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_10085043": {
"type": "attachments",
"id": "arts_10085043",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10085043",
"found": true
},
"parent": 85043,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/02/warholpolaroid-248.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/02/warholpolaroid-248-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/02/warholpolaroid-248-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/02/warholpolaroid-248-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/02/warholpolaroid-248-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/02/warholpolaroid-248-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1329435483,
"modified": 1329435483,
"caption": null,
"description": null,
"title": "Warhol's Polaroids and Warner and Johnson's Tables of Content at BAM-\u003cem>Frau Buch\u003c/em>, Andy Warhol, 12/1980; Gift of the Andy Warhol Foundation for the Visual Arts.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10084578": {
"type": "attachments",
"id": "arts_10084578",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10084578",
"found": true
},
"parent": 84578,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/02/CarlJungKQED248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/02/CarlJungKQED248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/02/CarlJungKQED248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/02/CarlJungKQED248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/02/CarlJungKQED248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/02/CarlJungKQED248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1329160851,
"modified": 1329160851,
"caption": null,
"description": null,
"title": "Help Desk: Starting Again-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10083842": {
"type": "attachments",
"id": "arts_10083842",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10083842",
"found": true
},
"parent": 83842,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/02/hd-school-rec6.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/02/hd-school-rec6-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1328564509,
"modified": 1328564509,
"caption": null,
"description": null,
"title": "Help Desk: School Daze-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10083754": {
"type": "attachments",
"id": "arts_10083754",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10083754",
"found": true
},
"parent": 83754,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/02/foxfur248.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/02/foxfur248-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/02/foxfur248-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/02/foxfur248-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/02/foxfur248-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/02/foxfur248-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1328469646,
"modified": 1328469646,
"caption": null,
"description": null,
"title": "Flannel and Fur-Danny Keith, \u003cem>Fox Fur No. 2\u003c/em>, 2011.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10083018": {
"type": "attachments",
"id": "arts_10083018",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10083018",
"found": true
},
"parent": 83018,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/hdno248.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/hdno248-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/hdno248-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/hdno248-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/hdno248-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/hdno248-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1327896249,
"modified": 1327896249,
"caption": null,
"description": null,
"title": "Help Desk: The Answer Is No-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10082734": {
"type": "attachments",
"id": "arts_10082734",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10082734",
"found": true
},
"parent": 82734,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/nonesuch-2485.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/nonesuch-2485-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1327629784,
"modified": 1327629784,
"caption": null,
"description": null,
"title": "Royal NoneSuch Gallery Redefines Alternative with Space, Time and Architecture-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10082252": {
"type": "attachments",
"id": "arts_10082252",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10082252",
"found": true
},
"parent": 82252,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/hd3248.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/hd3248-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/hd3248-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/hd3248-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/hd3248-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/hd3248-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1327282018,
"modified": 1327282018,
"caption": null,
"description": null,
"title": "Help Desk: Not Enough/Too Much?-Nathan Lynch, \u003ci>Alternative Therapies\u003c/i>, 2010.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10081885": {
"type": "attachments",
"id": "arts_10081885",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10081885",
"found": true
},
"parent": 81885,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/recology-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/recology-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/recology-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/recology-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/recology-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/recology-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1326939775,
"modified": 1326939775,
"caption": null,
"description": null,
"title": "Recology San Francisco Enables Artists to 'Make Art, Not Landfill'-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10081641": {
"type": "attachments",
"id": "arts_10081641",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10081641",
"found": true
},
"parent": 81641,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/transbay-248.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/transbay-248-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/transbay-248-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/transbay-248-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/transbay-248-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/transbay-248-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1326749353,
"modified": 1326749353,
"caption": null,
"description": null,
"title": "San Francisco History Beneath the Future Transbay Terminal-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10081629": {
"type": "attachments",
"id": "arts_10081629",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10081629",
"found": true
},
"parent": 81629,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/hd-bueller.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/hd-bueller-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/hd-bueller-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/hd-bueller-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/hd-bueller-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/hd-bueller-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1326746874,
"modified": 1326746874,
"caption": null,
"description": null,
"title": "Help Desk: Extracurricular (!) Activities-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10081263": {
"type": "attachments",
"id": "arts_10081263",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10081263",
"found": true
},
"parent": 81263,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/coit-248.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/coit-248-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/coit-248-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/coit-248-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/coit-248-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/coit-248-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1326419245,
"modified": 1326419245,
"caption": null,
"description": null,
"title": "Depression Art in Jeopardy?-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10080910": {
"type": "attachments",
"id": "arts_10080910",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10080910",
"found": true
},
"parent": 80910,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/helpdesk-248.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/helpdesk-248-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/helpdesk-248-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/helpdesk-248-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/helpdesk-248-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2012/01/helpdesk-248-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1326145134,
"modified": 1326145134,
"caption": null,
"description": null,
"title": "Help Desk: On Collaboration and Curating-",
"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": {
"byline_arts_85043": {
"type": "authors",
"id": "byline_arts_85043",
"meta": {
"override": true
},
"slug": "byline_arts_85043",
"name": "Melony Bravmann",
"isLoading": false
},
"byline_arts_83754": {
"type": "authors",
"id": "byline_arts_83754",
"meta": {
"override": true
},
"slug": "byline_arts_83754",
"name": "Mary Anne Kluth",
"isLoading": false
},
"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"
},
"smichels": {
"type": "authors",
"id": "71",
"meta": {
"index": "authors_1716337520",
"id": "71",
"found": true
},
"name": "Spencer Michels",
"firstName": "Spencer",
"lastName": "Michels",
"slug": "smichels",
"email": "smichels@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Spencer Michels, correspondent and producer in the San Francisco office of the \u003ci>PBS NewsHour\u003c/i>, began reporting stories for the broadcast in 1983, while still anchor and correspondent for KQED. A native of San Francisco, he graduated from Princeton University's Woodrow Wilson School of Public and International Affairs in 1959 and then received his master's from Columbia University's Graduate School of Journalism.Michels began his professional career as a reporter with the \u003ci>Palo Alto Times\u003c/i>, and then moved to KCRA in Sacramento. In addition to general reporting, anchoring and producing, he traveled around the world doing stories ranging from the Vietnam War and the Israeli war with Egypt, to socialized medicine in Scandinavia and bureaucracy in Italy. After working on news and documentary programs at the public station, KQED, for several years, he joined the \u003ci>NewsHour\u003c/i> full time in 1991. Since then, he has produced hundreds of 5 to 10 minute reports on all manner of issues, including health, environment, science, politics, economics and arts. He has won several Emmys and other awards.He lives in Marin County with his wife, Roberta. They have three grown children and three grandchildren.",
"avatar": "https://secure.gravatar.com/avatar/98c09e23461dbf866940adf5b6b1c1cb?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Spencer Michels | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/98c09e23461dbf866940adf5b6b1c1cb?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/98c09e23461dbf866940adf5b6b1c1cb?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/smichels"
},
"bgilsdorf": {
"type": "authors",
"id": "12027",
"meta": {
"index": "authors_1716337520",
"id": "12027",
"found": true
},
"name": "Bean Gilsdorf",
"firstName": "Bean",
"lastName": "Gilsdorf",
"slug": "bgilsdorf",
