrito.com/#/home/\">art advisor\u003c/a>, and an “authority on why, where, when and how to display and mix contemporary art… in any environment” (that’s from her bio) and this is what she said:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As an art advisor, my company is set up to provide support to our clients (the collectors) in selecting the right pieces for their own collections. I try to understand my clients’ goals as much as possible and to work closely with them to reach their objectives. I work mostly with galleries that I trust and like and whose artists’ works I’m really interested in introducing to my clients. I’m also always meeting new galleries in art fairs or through invitations that they send. I’m always open to seeing new art and meeting new people, but I rarely place the work of an unrepresented artist directly from his/her studio; it has happened maybe a couple of times in the past four years. It is not a matter of talent or the quality of the works, it is mostly that my clients feel more comfortable dealing with a gallery and having that kind of back-up when spending money on art.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/Olowska1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Paulina Olowska, \u003ci>Cake\u003c/i>, 2010\u003cbr>\u003c/center>\n\u003cp>“I understand that the contemporary art world has gotten very competitive for artists and that there are only so many galleries that can take them and seriously invest in their careers. Some galleries are open to submissions, others have directors who are always going on studio visits, and some others get artists right out of school. It all depends on the economic circumstances and the evolution of the market, but typically (because there are always exceptions) top galleries pay attention to graduates from top schools, artists who are already represented in other cities or by other galleries in the same city, or who, as self-taught artists, have developed something extraordinary.”\u003c/p>\n\u003cp>Lest this all seem like bad news and not at all a solution to your dilemma, let’s look on the bright side: you no longer have to track down a consultant to try to place your works. Instead, you can take another tack: if you think that your work is made for wineries, why not contact a few and ask who buys their art? Larger wineries might work with an art consultant, but chances are good that smaller and newer wineries do all their own buying. If you can find a winery or other business with a temporary exhibition space, pitch a show of your own work and perhaps you’ll end up having this series acquired by the institution.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In terms of finding a gallery, it’s true that the present economy sucks. But if you’re starting from scratch it’s going to be a while before you find representation anyway — we can all hope that the economy will pick up in the time that it will take you to do the necessary research and some serious legwork. If you’re new to the gallery game, I recommend that you start the process with \u003ca href=\"http://dailyserving.com/2012/09/help-desk-represent-me/\">my advice here\u003c/a>. Also, pick up a copy of the book \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333\">Art/Work\u003c/a>, which will explain many of the important details of negotiating the commercial gallery world. And remember the words of Alexis Mackenzie, assistant director at \u003ca href=\"http://www.wolfecontemporary.com/\">Mark Wolfe Contemporary Art\u003c/a>: “…the work itself should always come first. Make strong work that you believe in, and the rest should follow.” Good luck!\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 852,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705049624,
"excerpt": "In which our advice columnist consults on how to get \"institutionalized.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In which our advice columnist consults on how to get "institutionalized."",
"title": "An Institutional Setting | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "An Institutional Setting",
"datePublished": "2013-10-28T13:53:11-07:00",
"dateModified": "2024-01-12T00:53:44-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "an_institutional_setting",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/programs/helpdesk/",
"sticky": false,
"path": "/arts/127849/an_institutional_setting",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Could you tell me the best way for a newcomer to select an appropriate art consultant in the first place? It appears to be almost impossible in this economy to get into a gallery without the proper help. I have just completed a series that would probably be better suited to an institutional setting, i.e. a winery or a business. How do I find someone to help me place this series?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Okay, so you have two issues: you want to “get into” a gallery (i.e., become a represented artist), and you want to find a permanent home for a series of works. The problem here is that you’re assuming these two goals have one solution: an art consultant; and I’m sorry to tell you that this is not how things work.\u003c/p>\n\u003cp>In all likelihood, an art consultant cannot help you become represented by a gallery. A consultant’s job is to place artwork with clients. Most consultants work with galleries, but the flow is almost always uni-directional: that is to say, the consultant gets work from a gallery, and not the other way around. But just to make sure my hunch was correct, I asked \u003ca href=\"http://outtherenyc.com/\">Maria Brito\u003c/a>, \u003ca href=\"http://outtherenyc.com/get-the-book/\">author\u003c/a> and \u003ca href=\"http://www.mariabrito.com/#/home/\">art advisor\u003c/a>, and an “authority on why, where, when and how to display and mix contemporary art… in any environment” (that’s from her bio) and this is what she said:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As an art advisor, my company is set up to provide support to our clients (the collectors) in selecting the right pieces for their own collections. I try to understand my clients’ goals as much as possible and to work closely with them to reach their objectives. I work mostly with galleries that I trust and like and whose artists’ works I’m really interested in introducing to my clients. I’m also always meeting new galleries in art fairs or through invitations that they send. I’m always open to seeing new art and meeting new people, but I rarely place the work of an unrepresented artist directly from his/her studio; it has happened maybe a couple of times in the past four years. It is not a matter of talent or the quality of the works, it is mostly that my clients feel more comfortable dealing with a gallery and having that kind of back-up when spending money on art.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/Olowska1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Paulina Olowska, \u003ci>Cake\u003c/i>, 2010\u003cbr>\u003c/center>\n\u003cp>“I understand that the contemporary art world has gotten very competitive for artists and that there are only so many galleries that can take them and seriously invest in their careers. Some galleries are open to submissions, others have directors who are always going on studio visits, and some others get artists right out of school. It all depends on the economic circumstances and the evolution of the market, but typically (because there are always exceptions) top galleries pay attention to graduates from top schools, artists who are already represented in other cities or by other galleries in the same city, or who, as self-taught artists, have developed something extraordinary.”\u003c/p>\n\u003cp>Lest this all seem like bad news and not at all a solution to your dilemma, let’s look on the bright side: you no longer have to track down a consultant to try to place your works. Instead, you can take another tack: if you think that your work is made for wineries, why not contact a few and ask who buys their art? Larger wineries might work with an art consultant, but chances are good that smaller and newer wineries do all their own buying. If you can find a winery or other business with a temporary exhibition space, pitch a show of your own work and perhaps you’ll end up having this series acquired by the institution.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In terms of finding a gallery, it’s true that the present economy sucks. But if you’re starting from scratch it’s going to be a while before you find representation anyway — we can all hope that the economy will pick up in the time that it will take you to do the necessary research and some serious legwork. If you’re new to the gallery game, I recommend that you start the process with \u003ca href=\"http://dailyserving.com/2012/09/help-desk-represent-me/\">my advice here\u003c/a>. Also, pick up a copy of the book \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333\">Art/Work\u003c/a>, which will explain many of the important details of negotiating the commercial gallery world. And remember the words of Alexis Mackenzie, assistant director at \u003ca href=\"http://www.wolfecontemporary.com/\">Mark Wolfe Contemporary Art\u003c/a>: “…the work itself should always come first. Make strong work that you believe in, and the rest should follow.” Good luck!\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/127849/an_institutional_setting",
"authors": [
"66"
],
"categories": [
"arts_70"
],
"tags": [
"arts_342"
],
"featImg": "arts_10127849",
"label": "arts"
},
"arts_127032": {
"type": "posts",
"id": "arts_127032",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "127032",
"score": null,
"sort": [
1381782641000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1381782641,
"format": "standard",
"title": "How to Find Artists",
"headTitle": "How to Find Artists | KQED",
"content": "\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I have a gallery in LES [the Lower East Side of New York City] and I want to fill it with great art and sell a lot and do cool things. The problem is that I cannot find artists to represent. How do I find them? \u003c/b>\u003c/p>\n\u003cp>Surprising as it may seem, I rarely get phony questions for \u003ci>Help Desk\u003c/i>; and when I do, they are fairly easy to spot and my policy is to ignore them (for the record: dead twin guy, I’m on to you). But you, dear reader, were kind enough to provide a link to your gallery’s website, and after a bit of poking around it does indeed appear that your query is not some sort of complicated hoax inspired by a combination of whiskey and boredom.\u003c/p>\n\u003cp>But after verifying your information, I confess that I am completely mystified. You have a gallery on the \u003ci>Lower East Side of Manhattan\u003c/i> and you don’t know where to find artists? How did this come to be? I mean, you have an art space in the ostensible center of the art world and yet no art to hang in it. This is a disturbing case of putting the office before the business, if you see what I mean.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bender1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Gretchen Bender, \u003ci>Total Recall\u003c/i>, 2013\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nevertheless, here we are. You have a gallery. You need art. You don’t know where to find it. You wrote to me. Your position leaves me scratching my head in perplexity, but help you I must. What you need is an education, and beyond the next four hundred words it’s going to be entirely self-directed. I can lead you to water, but the drinking is up to you.\u003c/p>\n\u003cp>Obviously, you have money, so for a quick start I suggest that you go to all the art fairs you can find. Art fairs are like supermarkets for art: you’ll look at a ton of product that has minimal shadings of difference. Occasionally you will cross paths with art that does not look like all the other art. That is the artist you want to represent. Take a friend with you, because art fairs are exhausting and you need to debrief with someone at the end of each day.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bender2.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Gretchen Bender, \u003ci>Tracking the Thrill\u003c/i>, 2013\u003c/p>\n\u003cp>Go to all the galleries in Brooklyn and Red Hook and Gowanus. The bigger artists who are already represented in New York are not going to work with you yet, because you are a (well-meaning) amateur. Also, the most interesting things happen at the peripheries of cities. Keep your eyes on the margins, because artists often produce good work when they’re not in the spotlight. Ask for studio visits and look for artists who have a steady practice. Don’t waste your time with assholes.\u003c/p>\n\u003cp>Talk to big-name artists who live in New York. Take them out to coffee and ask them whose work you should be looking at. Many of these artists also teach, and they come into contact with lots of artists whose practices deserve attention. Your gallery is somewhat medium specific, so I suggest that you also get in touch with the faculty chairs of local universities that have a department in that medium. They will know students and other faculty members whose work you can look at. They also come into contact with artists who are visiting from other cities, and will be able to point you in some interesting directions. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bender3.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Gretchen Bender, \u003ci>Wild Dead\u003c/i>, 2013\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are a few other things you need to think about. First, there are some ways in which you can support artists beyond selling their work. If you want to do cool things you have to be willing to stick your neck out, and at a time when many artists are forced to move out of major U.S. cities because of rising costs, it falls to all of us to work together to keep the creative economy moving. Once you do acquire some artists, consider finding a way to fund projects that aren’t commercially viable. Also, to preserve your sanity, you need a peer group, so cultivate friendships with some other gallerists in and beyond your neighborhood. These new friends will have great tips and can also help you find artists. Finally, go out and buy yourself a copy of \u003ca href=\"http://www.edwardwinkleman.com/\">Edward Winkleman\u003c/a>‘s \u003ca href=\"http://www.amazon.com/How-Start-Run-Commercial-Gallery/dp/1581156642\">\u003ci>How to Start and Run a Commercial Gallery\u003c/i>\u003c/a>. Edward’s a straight shooter with lots of good advice, and the book should help you enormously. Good luck! \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 820,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705049654,
"excerpt": "In which our obliging advice columnist provides a gallerist with ideas on how to root out and support that most elusive creature.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In which our obliging advice columnist provides a gallerist with ideas on how to root out and support that most elusive creature.",