"email": "beangilsdorf@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/39e61196b9066e59a790b9d1099f0a7cee1d0dd8d78bf964bf09963069f3c991?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Bean Gilsdorf | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/39e61196b9066e59a790b9d1099f0a7cee1d0dd8d78bf964bf09963069f3c991?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/39e61196b9066e59a790b9d1099f0a7cee1d0dd8d78bf964bf09963069f3c991?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/bgilsdorf"
}
},
"pagesReducer": {
"arts_category_visualarts": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"score": 14.40822
},
"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": 182
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=visualarts",
"seeMore": false,
"paginated": true,
"page": 182
}
},
{
"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_85043": {
"type": "posts",
"id": "arts_85043",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "85043",
"score": null,
"sort": [
1329435483000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1329435483,
"format": "standard",
"title": "Warhol's Polaroids and Warner and Johnson's Tables of Content at BAM",
"headTitle": "Warhol’s Polaroids and Warner and Johnson’s Tables of Content at BAM | KQED",
"content": "\u003cp>Between 1970 and 1987, Andy Warhol took thousands of pictures using his Polaroid Big Shot — a camera designed specifically for portraits, with a fixed focal distance of about four feet — capturing a variety of subjects, including intimate, closely cropped portraits. Many of these images were subsequently used in Warhol’s silkscreened paintings and prints. Eight years earlier, in 1962, the artist Ray Johnson, a lesser-known contemporary of Warhol who has been called the initiator of mail art, started his network of art-by-post, the New York Correspondance School (deliberately misspelled by the artist). Johnson’s “school” and correspondence-based art projects continued until his death in 1995.\u003c/p>\n\u003cp>Two new MATRIX exhibitions, \u003cem>Andy Warhol: Polaroids\u003c/em> and \u003cem>Tables of Content: Ray Johnson and Robert Warner Bob Box Archive\u003c/em>, present these artists side by side, in a single gallery space separated by a sheer black screen. The arrangement invites the viewer to compare the work of these contemporaries, and there are interesting parallels between them despite the obvious material and formal differences of their respective practices. Most noticeable in the work on view at UC Berkeley Art Museum (BAM/PFA) is Warhol’s and Johnson’s shared preoccupation with wealth and celebrity, subjects they each treat with fascination and unease.\u003c/p>\n\u003cp>Drawing on the more than one hundred Polaroids and gelatin-silver prints that comprise a gift to BAM/PFA from the Andy Warhol Foundation, curators Stephanie Cannizzo and Fabian Leyva-Barragan selected forty Polaroids, representing an array of Warhol’s “beautiful people,” a mix of famous faces and virtual unknowns who met Warhol’s loose criteria (he maintained that every person he met was a beauty).\u003csup>1\u003c/sup> Warhol would take up to hundreds of shots to get just the right image, and each portrait is a document of the intimate exchange between sitter and photographer.\u003c/p>\n\u003cp>That Warhol would consider subjects who were slightly defeated and fragile is exemplified in an ambiguous portrait, \u003cem>Frau Buch\u003c/em> (1980). Frau Buch’s painted red lips yield a slight, apprehensive smile. Her curly black hair echoes the fur of the poodle she clutches. Warhol has captured the vulnerability of a sitter who appears uncomfortable in front of a camera but wants to be seen nonetheless. In contrast are the Polaroids of an arts patron, \u003cem>Daryl Lillie\u003c/em> (1978), who wears the thick white stage makeup that Warhol consistently used for female sitters to soften the flash and conceal wrinkles. The makeup’s effect flattens the image and acts like a mask, a barrier between Lillie and the camera. Despite Lillie’s awkward, caked makeup, with splotches of it visible on her chest, her gaze remains open and confident. She appears comfortable in front of the camera and in Warhol’s presence.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://www.artpractical.com/images/uploads/3.9_Ray-Johnson-ManOWar.jpg\" title=\"Ray-Johnson-ManOWar\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003cem>Man O’War\u003c/em>, Ray Johnson, 1971, 1988, 1994; Museum purchase, bequest of Phoebe Apperson Hearst, by exchange.\u003cbr>\u003c/center>\n\u003cp>Like Warhol’s oeuvre, Johnson’s work is filled with references to art world and Hollywood celebrities, but his approach is distinctly iconoclastic. In keeping with Johnson’s offhand aesthetic, the display of his \u003cem>Bob Box Archive\u003c/em> is quite casual. Hundreds of offbeat items (letters, beach toys, garbage, and everyday objects) are arranged, stacked, and piled on an assortment of tables in the center of the gallery. On one table, discarded items — including an old pair of sunglasses, pieces of rope, a dirty glove, and rocks — are piled high atop a tattered fragment of an American flag.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Johnson pokes fun at major art world figures and movements, eschewing allegiance to any of them. On the right wall of the gallery, a row of letters between Johnson and the optician Robert Warner includes images of movie stars or artists such as James Dean or Jackson Pollock that are photocopied, scribbled over, and written on. A drawing of a bunny sporting a large hoop earring is assigned the name Max Ernst. It hangs between a drawing of Philip Guston’s upside-down bathtub and a collage that combines a newspaper clipping of a chimpanzee sitting in a restaurant with an image of a bicycle seat.\u003c/p>\n\u003cp>Bunny motifs are an ongoing theme for Johnson. One letter to Warner is composed of a grid of cute bunnies with the names of famous and unknown people assigned to each one. Cartoon speech bubbles along the top announce the “Locust Valley Biennale 1990” (after he was mugged in New York in 1968, Johnson retreated to the quiet suburb of Locust Valley). Johnson and Warner are included in the cast of bunnies, along with a mix of names from high and low culture, including Christo, Gary Larson, John Tesh, Betsey Johnson, Louise Bourgeois, and Sean Penn.\u003c/p>\n\u003cp>Warhol’s and Johnson’s artworks reveal their complicated and conflicted relationships to the elite, powerful, and influential figures who frequently appear as subjects of their admiration and derision. The intimate quality of Warhol’s Polaroid portraits relies heavily on the relationship he cultivated with each subject, and it is this intimacy that makes them unique within his body of work. Meanwhile, Johnson’s commentary on New York’s art and social scenes is so readily transparent because of the distance he kept from those worlds.\u003c/p>\n\u003cp>\u003cem>Andy Warhol: Polaroids\u003c/em> and \u003cem>Tables of Content: Ray Johnson and Robert Warner Bob Box Archive\u003c/em> are on view at UC Berkeley Art Museum through May 20, 2012. For \u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"font-size: 80%\">_______\u003cbr>NOTES:\u003cbr>1. Andy Warhol, \u003cem>The Philosophy of Andy Warhol\u003c/em>: \u003cem>(From A to B and Back Again)\u003c/em> (San Diego: Harcourt Brace Jovanovich, 1975), 61.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 945,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705050911,
"excerpt": "Two new Matrix exhibitions, \u003ci>Andy Warhol: Polaroids\u003c/i> and \u003ci>Tables of Content: Ray Johnson and Robert Warner Bob Box Archive\u003c/i>, present these artists side-by-side, in a single gallery space separated by a sheer black screen.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Two new Matrix exhibitions, Andy Warhol: Polaroids and Tables of Content: Ray Johnson and Robert Warner Bob Box Archive, present these artists side-by-side, in a single gallery space separated by a sheer black screen.",
"title": "Warhol's Polaroids and Warner and Johnson's Tables of Content at BAM | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Warhol's Polaroids and Warner and Johnson's Tables of Content at BAM",
"datePublished": "2012-02-16T15:38:03-08:00",
"dateModified": "2024-01-12T01:15:11-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "polaroids_matrix_240_and_tables_of_content_matrix_241",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/programs/artpractical/",
"nprByline": "Melony Bravmann",
"sticky": false,
"path": "/arts/85043/polaroids_matrix_240_and_tables_of_content_matrix_241",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Between 1970 and 1987, Andy Warhol took thousands of pictures using his Polaroid Big Shot — a camera designed specifically for portraits, with a fixed focal distance of about four feet — capturing a variety of subjects, including intimate, closely cropped portraits. Many of these images were subsequently used in Warhol’s silkscreened paintings and prints. Eight years earlier, in 1962, the artist Ray Johnson, a lesser-known contemporary of Warhol who has been called the initiator of mail art, started his network of art-by-post, the New York Correspondance School (deliberately misspelled by the artist). Johnson’s “school” and correspondence-based art projects continued until his death in 1995.\u003c/p>\n\u003cp>Two new MATRIX exhibitions, \u003cem>Andy Warhol: Polaroids\u003c/em> and \u003cem>Tables of Content: Ray Johnson and Robert Warner Bob Box Archive\u003c/em>, present these artists side by side, in a single gallery space separated by a sheer black screen. The arrangement invites the viewer to compare the work of these contemporaries, and there are interesting parallels between them despite the obvious material and formal differences of their respective practices. Most noticeable in the work on view at UC Berkeley Art Museum (BAM/PFA) is Warhol’s and Johnson’s shared preoccupation with wealth and celebrity, subjects they each treat with fascination and unease.\u003c/p>\n\u003cp>Drawing on the more than one hundred Polaroids and gelatin-silver prints that comprise a gift to BAM/PFA from the Andy Warhol Foundation, curators Stephanie Cannizzo and Fabian Leyva-Barragan selected forty Polaroids, representing an array of Warhol’s “beautiful people,” a mix of famous faces and virtual unknowns who met Warhol’s loose criteria (he maintained that every person he met was a beauty).\u003csup>1\u003c/sup> Warhol would take up to hundreds of shots to get just the right image, and each portrait is a document of the intimate exchange between sitter and photographer.\u003c/p>\n\u003cp>That Warhol would consider subjects who were slightly defeated and fragile is exemplified in an ambiguous portrait, \u003cem>Frau Buch\u003c/em> (1980). Frau Buch’s painted red lips yield a slight, apprehensive smile. Her curly black hair echoes the fur of the poodle she clutches. Warhol has captured the vulnerability of a sitter who appears uncomfortable in front of a camera but wants to be seen nonetheless. In contrast are the Polaroids of an arts patron, \u003cem>Daryl Lillie\u003c/em> (1978), who wears the thick white stage makeup that Warhol consistently used for female sitters to soften the flash and conceal wrinkles. The makeup’s effect flattens the image and acts like a mask, a barrier between Lillie and the camera. Despite Lillie’s awkward, caked makeup, with splotches of it visible on her chest, her gaze remains open and confident. She appears comfortable in front of the camera and in Warhol’s presence.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://www.artpractical.com/images/uploads/3.9_Ray-Johnson-ManOWar.jpg\" title=\"Ray-Johnson-ManOWar\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003cem>Man O’War\u003c/em>, Ray Johnson, 1971, 1988, 1994; Museum purchase, bequest of Phoebe Apperson Hearst, by exchange.\u003cbr>\u003c/center>\n\u003cp>Like Warhol’s oeuvre, Johnson’s work is filled with references to art world and Hollywood celebrities, but his approach is distinctly iconoclastic. In keeping with Johnson’s offhand aesthetic, the display of his \u003cem>Bob Box Archive\u003c/em> is quite casual. Hundreds of offbeat items (letters, beach toys, garbage, and everyday objects) are arranged, stacked, and piled on an assortment of tables in the center of the gallery. On one table, discarded items — including an old pair of sunglasses, pieces of rope, a dirty glove, and rocks — are piled high atop a tattered fragment of an American flag.\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>Johnson pokes fun at major art world figures and movements, eschewing allegiance to any of them. On the right wall of the gallery, a row of letters between Johnson and the optician Robert Warner includes images of movie stars or artists such as James Dean or Jackson Pollock that are photocopied, scribbled over, and written on. A drawing of a bunny sporting a large hoop earring is assigned the name Max Ernst. It hangs between a drawing of Philip Guston’s upside-down bathtub and a collage that combines a newspaper clipping of a chimpanzee sitting in a restaurant with an image of a bicycle seat.\u003c/p>\n\u003cp>Bunny motifs are an ongoing theme for Johnson. One letter to Warner is composed of a grid of cute bunnies with the names of famous and unknown people assigned to each one. Cartoon speech bubbles along the top announce the “Locust Valley Biennale 1990” (after he was mugged in New York in 1968, Johnson retreated to the quiet suburb of Locust Valley). Johnson and Warner are included in the cast of bunnies, along with a mix of names from high and low culture, including Christo, Gary Larson, John Tesh, Betsey Johnson, Louise Bourgeois, and Sean Penn.\u003c/p>\n\u003cp>Warhol’s and Johnson’s artworks reveal their complicated and conflicted relationships to the elite, powerful, and influential figures who frequently appear as subjects of their admiration and derision. The intimate quality of Warhol’s Polaroid portraits relies heavily on the relationship he cultivated with each subject, and it is this intimacy that makes them unique within his body of work. Meanwhile, Johnson’s commentary on New York’s art and social scenes is so readily transparent because of the distance he kept from those worlds.\u003c/p>\n\u003cp>\u003cem>Andy Warhol: Polaroids\u003c/em> and \u003cem>Tables of Content: Ray Johnson and Robert Warner Bob Box Archive\u003c/em> are on view at UC Berkeley Art Museum through May 20, 2012. For \u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"font-size: 80%\">_______\u003cbr>NOTES:\u003cbr>1. Andy Warhol, \u003cem>The Philosophy of Andy Warhol\u003c/em>: \u003cem>(From A to B and Back Again)\u003c/em> (San Diego: Harcourt Brace Jovanovich, 1975), 61.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/85043/polaroids_matrix_240_and_tables_of_content_matrix_241",
"authors": [
"byline_arts_85043"
],
"categories": [
"arts_70"
],
"tags": [
"arts_369"
],
"featImg": "arts_10085043",
"label": "arts"
},
"arts_84578": {
"type": "posts",
"id": "arts_84578",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "84578",
"score": null,
"sort": [
1329160851000
]
},
"guestAuthors": [],
"slug": "help_desk_starting_again",
"title": "Help Desk: Starting Again",
"publishDate": 1329160851,
"format": "standard",
"headTitle": "Help Desk: Starting Again | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003ci>Welcome to another week of Help Desk, where I answer your queries about making, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions (you can use a free anonymizer like \u003ca href=\"http://anonymouse.org/\">anonymouse.org\u003c/a> if you want) and save the comments section to chime in on the topics of the day. All submissions will be treated as anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>My question has to do with getting back into the swing. I am a painter/installation artist who showed frequently for a few years after grad school with a small amount of critical notice whose opportunities dried up quickly. My work changes form frequently, and I have really been out of the loop for about five years now. I have been making work with regularity but have not attempted to “get back out there.” My show opportunities had always followed a this-begets-that path and now I have little idea of how/who to approach in order to try and show again. Any advice?\u003c/b>\u003c/p>\n\u003cp>This is a good question, one that in many ways gets to the heart of what it means to choose art as a profession. The reason that art is not for the timid is because your work can be put on hold for any number of reasons and your general career trajectory is not likely to be an ever-increasing incline but a squiggle of ups and downs. It’s like a board game played out over the duration of your life: good review? Go forward one square. Studio building for sale? Pick a card. Sold out show? Advance to an institutional-gallery catalog. Had a baby? Wait two turns. It’s important to remember that the winner is the one who keeps plugging along, believing in what she does.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/02/13/CarlJungKQED.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />This week’s patron saint is Carl Jung, who claimed that certain images can have psychological effects.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>But back to the advice part: the first thing I want you to do is to go through your old CV and make a list of anyone who you’ve met who has been supportive. This includes old teachers or mentors, dealers who’ve sold your work and gallerists who put your paintings in group shows, critics that included you in favorable reviews, etc. Write down absolutely everyone you can think of, line by line, and then go back over the list and put a star next to anyone who was friendly and approachable. Next, write a nice email to the first ten of these starred people. Be honest. Say you’re getting back in touch because you’ve been out of the loop for a while and you’re ready to dive back in. Explain that you’ve been working the whole time, but not showing your work, and you’d like to get some feedback. If it’s an old mentor you’re writing to, express how valuable their help has been in the past. If it’s a gallerist you’re writing to, remind them of the date and title of the show you were in at their gallery and thank them again for their prior support. Include a link to your newest work on your website. Ask them to come for studio visits. In the studio, if they seem engaged and receptive, ask if they can think of a place that might be interested in showing the work.\u003c/p>\n\u003cp>If you don’t have a good list of prior contacts, start researching the local galleries, nonprofits and alternative spaces. You can look online at their past and current shows and/or the work of the artists they represent to see if your work might be a good fit. Take a trip to the gallery in person, look at the work and the prices and see if your work is a match. Call to see if they accept submissions if that information isn’t on their website. Most galleries don’t look at unsolicited submissions anymore, so perhaps this isn’t your best way back into the fray, but you will find some that are open to new artists and your research on the others will put you in a good position when you do start getting your work out there again.\u003c/p>\n\u003cp>Another option is to start browsing the call-for-entries listings, like the ones that \u003ca href=\"http://www.collegeart.org/opportunities/\">College Art Association\u003c/a> and \u003ca href=\"http://re-title.typepad.com/\">re-title.com\u003c/a> post. A note of caution here: juried shows fall under the “caveat emptor” part of life. Look at websites, google the juror(s), and set a budget for entry fees and then stick to it. Only apply to juried shows that really fit your work. Obviously, if the title of the show is “The Art of the Teapot” don’t bet that they’ll take one of your paintings — but they will take your $35, so due diligence applies here.\u003c/p>\n\u003cp>All of these strategies in concert should give you a bit of a psychological lift, and sometimes it’s just a matter of pushing the ball to get it rolling again. Good luck!\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/02/13/opendoorKQED.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\u003c/p>\n\u003cp>\u003cb>I am a mid-career artist that needs a jump start. What suggestions might you have for me?\u003c/b>\u003c/p>\n\u003cp>Unless you’re Glenn Ligon, mid-career can be like the mid-winter of the mind: you made it through summer and fall, but will it ever be spring again? Our recent unseasonable weather notwithstanding, robins and willow buds seem a long way off.\u003c/p>\n\u003cp>You might feel like you need an epiphany, a ray of sunshine like a column of creative energy beaming straight from heaven into your hypothalamus. And you are poised to have one, but first you have to bear with my purple metaphors and hippie advice.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/02/13/opendoorblack.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\u003c/p>\n\u003cp>Start by priming your subconscious. You can take the long walks/hot baths/bottle-of-wine approach, or you can do what I do and watch a lot of British crime dramas on Netflix for three days. Either way, give yourself three days to do whatever it is you’re going to do and don’t do anything else. Why three? Because everything good comes in threes. If you’re going to start mucking around in your subconscious then everything you do must support the idea that you are moving toward an end result that you will find satisfying.\u003c/p>\n\u003cp>Next, get out the old pencil and paper, and make a list of everything you love in art. I mean really love, not just “like” on Facebook. This list can be embarrassing or grandiose or fairly inarticulate and muddy, but it doesn’t matter because you don’t have to show it to anyone. Then make a list of your goals. What do you want to happen next in your career? From the banal (revamp website) to the ambitious (a retrospective at LACMA), write it down, and then write down the steps that it will take for you to accomplish each one.\u003c/p>\n\u003cp>At mid-career, you’ve built yourself an imaginative empire, a Disneyland of the mind. To you it might feel like another boring trip around the ‘hood, but to the rest of us it’s a wonderland. Try to see your ideas with fresh eyes. Dig out and dust off your old sketchbooks going back at least three years, make yourself a cup of coffee, and read through them. Think about the work that you made as a result of these notes, and also the work that you didn’t make. What were you thinking about at the time, and where did that thinking lead? Are there themes that came up over and over? What did you jot down and then abandon, and why? Were there materials that you wanted to experiment with but never had the time? You might want to dog-ear some pages, or copy some old writings into your new sketchbook for safekeeping. Make a note of anything that still resonates.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/02/13/opendoorclipartKQED.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\u003c/p>\n\u003cp>Now for the hard part: don’t force it, but for heaven’s sake don’t go back to the television, either. If your “what’s next” epiphany hasn’t come yet, or if it’s the kind that starts quietly before building to a crescendo, go back into the studio and at least tidy up. You need to put your hands on your tools, and you need to be ready to work. If there’s something off your list of goals that you can put in motion, then pick up the phone or send that email. Then start dealing with some of those ideas from the old sketchbooks. Look at the list of things you love in art and see where the two overlap. It may not feel like it right now, but to quote from \u003ci>Raising Arizona\u003c/i>, you’re in the “fabled catbird seat.” You have a developed body of work behind you, a lot of hard-earned wisdom, and probably some very useful contacts. Go in the studio and hit the steel with the flint. Before you know it the whole place will be on fire.\u003c/p>\n",