"title": "How to Find Artists | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "How to Find Artists",
"datePublished": "2013-10-14T13:30:41-07:00",
"dateModified": "2024-01-12T00:54:14-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "how_to_find_artists",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/programs/helpdesk/",
"sticky": false,
"path": "/arts/127032/how_to_find_artists",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I have a gallery in LES [the Lower East Side of New York City] and I want to fill it with great art and sell a lot and do cool things. The problem is that I cannot find artists to represent. How do I find them? \u003c/b>\u003c/p>\n\u003cp>Surprising as it may seem, I rarely get phony questions for \u003ci>Help Desk\u003c/i>; and when I do, they are fairly easy to spot and my policy is to ignore them (for the record: dead twin guy, I’m on to you). But you, dear reader, were kind enough to provide a link to your gallery’s website, and after a bit of poking around it does indeed appear that your query is not some sort of complicated hoax inspired by a combination of whiskey and boredom.\u003c/p>\n\u003cp>But after verifying your information, I confess that I am completely mystified. You have a gallery on the \u003ci>Lower East Side of Manhattan\u003c/i> and you don’t know where to find artists? How did this come to be? I mean, you have an art space in the ostensible center of the art world and yet no art to hang in it. This is a disturbing case of putting the office before the business, if you see what I mean.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bender1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Gretchen Bender, \u003ci>Total Recall\u003c/i>, 2013\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nevertheless, here we are. You have a gallery. You need art. You don’t know where to find it. You wrote to me. Your position leaves me scratching my head in perplexity, but help you I must. What you need is an education, and beyond the next four hundred words it’s going to be entirely self-directed. I can lead you to water, but the drinking is up to you.\u003c/p>\n\u003cp>Obviously, you have money, so for a quick start I suggest that you go to all the art fairs you can find. Art fairs are like supermarkets for art: you’ll look at a ton of product that has minimal shadings of difference. Occasionally you will cross paths with art that does not look like all the other art. That is the artist you want to represent. Take a friend with you, because art fairs are exhausting and you need to debrief with someone at the end of each day.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bender2.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Gretchen Bender, \u003ci>Tracking the Thrill\u003c/i>, 2013\u003c/p>\n\u003cp>Go to all the galleries in Brooklyn and Red Hook and Gowanus. The bigger artists who are already represented in New York are not going to work with you yet, because you are a (well-meaning) amateur. Also, the most interesting things happen at the peripheries of cities. Keep your eyes on the margins, because artists often produce good work when they’re not in the spotlight. Ask for studio visits and look for artists who have a steady practice. Don’t waste your time with assholes.\u003c/p>\n\u003cp>Talk to big-name artists who live in New York. Take them out to coffee and ask them whose work you should be looking at. Many of these artists also teach, and they come into contact with lots of artists whose practices deserve attention. Your gallery is somewhat medium specific, so I suggest that you also get in touch with the faculty chairs of local universities that have a department in that medium. They will know students and other faculty members whose work you can look at. They also come into contact with artists who are visiting from other cities, and will be able to point you in some interesting directions. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bender3.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Gretchen Bender, \u003ci>Wild Dead\u003c/i>, 2013\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are a few other things you need to think about. First, there are some ways in which you can support artists beyond selling their work. If you want to do cool things you have to be willing to stick your neck out, and at a time when many artists are forced to move out of major U.S. cities because of rising costs, it falls to all of us to work together to keep the creative economy moving. Once you do acquire some artists, consider finding a way to fund projects that aren’t commercially viable. Also, to preserve your sanity, you need a peer group, so cultivate friendships with some other gallerists in and beyond your neighborhood. These new friends will have great tips and can also help you find artists. Finally, go out and buy yourself a copy of \u003ca href=\"http://www.edwardwinkleman.com/\">Edward Winkleman\u003c/a>‘s \u003ca href=\"http://www.amazon.com/How-Start-Run-Commercial-Gallery/dp/1581156642\">\u003ci>How to Start and Run a Commercial Gallery\u003c/i>\u003c/a>. Edward’s a straight shooter with lots of good advice, and the book should help you enormously. Good luck! \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/127032/how_to_find_artists",
"authors": [
"66"
],
"categories": [
"arts_70"
],
"tags": [
"arts_342"
],
"featImg": "arts_10127032",
"label": "arts"
},
"arts_126964": {
"type": "posts",
"id": "arts_126964",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "126964",
"score": null,
"sort": [
1381526333000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1381526333,
"format": "standard",
"title": "The Government Shuts Down Art in San Francisco",
"headTitle": "The Government Shuts Down Art in San Francisco | KQED",
"content": "\u003cp>Kids across San Francisco are holding empty beach pails, still sniffling from the news that Saturday’s sandcastle contest at Ocean Beach has been postponed. The We Players theater group is scrambling to find a new venue for their Fort Point staging of \u003ci>Macbeth\u003c/i>. SFMOMA had to cancel public tours of its Crissy Field sculpture exhibit, and visitors to the Headlands Center for the Arts are confused. The government shutdown might seem like fodder for water cooler jokes until you realize it hurts San Francisco organizations that work on shoestring budgets to bring arts to the community.\u003c/p>\n\u003cp>\u003ca href=\"http://www.leaparts.org/\">Leap\u003c/a>, an organization that provides arts education for local students, hosts an annual sand castle contest that funds 40 percent of the organization’s budget and involves thousands of people. The contest teams up elementary school students, architects and engineers. Leap executive director Julie McDonald, who’s spent over a year planning and securing permits, reports, “We’ve spent the entire day on the phone with 26 disappointed schools and kids. That’s the part that hurts the most — hearing how sad the kids are.”\u003c/p>\n\u003cp>San Francisco isn’t the only city whose youth is suffering due to the shutdown, as evidenced by “\u003ca href=\"http://www.theatlanticwire.com/politics/2013/10/sad-kid-zoo-now-defining-image-shutdown/70394/\">the absolute saddest shutdown photo you will see\u003c/a>,” which went viral yesterday. The sand castle contest will be rescheduled, but the impact on this community-based organization is significant and could affect the volume of its programming. Leap’s permit was issued after the shutdown took effect, so it seemed like they could proceed, but three days before the contest, McDonald says, “We were told that we could be fined for trespassing and that our permit was no longer valid.”