"blocks": [],
"excerpt": "In which our sage advice columnist takes on the issue of re-starting an art career.",
"status": "publish",
"parent": 0,
"modified": 1788907882,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 1583
},
"headData": {
"title": "Help Desk: Starting Again | KQED",
"description": "In which our sage advice columnist takes on the issue of re-starting an art career.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Help Desk: Starting Again",
"datePublished": "2012-02-13T11:20:51-08:00",
"dateModified": "2026-09-08T15:51:22-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 70,
"slug": "visualarts",
"name": "Visual Arts"
},
"sourceUrl": "http://www.kqed.org/arts/programs/helpdesk/",
"sticky": false,
"nprStoryId": "kqed-84578",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/84578/help_desk_starting_again",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to another week of Help Desk, where I answer your queries about making, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions (you can use a free anonymizer like \u003ca href=\"http://anonymouse.org/\">anonymouse.org\u003c/a> if you want) and save the comments section to chime in on the topics of the day. All submissions will be treated as anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>My question has to do with getting back into the swing. I am a painter/installation artist who showed frequently for a few years after grad school with a small amount of critical notice whose opportunities dried up quickly. My work changes form frequently, and I have really been out of the loop for about five years now. I have been making work with regularity but have not attempted to “get back out there.” My show opportunities had always followed a this-begets-that path and now I have little idea of how/who to approach in order to try and show again. Any advice?\u003c/b>\u003c/p>\n\u003cp>This is a good question, one that in many ways gets to the heart of what it means to choose art as a profession. The reason that art is not for the timid is because your work can be put on hold for any number of reasons and your general career trajectory is not likely to be an ever-increasing incline but a squiggle of ups and downs. It’s like a board game played out over the duration of your life: good review? Go forward one square. Studio building for sale? Pick a card. Sold out show? Advance to an institutional-gallery catalog. Had a baby? Wait two turns. It’s important to remember that the winner is the one who keeps plugging along, believing in what she does.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/02/13/CarlJungKQED.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />This week’s patron saint is Carl Jung, who claimed that certain images can have psychological effects.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>But back to the advice part: the first thing I want you to do is to go through your old CV and make a list of anyone who you’ve met who has been supportive. This includes old teachers or mentors, dealers who’ve sold your work and gallerists who put your paintings in group shows, critics that included you in favorable reviews, etc. Write down absolutely everyone you can think of, line by line, and then go back over the list and put a star next to anyone who was friendly and approachable. Next, write a nice email to the first ten of these starred people. Be honest. Say you’re getting back in touch because you’ve been out of the loop for a while and you’re ready to dive back in. Explain that you’ve been working the whole time, but not showing your work, and you’d like to get some feedback. If it’s an old mentor you’re writing to, express how valuable their help has been in the past. If it’s a gallerist you’re writing to, remind them of the date and title of the show you were in at their gallery and thank them again for their prior support. Include a link to your newest work on your website. Ask them to come for studio visits. In the studio, if they seem engaged and receptive, ask if they can think of a place that might be interested in showing the work.\u003c/p>\n\u003cp>If you don’t have a good list of prior contacts, start researching the local galleries, nonprofits and alternative spaces. You can look online at their past and current shows and/or the work of the artists they represent to see if your work might be a good fit. Take a trip to the gallery in person, look at the work and the prices and see if your work is a match. Call to see if they accept submissions if that information isn’t on their website. Most galleries don’t look at unsolicited submissions anymore, so perhaps this isn’t your best way back into the fray, but you will find some that are open to new artists and your research on the others will put you in a good position when you do start getting your work out there again.\u003c/p>\n\u003cp>Another option is to start browsing the call-for-entries listings, like the ones that \u003ca href=\"http://www.collegeart.org/opportunities/\">College Art Association\u003c/a> and \u003ca href=\"http://re-title.typepad.com/\">re-title.com\u003c/a> post. A note of caution here: juried shows fall under the “caveat emptor” part of life. Look at websites, google the juror(s), and set a budget for entry fees and then stick to it. Only apply to juried shows that really fit your work. Obviously, if the title of the show is “The Art of the Teapot” don’t bet that they’ll take one of your paintings — but they will take your $35, so due diligence applies here.\u003c/p>\n\u003cp>All of these strategies in concert should give you a bit of a psychological lift, and sometimes it’s just a matter of pushing the ball to get it rolling again. Good luck!\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/02/13/opendoorKQED.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\u003c/p>\n\u003cp>\u003cb>I am a mid-career artist that needs a jump start. What suggestions might you have for me?\u003c/b>\u003c/p>\n\u003cp>Unless you’re Glenn Ligon, mid-career can be like the mid-winter of the mind: you made it through summer and fall, but will it ever be spring again? Our recent unseasonable weather notwithstanding, robins and willow buds seem a long way off.\u003c/p>\n\u003cp>You might feel like you need an epiphany, a ray of sunshine like a column of creative energy beaming straight from heaven into your hypothalamus. And you are poised to have one, but first you have to bear with my purple metaphors and hippie advice.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/02/13/opendoorblack.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\u003c/p>\n\u003cp>Start by priming your subconscious. You can take the long walks/hot baths/bottle-of-wine approach, or you can do what I do and watch a lot of British crime dramas on Netflix for three days. Either way, give yourself three days to do whatever it is you’re going to do and don’t do anything else. Why three? Because everything good comes in threes. If you’re going to start mucking around in your subconscious then everything you do must support the idea that you are moving toward an end result that you will find satisfying.\u003c/p>\n\u003cp>Next, get out the old pencil and paper, and make a list of everything you love in art. I mean really love, not just “like” on Facebook. This list can be embarrassing or grandiose or fairly inarticulate and muddy, but it doesn’t matter because you don’t have to show it to anyone. Then make a list of your goals. What do you want to happen next in your career? From the banal (revamp website) to the ambitious (a retrospective at LACMA), write it down, and then write down the steps that it will take for you to accomplish each one.\u003c/p>\n\u003cp>At mid-career, you’ve built yourself an imaginative empire, a Disneyland of the mind. To you it might feel like another boring trip around the ‘hood, but to the rest of us it’s a wonderland. Try to see your ideas with fresh eyes. Dig out and dust off your old sketchbooks going back at least three years, make yourself a cup of coffee, and read through them. Think about the work that you made as a result of these notes, and also the work that you didn’t make. What were you thinking about at the time, and where did that thinking lead? Are there themes that came up over and over? What did you jot down and then abandon, and why? Were there materials that you wanted to experiment with but never had the time? You might want to dog-ear some pages, or copy some old writings into your new sketchbook for safekeeping. Make a note of anything that still resonates.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/02/13/opendoorclipartKQED.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\u003c/p>\n\u003cp>Now for the hard part: don’t force it, but for heaven’s sake don’t go back to the television, either. If your “what’s next” epiphany hasn’t come yet, or if it’s the kind that starts quietly before building to a crescendo, go back into the studio and at least tidy up. You need to put your hands on your tools, and you need to be ready to work. If there’s something off your list of goals that you can put in motion, then pick up the phone or send that email. Then start dealing with some of those ideas from the old sketchbooks. Look at the list of things you love in art and see where the two overlap. It may not feel like it right now, but to quote from \u003ci>Raising Arizona\u003c/i>, you’re in the “fabled catbird seat.” You have a developed body of work behind you, a lot of hard-earned wisdom, and probably some very useful contacts. Go in the studio and hit the steel with the flint. Before you know it the whole place will be on fire.\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/84578/help_desk_starting_again",
"authors": [
"12027"
],
"categories": [
"arts_70"
],
"tags": [
"arts_342"
],
"featImg": "arts_10084578",
"label": "arts"
},
"arts_83842": {
"type": "posts",
"id": "arts_83842",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "83842",
"score": null,
"sort": [
1328564509000
]
},
"guestAuthors": [],
"slug": "help_desk_school_daze",
"title": "Help Desk: School Daze",
"publishDate": 1328564509,
"format": "standard",
"headTitle": "Help Desk: School Daze | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003cb>I have about completed my BA in Studio Art with a concentration in photography, but at my school there is really only one digital photo class so I feel ill prepared both for grad school and the “real world.” Ultimately I prefer working in film but I am wrestling with myself over the eternal dilemma of being true to your work vs. selling out. I am definitely interested in going to grad school and earning an MFA in photography but I am afraid I will be “behind” the other students who went to schools with more developed programs. What are your thoughts?\u003c/b>\u003c/p>\n\u003cp>Let’s break your question into its constituent parts: first, you feel ill prepared for grad school (I’m not sure I know which “real” world you’re talking about, so we’ll set that part aside). Second, you feel that working with digital (since you prefer film) is selling out. Third, you’re worried that your skill set will leave you at a disadvantage in regards to your classmates in the hypothetical grad school in your mind.\u003c/p>\n\u003cp>I’m going to begin by answering your digital dilemma. Here it is: if you feel you need to build skills in digital photography, you can easily find classes (usually cheap ones) at the local community college, photo center, or camera store. You may not love digital, but if your aim is to support yourself as a photojournalist/sports or wedding photographer then you’ll have little choice but to get on board with the prevailing technology. Really, it’s that simple.\u003c/p>\n\u003cp>As for your art practice, if it is truly the case that your work must be in film to be fully realized then go ahead and shoot it with film. You should use whatever medium best suits the work and your practice — to quote McLuhan, the medium is the message and the fact that your work is in film will actually be part of the content. However, in terms of grad school (and hopefully the long life you lead afterward), your work is going to change; knowing as much as possible about the various tools available will allow you to experiment with clarity and confidence. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-camera.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>It’s true that most grad programs don’t teach technical skills. The MFA is more about your willingness to engage fully with your work on an intellectual level. However, that doesn’t mean that technical knowledge can’t be gained as part of your studio practice if you are diligent and motivated. Graduate school in the arts is largely self-directed, and it’s up to you to pursue your interests and be guided mainly by your own lights. This also applies for any “real world” you might encounter after you leave grad school. The learning cannot stop when you toss your mortarboard up in the air. \u003c/p>\n\u003cp>Acquiring a new skill set is not “selling out.” In an MFA program you’ll be too busy figuring who the hell you are and what the hell that person makes. You can worry about selling out when you have a buyer, but until that moment comes I wouldn’t give it a second thought.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-bruce.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Bruce High Quality Foundation wants you to skip school and hang out with Chris Burden instead.\u003c/p>\n\u003cp>\u003cb>I am considering getting an MFA in sculpture/new media, but it is very difficult for me to get a complete sense of the different MFA programs both in the U.S. and abroad. Unfortunately my best resources have been asking friends and old teachers. From them I get a mix of old information, rumors and myth. Can you tell me the top three MFA sculpture programs in the U.S. and the top three abroad? If not, can you tell me about some resources that can help me learn about these schools beyond their, nearly useless, websites?\u003c/b>\u003c/p>\n\u003cp>To begin, let me tell you how glad I am that you’ve already figured out how useless a school’s website can be. From the un-navigable layouts to the endless paragraphs of self-aggrandizing prose, a school’s website can be really ineffective if you’re looking to understand the culture of the institution or the kinds of students who attend. I have first-hand experience with this dilemma myself: when I was applying to grad school, I did a lot of preliminary online research; but when I visited the schools in person, my experience on campus often contradicted my initial impressions. One website made me fall deeply in love, until I interviewed the school’s students and they all were so sad and burned out and disinterested. Another institution seemed very scholarly — important to me because I like art theory — but the second-year students who toured me around were dippy and uninformed. You’re right to be suspicious of websites, and also prudent to ask your colleagues and old professors. But mostly I’m glad you wrote in, because I’m going to share some hard-earned wisdom with you. Come lean a little closer to the screen because I’m going to tell you a secret about the top three art schools:\u003c/p>\n\u003cp>They don’t exist.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-smith.jpg\" style=\"margin-bottom: 10px\">\u003cbr />The good old days: an easel, a model, some charcoal and a tightly-laced corset.\u003c/p>\n\u003cp>Oh, yes, websites can extol the virtues of the mega-famous faculty and the students who win awards, or the number of curators who troll the MFA show every year, and you can try to impress me with studio size, or student-to-teacher ratios, or just plain old Ivy-League-ness, but I insist—”best” is a racket.\u003c/p>\n\u003cp>Now before everybody tries to shout me down about how important it is to make “contacts” at Yarvard University/StanArts/School of the Art School of L.A., I want you to consider this: the Best School Ever is the school that is best \u003ci>for you\u003c/i>, which is to say that it matters much less how supposedly awesome the school is by some supposedly objective measure, and much more how it fits you and your goals and your learning style. Is it of great consequence to have art-star faculty if they are crappy teachers, or always flying off to biennials and don’t have time for you? Do you need a first-class media lab if you’re a studio potter? Does it matter that representatives of commercial galleries roam the halls if you’re a performance artist? If you don’t care about research, do you want to go to a school that requires a lengthy written thesis? Probably not. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-bush.jpg\" style=\"margin-bottom: 10px\">\u003cbr />See? Any jerk can go to Andover and Yale. It’s not the school, it’s what you make of your time in academia — and beyond.\u003c/p>\n\u003cp>So the Top School is the school that will best suit your needs, and I’m going to help you find it. Start by making a list of your goals. What do you expect to accomplish in an MFA program? What would the most awesome dream program have? Be honest, and write it all down because it’s going to help you find the right place. Now, based on that list, check out the websites. Are there faculty who are doing what you want to do? Does a school have the right kind of facilities to produce your work? Is it in an area you want to live? Take a look at the courses they offer. Which are required? Do any sound interesting? Most schools also post photos of student work. Is any of it good or does it suck? You can do this basic research online without too much trouble, and you should be able to come up with a list of about five or ten schools that interest you.\u003c/p>\n\u003cp>Now contact the schools. Email admissions and tell them you want to come for a visit. Ask them if you can meet with some faculty members, the ones you dug up online. Make appointments with two or three instructors, the dean or director if possible, and at least two students. Meeting students is important because you want to know what kind of student goes to that school. This goes double for small programs! If there are only six artists admitted every year, you should find out if the year ahead of yours is a bunch of pretentious dickheads, because you will have to see these people every day. Check out the studios, too. Yes, it’s nice to go and admire the facilities, but what you want to discern here is whether or not the students are encouraged to be active. Are the studios empty? Or is the hive buzzing? What are they working on? Is it any good?\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-potter.jpg\" style=\"margin-bottom: 10px\">\u003cbr />The right school can be magic. (Sorry, I just couldn’t resist.)\u003c/p>\n\u003cp>I promise that meeting people face to face will help you find the best school. It also signals to the school that you are an enthusiastic student, and as an added bonus, faculty and administration will remember you when they see your application. Yes, it’s expensive to fly around and do this kind of research, but look at it this way: you can pay $1000 to find the right fit, or you can waste $60,000 on two years of being completely miserable. If you really can’t afford to travel extensively, at least make it to one of the three national \u003ca href=\"http://www.portfolioday.net/content/view/98/50/\">Graduate Portfolio Days\u003c/a>, where many schools have representatives to meet with you and answer your questions.\u003c/p>\n\u003cp>And as a final word of advice, I’d like to add that after you’ve been out of school for two or three years, no one but your mother cares where you went anyway. It’s more about what you make and where you’ve shown it that counts. So grad school should be a time to focus on making your work better, and there’s a great institution out there that will meet you where you’re at and then help you advance. Good luck!\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/p>\n",
"blocks": [],
"excerpt": "In which our obliging advice columnist considers the ins and outs, ups and downs of art school.",
"status": "publish",
"parent": 0,
"modified": 1788905838,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 21,
"wordCount": 1771
},
"headData": {
"title": "Help Desk: School Daze | KQED",
"description": "In which our obliging advice columnist considers the ins and outs, ups and downs of art school.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Help Desk: School Daze",
"datePublished": "2012-02-06T13:41:49-08:00",
"dateModified": "2026-09-08T15:17:18-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 70,
"slug": "visualarts",
"name": "Visual Arts"
},
"sourceUrl": "http://www.kqed.org/arts/programs/helpdesk/",
"sticky": false,