\u003c/p>\n\u003cp>At Crissy Field, all public tours of Mark di Suvero’s sculptures have been cancelled. SFMOMA education curator Julie Charles explains, “We are hopeful that we can soon resume these tours because they are a wonderful way to get people talking about the connections between di Suvero’s sculptures and the site, which holds particular significance for the artist, who immigrated to San Francisco from Shanghai as a young boy.” The monumental steel-beam sculptures seem to draw an extra resonance from their juxtaposition with the Golden Gate Bridge.\u003c/p>\n\u003cp>\u003ca href=\"http://www.headlands.org/\">Headlands Center for the Arts\u003c/a> was allowed to remain open, but the park it lives in is closed. Seair Lorentz, communications and outreach manager at the center, says the situation has led to “general confusion from our constituencies.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lauren Chavez, of the \u003ca href=\"http://www.weplayers.org/\">We Players\u003c/a> theater group, had to send this message to ticket holders, who still don’t know where or if the show will go on: “Our current production of \u003ci>Macbeth\u003c/i> is built very carefully and conscientiously into Fort Point, the Civil War era fortress beneath the Golden Gate Bridge. For over a year we have been integrating our work into that unique physical, sonic and energetic landscape. Because of the government shutdown we have been blocked from our stage, our most prominent scene partner and creative inspiration.”\u003c/p>\n\u003cp>San Francisco is also home to several NEA-funded arts education organizations, such as Streetside Stories and Performing Arts Workshop, whose upcoming grantee meeting in Washington, D.C., was cancelled. Securing airfare refunds is a challenge, and any amount of rescheduling impacts precious staff resources for organizations with lean budgets. Streetside’s Linda Johnson expressed gratitude for the NEA’s support but added, “To launch our new project, we are already fronting thousands of dollars in project expenses.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A small silver lining was pointed out by Leap’s McDonald, who heard that several schools were using the sand castle shutdown as an occasion for a civics lesson: “They’re using this situation as a teaching opportunity in community involvement, and are having their students write letters to their representatives, urging the federal government to get back on track.” You don’t have to be old enough to vote to recognize that the federal government needs to get their heads out of the sand.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 695,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705049659,
"excerpt": "The government shutdown might seem like fodder for water-cooler jokes until you realize it hurts SF organizations that work on shoestring budgets to bring arts to the community.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The government shutdown might seem like fodder for water-cooler jokes until you realize it hurts SF organizations that work on shoestring budgets to bring arts to the community.",
"title": "The Government Shuts Down Art in San Francisco | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Government Shuts Down Art in San Francisco",
"datePublished": "2013-10-11T14:18:53-07:00",
"dateModified": "2024-01-12T00:54:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the_government_shuts_down_art_in_san_francisco",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/",
"sticky": false,
"path": "/arts/126964/the_government_shuts_down_art_in_san_francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kids across San Francisco are holding empty beach pails, still sniffling from the news that Saturday’s sandcastle contest at Ocean Beach has been postponed. The We Players theater group is scrambling to find a new venue for their Fort Point staging of \u003ci>Macbeth\u003c/i>. SFMOMA had to cancel public tours of its Crissy Field sculpture exhibit, and visitors to the Headlands Center for the Arts are confused. The government shutdown might seem like fodder for water cooler jokes until you realize it hurts San Francisco organizations that work on shoestring budgets to bring arts to the community.\u003c/p>\n\u003cp>\u003ca href=\"http://www.leaparts.org/\">Leap\u003c/a>, an organization that provides arts education for local students, hosts an annual sand castle contest that funds 40 percent of the organization’s budget and involves thousands of people. The contest teams up elementary school students, architects and engineers. Leap executive director Julie McDonald, who’s spent over a year planning and securing permits, reports, “We’ve spent the entire day on the phone with 26 disappointed schools and kids. That’s the part that hurts the most — hearing how sad the kids are.”\u003c/p>\n\u003cp>San Francisco isn’t the only city whose youth is suffering due to the shutdown, as evidenced by “\u003ca href=\"http://www.theatlanticwire.com/politics/2013/10/sad-kid-zoo-now-defining-image-shutdown/70394/\">the absolute saddest shutdown photo you will see\u003c/a>,” which went viral yesterday. The sand castle contest will be rescheduled, but the impact on this community-based organization is significant and could affect the volume of its programming. Leap’s permit was issued after the shutdown took effect, so it seemed like they could proceed, but three days before the contest, McDonald says, “We were told that we could be fined for trespassing and that our permit was no longer valid.”\u003c/p>\n\u003cp>At Crissy Field, all public tours of Mark di Suvero’s sculptures have been cancelled. SFMOMA education curator Julie Charles explains, “We are hopeful that we can soon resume these tours because they are a wonderful way to get people talking about the connections between di Suvero’s sculptures and the site, which holds particular significance for the artist, who immigrated to San Francisco from Shanghai as a young boy.” The monumental steel-beam sculptures seem to draw an extra resonance from their juxtaposition with the Golden Gate Bridge.\u003c/p>\n\u003cp>\u003ca href=\"http://www.headlands.org/\">Headlands Center for the Arts\u003c/a> was allowed to remain open, but the park it lives in is closed. Seair Lorentz, communications and outreach manager at the center, says the situation has led to “general confusion from our constituencies.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lauren Chavez, of the \u003ca href=\"http://www.weplayers.org/\">We Players\u003c/a> theater group, had to send this message to ticket holders, who still don’t know where or if the show will go on: “Our current production of \u003ci>Macbeth\u003c/i> is built very carefully and conscientiously into Fort Point, the Civil War era fortress beneath the Golden Gate Bridge. For over a year we have been integrating our work into that unique physical, sonic and energetic landscape. Because of the government shutdown we have been blocked from our stage, our most prominent scene partner and creative inspiration.”\u003c/p>\n\u003cp>San Francisco is also home to several NEA-funded arts education organizations, such as Streetside Stories and Performing Arts Workshop, whose upcoming grantee meeting in Washington, D.C., was cancelled. Securing airfare refunds is a challenge, and any amount of rescheduling impacts precious staff resources for organizations with lean budgets. Streetside’s Linda Johnson expressed gratitude for the NEA’s support but added, “To launch our new project, we are already fronting thousands of dollars in project expenses.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A small silver lining was pointed out by Leap’s McDonald, who heard that several schools were using the sand castle shutdown as an occasion for a civics lesson: “They’re using this situation as a teaching opportunity in community involvement, and are having their students write letters to their representatives, urging the federal government to get back on track.” You don’t have to be old enough to vote to recognize that the federal government needs to get their heads out of the sand.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/126964/the_government_shuts_down_art_in_san_francisco",