"nprStoryId": "kqed-83842",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/83842/help_desk_school_daze",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>I have about completed my BA in Studio Art with a concentration in photography, but at my school there is really only one digital photo class so I feel ill prepared both for grad school and the “real world.” Ultimately I prefer working in film but I am wrestling with myself over the eternal dilemma of being true to your work vs. selling out. I am definitely interested in going to grad school and earning an MFA in photography but I am afraid I will be “behind” the other students who went to schools with more developed programs. What are your thoughts?\u003c/b>\u003c/p>\n\u003cp>Let’s break your question into its constituent parts: first, you feel ill prepared for grad school (I’m not sure I know which “real” world you’re talking about, so we’ll set that part aside). Second, you feel that working with digital (since you prefer film) is selling out. Third, you’re worried that your skill set will leave you at a disadvantage in regards to your classmates in the hypothetical grad school in your mind.\u003c/p>\n\u003cp>I’m going to begin by answering your digital dilemma. Here it is: if you feel you need to build skills in digital photography, you can easily find classes (usually cheap ones) at the local community college, photo center, or camera store. You may not love digital, but if your aim is to support yourself as a photojournalist/sports or wedding photographer then you’ll have little choice but to get on board with the prevailing technology. Really, it’s that simple.\u003c/p>\n\u003cp>As for your art practice, if it is truly the case that your work must be in film to be fully realized then go ahead and shoot it with film. You should use whatever medium best suits the work and your practice — to quote McLuhan, the medium is the message and the fact that your work is in film will actually be part of the content. However, in terms of grad school (and hopefully the long life you lead afterward), your work is going to change; knowing as much as possible about the various tools available will allow you to experiment with clarity and confidence. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-camera.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>It’s true that most grad programs don’t teach technical skills. The MFA is more about your willingness to engage fully with your work on an intellectual level. However, that doesn’t mean that technical knowledge can’t be gained as part of your studio practice if you are diligent and motivated. Graduate school in the arts is largely self-directed, and it’s up to you to pursue your interests and be guided mainly by your own lights. This also applies for any “real world” you might encounter after you leave grad school. The learning cannot stop when you toss your mortarboard up in the air. \u003c/p>\n\u003cp>Acquiring a new skill set is not “selling out.” In an MFA program you’ll be too busy figuring who the hell you are and what the hell that person makes. You can worry about selling out when you have a buyer, but until that moment comes I wouldn’t give it a second thought.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-bruce.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Bruce High Quality Foundation wants you to skip school and hang out with Chris Burden instead.\u003c/p>\n\u003cp>\u003cb>I am considering getting an MFA in sculpture/new media, but it is very difficult for me to get a complete sense of the different MFA programs both in the U.S. and abroad. Unfortunately my best resources have been asking friends and old teachers. From them I get a mix of old information, rumors and myth. Can you tell me the top three MFA sculpture programs in the U.S. and the top three abroad? If not, can you tell me about some resources that can help me learn about these schools beyond their, nearly useless, websites?\u003c/b>\u003c/p>\n\u003cp>To begin, let me tell you how glad I am that you’ve already figured out how useless a school’s website can be. From the un-navigable layouts to the endless paragraphs of self-aggrandizing prose, a school’s website can be really ineffective if you’re looking to understand the culture of the institution or the kinds of students who attend. I have first-hand experience with this dilemma myself: when I was applying to grad school, I did a lot of preliminary online research; but when I visited the schools in person, my experience on campus often contradicted my initial impressions. One website made me fall deeply in love, until I interviewed the school’s students and they all were so sad and burned out and disinterested. Another institution seemed very scholarly — important to me because I like art theory — but the second-year students who toured me around were dippy and uninformed. You’re right to be suspicious of websites, and also prudent to ask your colleagues and old professors. But mostly I’m glad you wrote in, because I’m going to share some hard-earned wisdom with you. Come lean a little closer to the screen because I’m going to tell you a secret about the top three art schools:\u003c/p>\n\u003cp>They don’t exist.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-smith.jpg\" style=\"margin-bottom: 10px\">\u003cbr />The good old days: an easel, a model, some charcoal and a tightly-laced corset.\u003c/p>\n\u003cp>Oh, yes, websites can extol the virtues of the mega-famous faculty and the students who win awards, or the number of curators who troll the MFA show every year, and you can try to impress me with studio size, or student-to-teacher ratios, or just plain old Ivy-League-ness, but I insist—”best” is a racket.\u003c/p>\n\u003cp>Now before everybody tries to shout me down about how important it is to make “contacts” at Yarvard University/StanArts/School of the Art School of L.A., I want you to consider this: the Best School Ever is the school that is best \u003ci>for you\u003c/i>, which is to say that it matters much less how supposedly awesome the school is by some supposedly objective measure, and much more how it fits you and your goals and your learning style. Is it of great consequence to have art-star faculty if they are crappy teachers, or always flying off to biennials and don’t have time for you? Do you need a first-class media lab if you’re a studio potter? Does it matter that representatives of commercial galleries roam the halls if you’re a performance artist? If you don’t care about research, do you want to go to a school that requires a lengthy written thesis? Probably not. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-bush.jpg\" style=\"margin-bottom: 10px\">\u003cbr />See? Any jerk can go to Andover and Yale. It’s not the school, it’s what you make of your time in academia — and beyond.\u003c/p>\n\u003cp>So the Top School is the school that will best suit your needs, and I’m going to help you find it. Start by making a list of your goals. What do you expect to accomplish in an MFA program? What would the most awesome dream program have? Be honest, and write it all down because it’s going to help you find the right place. Now, based on that list, check out the websites. Are there faculty who are doing what you want to do? Does a school have the right kind of facilities to produce your work? Is it in an area you want to live? Take a look at the courses they offer. Which are required? Do any sound interesting? Most schools also post photos of student work. Is any of it good or does it suck? You can do this basic research online without too much trouble, and you should be able to come up with a list of about five or ten schools that interest you.\u003c/p>\n\u003cp>Now contact the schools. Email admissions and tell them you want to come for a visit. Ask them if you can meet with some faculty members, the ones you dug up online. Make appointments with two or three instructors, the dean or director if possible, and at least two students. Meeting students is important because you want to know what kind of student goes to that school. This goes double for small programs! If there are only six artists admitted every year, you should find out if the year ahead of yours is a bunch of pretentious dickheads, because you will have to see these people every day. Check out the studios, too. Yes, it’s nice to go and admire the facilities, but what you want to discern here is whether or not the students are encouraged to be active. Are the studios empty? Or is the hive buzzing? What are they working on? Is it any good?\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-potter.jpg\" style=\"margin-bottom: 10px\">\u003cbr />The right school can be magic. (Sorry, I just couldn’t resist.)\u003c/p>\n\u003cp>I promise that meeting people face to face will help you find the best school. It also signals to the school that you are an enthusiastic student, and as an added bonus, faculty and administration will remember you when they see your application. Yes, it’s expensive to fly around and do this kind of research, but look at it this way: you can pay $1000 to find the right fit, or you can waste $60,000 on two years of being completely miserable. If you really can’t afford to travel extensively, at least make it to one of the three national \u003ca href=\"http://www.portfolioday.net/content/view/98/50/\">Graduate Portfolio Days\u003c/a>, where many schools have representatives to meet with you and answer your questions.\u003c/p>\n\u003cp>And as a final word of advice, I’d like to add that after you’ve been out of school for two or three years, no one but your mother cares where you went anyway. It’s more about what you make and where you’ve shown it that counts. So grad school should be a time to focus on making your work better, and there’s a great institution out there that will meet you where you’re at and then help you advance. Good luck!\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/83842/help_desk_school_daze",
"authors": [
"12027"
],
"categories": [
"arts_70"
],
"tags": [
"arts_342"
],
"featImg": "arts_10083842",
"label": "arts"
},
"arts_83754": {
"type": "posts",
"id": "arts_83754",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "83754",
"score": null,
"sort": [
1328469646000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1328469646,
"format": "standard",
"title": "Flannel and Fur",
"headTitle": "Flannel and Fur | KQED",
"content": "\u003cp>\u003cem>Flannel and Fur\u003c/em>, Danny Keith’s solo show of recent paintings at Ratio 3, includes fifteen portraits of bearded young men and one study of a classical bust. All but three of the portraits are made of oil on wood panel, and the others are watercolors on paper. The works are academic in the traditional sense, with particular attention paid to naturalistic lighting and figure proportions. The works’ scale and intense study of a single posed subject, combined with the artist’s layered modulation of color and tonality — mixing paint on the palette and the canvas as if negotiating between the two — suggest that they were made from observation.\u003c/p>\n\u003cp>By engaging with traditional modes of representation in a highly personal way, Keith’s paintings propose alternatives to gendered clichés of beauty by presenting male images that are both masculine and pretty. \u003cem>Fox Fur\u003c/em>, \u003cem>Fox Fur No.2\u003c/em>, \u003cem>Fox Fur No.3,\u003c/em> and \u003cem>Fox Fur No. 4\u003c/em> (all 2011), for example, depict the same model from the waist up, nude save for a tanned-fox fur either draped around his shoulders or propped on his head. In each painting, Keith returns to the same subject from different angles, repeating the same lighting source and background colors. His brushwork both strives for an honest realism and meticulously records every freckle, tuft of fur, and chest hair.\u003c/p>\n\u003cp>\u003cem>Flannel Shirt No. 1\u003c/em>, \u003cem>Flannel Shirt No. 2\u003c/em>, and \u003cem>Hunter’s Plaid\u003c/em> (all 2011) depict the same model wearing a plaid textile wrapped around his head or draped over one shoulder. \u003cem>Repose No. 2\u003c/em> (2011), the smallest work in the show, measuring 12 by 18 inches, is the only piece to depict the model’s entire body: he’s nude, lying face down on a bed, possibly sleeping. The image is both erotically charged and intimate, with looser brushwork, but Keith still carefully captures the play of light and shadows across the room and the model, depicting every toe, a tattoo, and even the translucency of an earlobe.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg loading=\"lazy\" decoding=\"async\" alt=\"Danny_Keith-Fox_Fur_No_3\" height=\"477\" src=\"http://www.artpractical.com/images/uploads/3.8_Danny_Keith-Fox_Fur_No_3.jpeg\" width=\"380\">\u003cbr>\u003cem>Fox Fur No. 3\u003c/em>, 2011; oil on panel; 20 x 16 inches. Courtesy of the Artist and Ratio 3, San Francisco.