"authors": [
"16"
],
"categories": [
"arts_70"
],
"featImg": "arts_10126964",
"label": "arts"
},
"arts_126095": {
"type": "posts",
"id": "arts_126095",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "126095",
"score": null,
"sort": [
1379541329000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1379541329,
"format": "standard",
"title": "Ryan McGinley's (Wholesome) Wall of Flesh",
"headTitle": "Ryan McGinley’s (Wholesome) Wall of Flesh | KQED",
"content": "\u003cp>It has been a decade since Ryan MGinley’s debut museum show at the Whitney in New York. He was 25 at the time, notably young to have a solo exhibition there, and while his current show at Ratio 3 is by no means a survey, it is called \u003cb>Yearbook\u003c/b>, and by title invokes the idea of retrospective thinking. McGinley is best known for his photographs derived from infamous road trips in which he brings a team of youthful models into all corners of the American landscape and snaps them, naked in the wild. The contrast of skin and the elements often evokes a palpable sense of freedom, vulnerability, and youthful abandon fueled by physical exertion and endorphins. They run, they jump, they roller skate, they hang from trees. They have a blast.\u003c/p>\n\u003cp>\u003cb>Yearbook\u003c/b> is an offshoot of McGinley’s road trips. It features three-years’ worth of his portraits, pictures that sometimes come from his casting calls — he has a casting agent as part of his team. The show includes hundreds of poster-size portraits of men and women, most of whom seem to have recently passed into adulthood, are impossibly thin, and have a predilection for amateur tattoos, posing nude against vibrant, single colored backdrops. The images are wheat-pasted from floor to nearly the gallery’s high ceiling, one photo over another, an experiment in installing his work inspired by the gallery’s scale. The result might be described as a wall of flesh.\u003c/p>\n\u003cp>Yet that term doesn’t quite jibe with the underlying innocence and genuine positive vibes of the seemingly uber-hip models, or McGinley’s visually arresting means of capturing his subjects. You have to wonder what kind of person is able to coax so many people out of their clothes — getting their naked selves out onto craggy bluffs, scratchy wheat fields, or the relative comfort of a photo studio. In conversation during the Ratio 3 installation, the New York-based artist exudes a calm charisma, and a disarming focus as he describes his process, and the stories he’s gleaned from his subjects during shoots.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/23/mcginstall.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ryan McGinley, \u003ci>Yearbook\u003c/i>, Installation view\u003c/p>\n\u003cp>He explains that the portraits are the result of casting sessions, some serving as auditions for his legendary road trips (he just did one traveling through thirty-five states with teams of models for photos that will be shown this winter in other shows), others resulting in just studio works. “Casting is fun for me,” he says with a smile. “I like the idea of finding someone who wouldn’t necessarily think of themselves as a model. Everyone is a musician, a painter, or a performer. They’re all involved creatively. They are the people who get what I do.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a behind-the-scenes publication, he writes, aptly in longhand, “I want my photographs to look like The Rolling Stones sound.” He apparently hits that mark, as he has the popularity of front-man to a successful band with street cred — his exhibition openings typically attract mobs of folks who resemble the people in his pictures.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mcg.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>The scene might not appeal to everyone. McGinley’s consistent focus on youth, and a limited demographic range of ethnicities, however, might make older viewers feel uncomfortable or even voyeuristic. Does he get flack for this vision? “People have definitely asked me about it before,” he says, pausing. “I don’t know what to say about that; it’s my subject. It’s what I am interested in.”\u003c/p>\n\u003cp>It’s tempting to think of his work anthropologically, as a picture of a generation, though McGinley is an active participant (in that behind-the-scenes publication, he’s seen in states of undress with everyone else). He is a magnetic people person, and thrives on the stories they tell him about their lives. Walking through the show, he adds anecdotes about many of them: A gay Rasta guy whose family won’t accept his identity; a woman who just had abdominal surgery; “That guy’s dad is a rapper; that guy works in my gallery in New York; I like her because of her hairy armpits,” he says.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/23/mcginstall2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ryan McGinley, \u003ci>Yearbook\u003c/i>, Installation view\u003c/p>\n\u003cp>As we talk, cameras on tripods clicked in the service of a time-lapse record of the show’s making. Our conversation was being videotaped by one of his assistants, and he had a tiny mic clipped inside his collar. He’s been recording each photo shoot, interview, and opening reception for the last decade. To some, this may seem sinister or narcissistic, but McGinley’s emphasis is far more experiential than cultural critique. As his inspiration, he points to Andy Warhol’s practice of archiving a group of people, and the idea that he’ll one day be able to make a film of his practice, to perhaps reveal it as more of a conceptual project. The material will also offer a treasure trove of information to future McGinley scholars. The practice seems to be the hallmark of a generation that is comfortable with media’s ubiquitous presence. Unlike Warhol, McGinley doesn’t seem cynical about what media does. It is a tool, a means of creating images, and living a particular lifestyle.\u003c/p>\n\u003cp>“Overall, I think my work is pretty hopeful and positive. I’m never focused on despair or sadness. With energy comes positivity. I like it when people are moving, and I don’t know what I’m going to get.” It’s that trust in the experience that is responsible for some of his work’s appeal — and perhaps the thing that will propel it forward.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ryan McGinley: Yearbook\u003c/b> is on view through October 19, 2013 at Ratio 3 in San Francisco. For \u003ca href=\"http://www.ratio3.org/exhibitions/2013/ryan-mcginley-yearbook\">more information\u003c/a>, visit ratio3.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1008,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705049712,