\u003cbr>\u003c/center>\n\u003cp>Keith’s use of the same subject, repeated visual patterns, and consistently detailed brushwork throughout this body of work recalls Félix González-Torres’s tender, minimalist installations. Unlike Keith’s overt figures, González-Torres created metaphorical portraits of intimate same-sex relationships (sometimes his own) that explored and transcended identity politics by using simple objects as stand-ins for human subjects. \u003cem>Untitled (Perfect Lovers)\u003c/em> (1987–1990), which features two synchronized wall clocks hung side by side, uses formal repetition to evoke the effortless sensation of a good interpersonal match and the constancy of real intimacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Keith’s repeated subject matter demonstrates a similar devoted, prolonged engagement, and his formal use of repetition within the brushwork and composition of each portrait symbolizes this emotional connection. But while González-Torres’s later works invite direct audience interaction, offering candies or prints to the viewer, Keith’s traditional paintings remain passive. This apparent difference between the two artists’ approaches masks a common theme in their subject matter: neither style of representation, pictorial or metaphorical, can bring forth a human presence, no matter how many people participate with a work or how accurate the representation appears.\u003c/p>\n\u003cp>The paintings occasionally flirt with metaphorical content, using symbols such as flowers (in \u003cem>Spanish Rose\u003c/em> and \u003cem>I Hope All My Days Will Be Lit By Your Face\u003c/em>, both 2011) and the fox fur, which evokes a vivid sensation of fur onbare skin and plays on the material flexibility of a feminine fox stole or masculine fox hood. More pointedly, Keith’s sincere renderings and complex, vibrant colors convey a longing for his subjects and create an emphatic sense of each model’s individual physicality. Additionally, in all but three of the works, Keith’s delicate depiction of his subject’s dreamy, inward gaze deepens the intimacy of each portrait.\u003c/p>\n\u003cp>Keith’s images of male beauty and the palpable vulnerability of his desire complicate the idea that the power involved in every erotic depiction only functions in one direction. His tender attention to every freckle and hair displays a sense of responsibility as opposed to a license to idealize or objectify. The ambiguity of Keith’s relationships with his subjects leads to narrative speculation, and his presentation of beautiful but heteronormatively masculine men makes such fantasies available. By working so intimately and personally, Keith offers viewers a broad and fluid range of identification and interpretation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Flannel and Fur\u003c/em> is on view at \u003ca href=\"http://www.ratio3.org/\">Ratio 3\u003c/a> in San Francisco through February 18, 2012.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 800,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705050935,
"excerpt": "Keith's repeated subject matter demonstrates a similar devoted, prolonged engagement, and his formal use of repetition within the brushwork and composition of each portrait symbolizes this emotional connection.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Keith's repeated subject matter demonstrates a similar devoted, prolonged engagement, and his formal use of repetition within the brushwork and composition of each portrait symbolizes this emotional connection.",
"title": "Flannel and Fur | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Flannel and Fur",
"datePublished": "2012-02-05T11:20:46-08:00",
"dateModified": "2024-01-12T01:15:35-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "flannel_and_fur",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/programs/artpractical/",
"nprByline": "Mary Anne Kluth",
"sticky": false,
"path": "/arts/83754/flannel_and_fur",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Flannel and Fur\u003c/em>, Danny Keith’s solo show of recent paintings at Ratio 3, includes fifteen portraits of bearded young men and one study of a classical bust. All but three of the portraits are made of oil on wood panel, and the others are watercolors on paper. The works are academic in the traditional sense, with particular attention paid to naturalistic lighting and figure proportions. The works’ scale and intense study of a single posed subject, combined with the artist’s layered modulation of color and tonality — mixing paint on the palette and the canvas as if negotiating between the two — suggest that they were made from observation.\u003c/p>\n\u003cp>By engaging with traditional modes of representation in a highly personal way, Keith’s paintings propose alternatives to gendered clichés of beauty by presenting male images that are both masculine and pretty. \u003cem>Fox Fur\u003c/em>, \u003cem>Fox Fur No.2\u003c/em>, \u003cem>Fox Fur No.3,\u003c/em> and \u003cem>Fox Fur No. 4\u003c/em> (all 2011), for example, depict the same model from the waist up, nude save for a tanned-fox fur either draped around his shoulders or propped on his head. In each painting, Keith returns to the same subject from different angles, repeating the same lighting source and background colors. His brushwork both strives for an honest realism and meticulously records every freckle, tuft of fur, and chest hair.\u003c/p>\n\u003cp>\u003cem>Flannel Shirt No. 1\u003c/em>, \u003cem>Flannel Shirt No. 2\u003c/em>, and \u003cem>Hunter’s Plaid\u003c/em> (all 2011) depict the same model wearing a plaid textile wrapped around his head or draped over one shoulder. \u003cem>Repose No. 2\u003c/em> (2011), the smallest work in the show, measuring 12 by 18 inches, is the only piece to depict the model’s entire body: he’s nude, lying face down on a bed, possibly sleeping. The image is both erotically charged and intimate, with looser brushwork, but Keith still carefully captures the play of light and shadows across the room and the model, depicting every toe, a tattoo, and even the translucency of an earlobe.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg loading=\"lazy\" decoding=\"async\" alt=\"Danny_Keith-Fox_Fur_No_3\" height=\"477\" src=\"http://www.artpractical.com/images/uploads/3.8_Danny_Keith-Fox_Fur_No_3.jpeg\" width=\"380\">\u003cbr>\u003cem>Fox Fur No. 3\u003c/em>, 2011; oil on panel; 20 x 16 inches. Courtesy of the Artist and Ratio 3, San Francisco.\u003cbr>\u003c/center>\n\u003cp>Keith’s use of the same subject, repeated visual patterns, and consistently detailed brushwork throughout this body of work recalls Félix González-Torres’s tender, minimalist installations. Unlike Keith’s overt figures, González-Torres created metaphorical portraits of intimate same-sex relationships (sometimes his own) that explored and transcended identity politics by using simple objects as stand-ins for human subjects. \u003cem>Untitled (Perfect Lovers)\u003c/em> (1987–1990), which features two synchronized wall clocks hung side by side, uses formal repetition to evoke the effortless sensation of a good interpersonal match and the constancy of real intimacy.\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>Keith’s repeated subject matter demonstrates a similar devoted, prolonged engagement, and his formal use of repetition within the brushwork and composition of each portrait symbolizes this emotional connection. But while González-Torres’s later works invite direct audience interaction, offering candies or prints to the viewer, Keith’s traditional paintings remain passive. This apparent difference between the two artists’ approaches masks a common theme in their subject matter: neither style of representation, pictorial or metaphorical, can bring forth a human presence, no matter how many people participate with a work or how accurate the representation appears.\u003c/p>\n\u003cp>The paintings occasionally flirt with metaphorical content, using symbols such as flowers (in \u003cem>Spanish Rose\u003c/em> and \u003cem>I Hope All My Days Will Be Lit By Your Face\u003c/em>, both 2011) and the fox fur, which evokes a vivid sensation of fur onbare skin and plays on the material flexibility of a feminine fox stole or masculine fox hood. More pointedly, Keith’s sincere renderings and complex, vibrant colors convey a longing for his subjects and create an emphatic sense of each model’s individual physicality. Additionally, in all but three of the works, Keith’s delicate depiction of his subject’s dreamy, inward gaze deepens the intimacy of each portrait.\u003c/p>\n\u003cp>Keith’s images of male beauty and the palpable vulnerability of his desire complicate the idea that the power involved in every erotic depiction only functions in one direction. His tender attention to every freckle and hair displays a sense of responsibility as opposed to a license to idealize or objectify. The ambiguity of Keith’s relationships with his subjects leads to narrative speculation, and his presentation of beautiful but heteronormatively masculine men makes such fantasies available. By working so intimately and personally, Keith offers viewers a broad and fluid range of identification and interpretation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Flannel and Fur\u003c/em> is on view at \u003ca href=\"http://www.ratio3.org/\">Ratio 3\u003c/a> in San Francisco through February 18, 2012.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/83754/flannel_and_fur",
"authors": [
"byline_arts_83754"
],
"categories": [
"arts_70"
],
"tags": [
"arts_369"
],
"featImg": "arts_10083754",
"label": "arts"
},
"arts_83018": {
"type": "posts",
"id": "arts_83018",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "83018",
"score": null,
"sort": [
1327896249000
]
},
"guestAuthors": [],
"slug": "help_desk-4",
"title": "Help Desk: The Answer Is No",
"publishDate": 1327896249,
"format": "standard",
"headTitle": "Help Desk: The Answer Is No | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003ci>Welcome to HELP DESK, step into my office! Each week I’ll be answering your queries about making, finding, marketing, buying, selling — or any other activity related to—contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\u003c/a>helpdesk@dailyserving.com\u003c/a> with your questions, or use a free anonymizer like \u003ca href=\"http://anonymouse.org/anonemail.html\">Anonymouse.org\u003c/a> to send an email to the same address. Comments are enabled, but be good or be gone! All submissions will be treated as anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I am a curator and was recently contacted by an artist whom I have never met, who was recommended to me by a mutual acquaintance (another artist). The artist is inviting me to do a studio visit, but after looking at the artist’s website, I know that I am completely uninterested in seeing the work in person. I would like to decline the request in a way that is honest but kind, without necessarily making an explicit value judgment about the work. (I realize that expressing an opinion from my position holds a specific kind of weight.) I want to avoid wasting anyone’s time by doing a studio visit that will not yield anything for either of us. From an artist’s perspective, how can a curator best handle this situation?\u003c/b>\u003c/p>\n\u003cp>This is a great question, one that many of us on the receiving end have thought about long and hard. Personally, I take my rejections straight up (with an escapist murder-mystery chaser), because the perennially used and ever-ambiguous “I’m very busy right now,” leaves me wondering, Do I ask again later? How much later? Or should I understand somehow that “busy” actually means “go away forever?” One might spend days second-guessing the intention of such messages and ultimately end up more depressed than if there had simply been a polite “No, thank you.”