"excerpt": "McGinley is best known for his photographs in which he brings a team of youthful models into all corners of the American landscape and snaps them, naked in the wild. They run, they jump, they roller skate, they hang from trees. They have a blast.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "McGinley is best known for his photographs in which he brings a team of youthful models into all corners of the American landscape and snaps them, naked in the wild. They run, they jump, they roller skate, they hang from trees. They have a blast.",
"title": "Ryan McGinley's (Wholesome) Wall of Flesh | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ryan McGinley's (Wholesome) Wall of Flesh",
"datePublished": "2013-09-18T14:55:29-07:00",
"dateModified": "2024-01-12T00:55:12-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ryan_mcginleys_wholesome_wall_of_flesh",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/",
"sticky": false,
"path": "/arts/126095/ryan_mcginleys_wholesome_wall_of_flesh",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It has been a decade since Ryan MGinley’s debut museum show at the Whitney in New York. He was 25 at the time, notably young to have a solo exhibition there, and while his current show at Ratio 3 is by no means a survey, it is called \u003cb>Yearbook\u003c/b>, and by title invokes the idea of retrospective thinking. McGinley is best known for his photographs derived from infamous road trips in which he brings a team of youthful models into all corners of the American landscape and snaps them, naked in the wild. The contrast of skin and the elements often evokes a palpable sense of freedom, vulnerability, and youthful abandon fueled by physical exertion and endorphins. They run, they jump, they roller skate, they hang from trees. They have a blast.\u003c/p>\n\u003cp>\u003cb>Yearbook\u003c/b> is an offshoot of McGinley’s road trips. It features three-years’ worth of his portraits, pictures that sometimes come from his casting calls — he has a casting agent as part of his team. The show includes hundreds of poster-size portraits of men and women, most of whom seem to have recently passed into adulthood, are impossibly thin, and have a predilection for amateur tattoos, posing nude against vibrant, single colored backdrops. The images are wheat-pasted from floor to nearly the gallery’s high ceiling, one photo over another, an experiment in installing his work inspired by the gallery’s scale. The result might be described as a wall of flesh.\u003c/p>\n\u003cp>Yet that term doesn’t quite jibe with the underlying innocence and genuine positive vibes of the seemingly uber-hip models, or McGinley’s visually arresting means of capturing his subjects. You have to wonder what kind of person is able to coax so many people out of their clothes — getting their naked selves out onto craggy bluffs, scratchy wheat fields, or the relative comfort of a photo studio. In conversation during the Ratio 3 installation, the New York-based artist exudes a calm charisma, and a disarming focus as he describes his process, and the stories he’s gleaned from his subjects during shoots.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/23/mcginstall.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ryan McGinley, \u003ci>Yearbook\u003c/i>, Installation view\u003c/p>\n\u003cp>He explains that the portraits are the result of casting sessions, some serving as auditions for his legendary road trips (he just did one traveling through thirty-five states with teams of models for photos that will be shown this winter in other shows), others resulting in just studio works. “Casting is fun for me,” he says with a smile. “I like the idea of finding someone who wouldn’t necessarily think of themselves as a model. Everyone is a musician, a painter, or a performer. They’re all involved creatively. They are the people who get what I do.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a behind-the-scenes publication, he writes, aptly in longhand, “I want my photographs to look like The Rolling Stones sound.” He apparently hits that mark, as he has the popularity of front-man to a successful band with street cred — his exhibition openings typically attract mobs of folks who resemble the people in his pictures.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mcg.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>The scene might not appeal to everyone. McGinley’s consistent focus on youth, and a limited demographic range of ethnicities, however, might make older viewers feel uncomfortable or even voyeuristic. Does he get flack for this vision? “People have definitely asked me about it before,” he says, pausing. “I don’t know what to say about that; it’s my subject. It’s what I am interested in.”\u003c/p>\n\u003cp>It’s tempting to think of his work anthropologically, as a picture of a generation, though McGinley is an active participant (in that behind-the-scenes publication, he’s seen in states of undress with everyone else). He is a magnetic people person, and thrives on the stories they tell him about their lives. Walking through the show, he adds anecdotes about many of them: A gay Rasta guy whose family won’t accept his identity; a woman who just had abdominal surgery; “That guy’s dad is a rapper; that guy works in my gallery in New York; I like her because of her hairy armpits,” he says.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/23/mcginstall2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ryan McGinley, \u003ci>Yearbook\u003c/i>, Installation view\u003c/p>\n\u003cp>As we talk, cameras on tripods clicked in the service of a time-lapse record of the show’s making. Our conversation was being videotaped by one of his assistants, and he had a tiny mic clipped inside his collar. He’s been recording each photo shoot, interview, and opening reception for the last decade. To some, this may seem sinister or narcissistic, but McGinley’s emphasis is far more experiential than cultural critique. As his inspiration, he points to Andy Warhol’s practice of archiving a group of people, and the idea that he’ll one day be able to make a film of his practice, to perhaps reveal it as more of a conceptual project. The material will also offer a treasure trove of information to future McGinley scholars. The practice seems to be the hallmark of a generation that is comfortable with media’s ubiquitous presence. Unlike Warhol, McGinley doesn’t seem cynical about what media does. It is a tool, a means of creating images, and living a particular lifestyle.\u003c/p>\n\u003cp>“Overall, I think my work is pretty hopeful and positive. I’m never focused on despair or sadness. With energy comes positivity. I like it when people are moving, and I don’t know what I’m going to get.” It’s that trust in the experience that is responsible for some of his work’s appeal — and perhaps the thing that will propel it forward.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ryan McGinley: Yearbook\u003c/b> is on view through October 19, 2013 at Ratio 3 in San Francisco. For \u003ca href=\"http://www.ratio3.org/exhibitions/2013/ryan-mcginley-yearbook\">more information\u003c/a>, visit ratio3.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/126095/ryan_mcginleys_wholesome_wall_of_flesh",
"authors": [
"79"
],
"categories": [
"arts_70"
],
"featImg": "arts_10126095",
"label": "arts"
},
"arts_126027": {
"type": "posts",
"id": "arts_126027",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "126027",
"score": null,
"sort": [
1379453627000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1379453627,
"format": "standard",
"title": "Good Things Require Money: THE THING Quarterly's 'Moment to Moment'",
"headTitle": "Good Things Require Money: THE THING Quarterly’s ‘Moment to Moment’ | KQED",
"content": "\u003cp>If you’ve boarded a train at the Castro Muni station since mid-July, or spent time near the intersection of Market and 16th Streets, you may have noticed the large text panels and billboard installations currently on view and wondered what you were looking at. Well, wonder no more. San Francisco-based artists Jonn Herschend and Will Rogan have temporarily intervened in our daily comings and goings with \u003cb>Moment to Moment\u003c/b>, the latest installment in the ongoing project THE THING Quarterly, on view first in San Francisco and later in New York City, London, Los Angeles, and Tokyo. (Though the San Francisco exhibition was scheduled to be up July 22 – August 18, as of this writing it was still on view in the Castro Muni station, though how long it will remain is anyone’s guess. Companies that own public ad space will often wait until the next campaign is ready before swapping out the old one.)\u003c/p>\n\u003cp>What is THE THING Quarterly? Broadly described, it is a publication… with a twist. Each iteration of THE THING is conceived of and executed by different collaborators. Since its inception in 2009, an impressive roster of artists and writers have contributed, including Miranda July, Allora & Calzadilla, Dave Eggers, Tauba Auerbach, and the annoyingly ubiquitous James Franco. Each project produces a useful object, such as Eggers’ readable shower curtain, July’s forlornly notated window shade, and a switchblade Franco commissioned to honor the memory of friend and fellow actor Brad Renfro. Through subscriptions and sales of these unique items, Herschend and Rogan have established both a sustainable business model for small arts institutions, and thrown a wrench into our thinking about the form and lifespan of a “publication.” For \u003cb>Moment to Moment\u003c/b>, Herschend and Rogan drew from the work of conceptual artist Dan Graham, who was inspired by the musings of the 19th-century French poet Stéphane Mallarmé, who considered the book as a performative, collective experience. Between 1966 and 1968, Graham co-opted commercial advertising space in publications as wildly different as \u003ci>Harper’s Bazaar\u003c/i> and \u003ci>The New York Review of Sex\u003c/i>. In each instance, he drew attention to text-based work and proposed that publications, conservative or radical, were ideal locations for intervention.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thing-shows.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Billboard by Leslie Shows (16th & Market, SF)\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thing-kine.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Castro Muni Train Station, Starlee Kine\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thing-omalley.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Susan O’Malley, \u003ci>Right Now\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003cb>Moment to Moment\u003c/b> brings the “art as media” model up to date, utilizing multiple platforms including print, billboards, animation, film, painting, and photography. For these impermanent interventions, Herschend and Rogan selected artists with whom they’ve worked and whose practice supports the idea of an interactive, transitory publication. In the Castro Street station, Starlee Kine and Dave Muller’s playful, vaguely angst-infused musings are presented as two large floor pieces sited on both inbound and outbound platforms. Opposite the text pieces, on billboards usually occupied by advertisements, is the work of Susan O’Malley and Harrell Fletcher. Taken individually and as a group installation, the pieces offer relief from our otherwise frantic daily agendas. O’Malley’s colorful, graphically oriented pieces reroute my speeding thought train back to the moment at hand. Editions that will soon roll out in Los Angeles, New York, Tokyo and online feature the work of John Rubin, Anthony Discenza, and Kota Ezawa and offer the same momentary respite, encouraging us to slow down, finish a thought, take time to talk with a friend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thing-fletcher.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Harrell Fletcher, \u003ci>Hello There Friend\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thing-discenza.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Anthony Discenza, \u003ci>Advisory #1: Feasibility Studies\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Over the course of several emails, Jonn Herschend graciously fielded numerous questions about the origin of the project, and the decision to join forces with a corporate sponsor, Levi’s Made & Crafted. It is obvious that all parties involved want to see the varied visual components of this project well represented and their creators acknowledged for their contributions, and that goal was achieved. It’s also apparent that the promotion of Levi’s brand name was important, and that’s frustrating. We — art consumers — are accustomed to large institutions partnering with corporate entities to present exhibitions. Without Charles Schwab, Wells Fargo, and others on board, most museums could not afford the near-staggering costs associated with mounting major shows. It stands to reason, then, that another corporate-sponsored art installations would not raise any eyebrows.\u003c/p>\n\u003cp>In this instance, however, the THING/Levi’s Made & Crafted union is troublesome, if only because the partnership defies the critique posited by Dan Graham and others including Joseph Kosuth, Adrian Piper, and Robert Heinecken whose work interrogated pervasive consumer culture. As historian Gwen Allen states in her contribution to \u003cb>Moment to Moment\u003c/b>, which is accessible both online and in print, Graham and others had solidly anti-establishment motives in mind when the means and execution of placing their work in the public realm was undertaken. By comparison, the latest offering by THE THING reads more as promotion than subtle provocation to thought.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Moment to Moment\u003c/b> is on view in various cities and online. For \u003ca href=\"http://www.goodthingstaketime.com/\">more information\u003c/a>, visit goodthingstaketime.com\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 868,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705049717,
"excerpt": "THE THING is a quarterly \"publication\" designed by guest artists that has taken many forms: from James Franco's switchblade to Miranda July's window shades. With \u003cb>Moment to Moment\u003c/b>, the latest edition is in billboard form, providing its own unique take on advertising.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "THE THING is a quarterly "publication" designed by guest artists that has taken many forms: from James Franco's switchblade to Miranda July's window shades. With Moment to Moment, the latest edition is in billboard form, providing its own unique take on advertising.",
"title": "Good Things Require Money: THE THING Quarterly's 'Moment to Moment' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Good Things Require Money: THE THING Quarterly's 'Moment to Moment'",
"datePublished": "2013-09-17T14:33:47-07:00",
"dateModified": "2024-01-12T00:55:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "good_things_require_money_the_thing_quarterlys_moment_to_moment",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/",
"sticky": false,
"path": "/arts/126027/good_things_require_money_the_thing_quarterlys_moment_to_moment",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve boarded a train at the Castro Muni station since mid-July, or spent time near the intersection of Market and 16th Streets, you may have noticed the large text panels and billboard installations currently on view and wondered what you were looking at. Well, wonder no more. San Francisco-based artists Jonn Herschend and Will Rogan have temporarily intervened in our daily comings and goings with \u003cb>Moment to Moment\u003c/b>, the latest installment in the ongoing project THE THING Quarterly, on view first in San Francisco and later in New York City, London, Los Angeles, and Tokyo. (Though the San Francisco exhibition was scheduled to be up July 22 – August 18, as of this writing it was still on view in the Castro Muni station, though how long it will remain is anyone’s guess. Companies that own public ad space will often wait until the next campaign is ready before swapping out the old one.)\u003c/p>\n\u003cp>What is THE THING Quarterly? Broadly described, it is a publication… with a twist. Each iteration of THE THING is conceived of and executed by different collaborators. Since its inception in 2009, an impressive roster of artists and writers have contributed, including Miranda July, Allora & Calzadilla, Dave Eggers, Tauba Auerbach, and the annoyingly ubiquitous James Franco. Each project produces a useful object, such as Eggers’ readable shower curtain, July’s forlornly notated window shade, and a switchblade Franco commissioned to honor the memory of friend and fellow actor Brad Renfro. Through subscriptions and sales of these unique items, Herschend and Rogan have established both a sustainable business model for small arts institutions, and thrown a wrench into our thinking about the form and lifespan of a “publication.” For \u003cb>Moment to Moment\u003c/b>, Herschend and Rogan drew from the work of conceptual artist Dan Graham, who was inspired by the musings of the 19th-century French poet Stéphane Mallarmé, who considered the book as a performative, collective experience. Between 1966 and 1968, Graham co-opted commercial advertising space in publications as wildly different as \u003ci>Harper’s Bazaar\u003c/i> and \u003ci>The New York Review of Sex\u003c/i>. In each instance, he drew attention to text-based work and proposed that publications, conservative or radical, were ideal locations for intervention.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thing-shows.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Billboard by Leslie Shows (16th & Market, SF)\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thing-kine.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Castro Muni Train Station, Starlee Kine\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thing-omalley.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Susan O’Malley, \u003ci>Right Now\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003cb>Moment to Moment\u003c/b> brings the “art as media” model up to date, utilizing multiple platforms including print, billboards, animation, film, painting, and photography. For these impermanent interventions, Herschend and Rogan selected artists with whom they’ve worked and whose practice supports the idea of an interactive, transitory publication. In the Castro Street station, Starlee Kine and Dave Muller’s playful, vaguely angst-infused musings are presented as two large floor pieces sited on both inbound and outbound platforms. Opposite the text pieces, on billboards usually occupied by advertisements, is the work of Susan O’Malley and Harrell Fletcher. Taken individually and as a group installation, the pieces offer relief from our otherwise frantic daily agendas. O’Malley’s colorful, graphically oriented pieces reroute my speeding thought train back to the moment at hand. Editions that will soon roll out in Los Angeles, New York, Tokyo and online feature the work of John Rubin, Anthony Discenza, and Kota Ezawa and offer the same momentary respite, encouraging us to slow down, finish a thought, take time to talk with a friend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thing-fletcher.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Harrell Fletcher, \u003ci>Hello There Friend\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thing-discenza.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Anthony Discenza, \u003ci>Advisory #1: Feasibility Studies\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Over the course of several emails, Jonn Herschend graciously fielded numerous questions about the origin of the project, and the decision to join forces with a corporate sponsor, Levi’s Made & Crafted. It is obvious that all parties involved want to see the varied visual components of this project well represented and their creators acknowledged for their contributions, and that goal was achieved. It’s also apparent that the promotion of Levi’s brand name was important, and that’s frustrating. We — art consumers — are accustomed to large institutions partnering with corporate entities to present exhibitions. Without Charles Schwab, Wells Fargo, and others on board, most museums could not afford the near-staggering costs associated with mounting major shows. It stands to reason, then, that another corporate-sponsored art installations would not raise any eyebrows.\u003c/p>\n\u003cp>In this instance, however, the THING/Levi’s Made & Crafted union is troublesome, if only because the partnership defies the critique posited by Dan Graham and others including Joseph Kosuth, Adrian Piper, and Robert Heinecken whose work interrogated pervasive consumer culture. As historian Gwen Allen states in her contribution to \u003cb>Moment to Moment\u003c/b>, which is accessible both online and in print, Graham and others had solidly anti-establishment motives in mind when the means and execution of placing their work in the public realm was undertaken. By comparison, the latest offering by THE THING reads more as promotion than subtle provocation to thought.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Moment to Moment\u003c/b> is on view in various cities and online. For \u003ca href=\"http://www.goodthingstaketime.com/\">more information\u003c/a>, visit goodthingstaketime.com\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/126027/good_things_require_money_the_thing_quarterlys_moment_to_moment",
"authors": [
"77"
],
"categories": [
"arts_70"
],
"featImg": "arts_10126027",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=visualarts": {
"isFetching": false,
"latestQuery": {
"from": 2028,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2478,
"relation": "eq"
},
"items": [
"arts_131039",
"arts_130516",
"arts_130175",
"arts_129604",
"arts_129551",
"arts_10136047",
"arts_10134695",
"arts_127849",
"arts_127032",
"arts_126964",
"arts_126095",
"arts_126027"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_visualarts": {
"isLoading": true
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_342": {
"type": "terms",
"id": "arts_342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Help Desk",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Help Desk Archives | KQED Arts",
"ogDescription": null
},
"ttid": 343,
"slug": "helpdesk",
"isLoading": false,
"link": "/arts/tag/helpdesk"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