\u003c/p>\n\u003cp>As always, I thought I’d better ask around in case my preferences aren’t the norm. Surprisingly, everyone I asked said you should be candid, but in varying degrees. The artists I queried are all in various stages of their careers, from fresh out of school to seasoned professionals with gallery representation and long CVs. Despite the differences in experience, the sentiment was the same: don’t beat around the bush. Some had great suggestions for how they’d like their “no” served: hot, room-temperature, and/or with a side of kindness.\u003c/p>\n\u003cp>One artist told me, “I’d say give it to them straight. It was the artist that did the contacting and so they should be ready to be rejected, it’s already happened to them many times if they’ve been an artist for long. Maybe something along the lines of, ‘Thanks for your kind invitation. I enjoyed looking at the work on your website but it is not a great match for my curatorial direction. I don’t believe that a studio visit from me would prove to be of any benefit to you or your work so in order not to waste any of your time I must decline. I wish you the best and thank you again for the offer.'”\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/01/29/negative1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Yes, it’s a negative.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Another suggested, “I think if the curator wrote the artist an email saying, ‘I looked at your work on the website and while it is interesting (add whatever adjective to soften the blow), I’m not sure that it’s a great fit for the work that I generally show,’ I think the artist would find a way to understand.”\u003c/p>\n\u003cp>If you’d prefer to keep your rejection more open-ended, you could try, “Thank you for contacting me regarding a potential studio visit. At this time, I am not involved in any projects that would be suitable for your work and I prefer to make studio visits with a specific goal/endpoint/situation/exhibition in mind. I do encourage you to keep me updated on new bodies of work.”\u003c/p>\n\u003cp>An additional idea that almost everyone mentioned was your ability as a curator to point the artist in the right direction by supplying the names of other curators who might be interested. Obviously this is not always possible (for example, if the work is of a quality that you would be embarrassed to recommend); but barring the truly awful, if you can help the artist create a relationship that would be mutually beneficial, then you will have done two people (the artist and the other curator) a great service. One respondent to my query suggested, “I’m not the best person to review your work but perhaps ping these people [insert name here].”\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/01/29/yesnomaybe.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\u003c/p>\n\u003cp>Another artist would like to remind you that looking at work on a website isn’t the same as seeing it in person, and that sometimes there is more to a studio visit than finding a perfect aesthetic match. This person commented, “Above all, I would like for someone to come do a quick visit. You could say, ‘I have about 15 minutes to stop by,’ if the concern is wasting time. Talking with someone is never a waste of time in my opinion no matter how busy you are, and who knows what kind of relationship will develop — even if you still don’t like the work. There may be something about the work that is never seen in image form or that person may be able to contribute in some other way beyond the typical curator-artist relationship.” Another artist, thinking about this issue more long-term, added, “I would always consider if there is anything I could stand to benefit from a studio visit or meeting. If time is really of the essence, I would tell them that I have limited time for studio visits, but I would be interested in seeing what the work looks like in, say, a year, if time permits. If the artist is dedicated enough to follow up in a year, I would genuinely reevaluate the offer and take a look at the work again.”\u003c/p>\n\u003cp>To steal a line from one response, “Artists know that rejection is part and parcel of the field we have chosen.” It’s better for everyone involved in the arts — artists and curators alike — if we spend our time and energy with people who can support our endeavors.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/01/29/ouijaboard.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\u003c/p>\n\u003cp>\u003cb>How would you advise a young artist to stay mentally healthy in his/her studio? Dealing with extended solitary time and rejection can be tough. Tips?\u003c/b>\u003c/p>\n\u003cp>I gave some ideas about creating a peer group in \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=81629\">this column\u003c/a> a few weeks ago, to which I would add that you should be getting regular feedback on your work if you want to avoid that “toiling in Siberia” feeling. One way to get feedback is to contact local curators in your area and ask them for studio visits that focus on a “cold read” of your work. You might want to hunt down some similarly-young curators for this, so that you can all essentially practice on each other. They’ll be flattered to be asked and you might make some new friends.\u003c/p>\n\u003cp>Dealing with rejection is going to depend a bit on your personality and circumstances, but the one thing that you must learn to do is not internalize the negativity such that it affects your practice. Historically (and in Hollywood films), our models of oft-rejected artists have been bitter egotists, weepy depressives, and the drug-addicted. May I suggest that you sidestep these choices? Aside from being unhealthy and hard on your immediate circle of friends, they’re all quite clichéd and boring. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/01/29/targcast.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Jasper Johns, \u003ci>Target with Plaster Casts\u003c/i>, 1955.\u003c/center>\u003c/p>\n\u003cp>But how to avoid getting to that dark place? Life as an artist is full of rejection, so it’s best to learn how to bear the slings and arrows of outrageous fortune early on. One method that seems to work quite well is to apply for everything. It is time consuming, but can be quite effective. Using this strategy, when you get the next letter that begins with “Dear Artist” and ends with “…but we wish you good luck in the future” you can safely move your thoughts to the next possibility and not dwell on that particular unfavorable answer. Move forward, and concentrate on opportunities. \u003c/p>\n\u003cp>A little commiseration can help you lick your wounds, too. If you’ve got a peer network that you trust, have a rejection dinner party where everyone brings their form letters and reads aloud (I’m certain there’s a drinking game to be invented from this). It helps so much to know that you’re not alone, and this applies to everyone from a freshman performance artist to the wretched three people who did not win the Turner Prize last year. Their work hangs in the Tate and I’m still pretty sure that they all went home on award night and got out the gin and the telephone.\u003c/p>\n\u003cp>I think it was the writer \u003ca href=\"http://en.wikipedia.org/wiki/Natalie_Goldberg\">Natalie Goldberg\u003c/a> who suggested that all rejections should be countenanced with the mantra, “So what, so what, so what?” but if this seems too insouciant for the novice, I suggest the more earnest, “Next time, next time, next time.” Don’t let a negative reply take the \u003ci>joie\u003c/i> from your \u003ci>vivre\u003c/i>. And if nothing else works, try to remember that “no” is an extremely small word: only two letters, a single syllable, and utterly forgettable. \u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and Daily Serving, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n",
"blocks": [],
"excerpt": "In which our fearless advice columnist faces rejection.",
"status": "publish",
"parent": 0,
"modified": 1788905842,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 1,
"wordCount": 46
},
"headData": {
"title": "Help Desk: The Answer Is No | KQED",
"description": "In which our fearless advice columnist faces rejection.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Help Desk: The Answer Is No",
"datePublished": "2012-01-29T20:04:09-08:00",
"dateModified": "2026-09-08T15:17:22-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 70,
"slug": "visualarts",
"name": "Visual Arts"
},
"sourceUrl": "http://www.kqed.org/arts/programs/helpdesk/",
"sticky": false,
"nprStoryId": "kqed-83018",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/83018/help_desk-4",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to HELP DESK, step into my office! Each week I’ll be answering your queries about making, finding, marketing, buying, selling — or any other activity related to—contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\u003c/a>helpdesk@dailyserving.com\u003c/a> with your questions, or use a free anonymizer like \u003ca href=\"http://anonymouse.org/anonemail.html\">Anonymouse.org\u003c/a> to send an email to the same address. Comments are enabled, but be good or be gone! All submissions will be treated as anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I am a curator and was recently contacted by an artist whom I have never met, who was recommended to me by a mutual acquaintance (another artist). The artist is inviting me to do a studio visit, but after looking at the artist’s website, I know that I am completely uninterested in seeing the work in person. I would like to decline the request in a way that is honest but kind, without necessarily making an explicit value judgment about the work. (I realize that expressing an opinion from my position holds a specific kind of weight.) I want to avoid wasting anyone’s time by doing a studio visit that will not yield anything for either of us. From an artist’s perspective, how can a curator best handle this situation?\u003c/b>\u003c/p>\n\u003cp>This is a great question, one that many of us on the receiving end have thought about long and hard. Personally, I take my rejections straight up (with an escapist murder-mystery chaser), because the perennially used and ever-ambiguous “I’m very busy right now,” leaves me wondering, Do I ask again later? How much later? Or should I understand somehow that “busy” actually means “go away forever?” One might spend days second-guessing the intention of such messages and ultimately end up more depressed than if there had simply been a polite “No, thank you.”\u003c/p>\n\u003cp>As always, I thought I’d better ask around in case my preferences aren’t the norm. Surprisingly, everyone I asked said you should be candid, but in varying degrees. The artists I queried are all in various stages of their careers, from fresh out of school to seasoned professionals with gallery representation and long CVs. Despite the differences in experience, the sentiment was the same: don’t beat around the bush. Some had great suggestions for how they’d like their “no” served: hot, room-temperature, and/or with a side of kindness.\u003c/p>\n\u003cp>One artist told me, “I’d say give it to them straight. It was the artist that did the contacting and so they should be ready to be rejected, it’s already happened to them many times if they’ve been an artist for long. Maybe something along the lines of, ‘Thanks for your kind invitation. I enjoyed looking at the work on your website but it is not a great match for my curatorial direction. I don’t believe that a studio visit from me would prove to be of any benefit to you or your work so in order not to waste any of your time I must decline. I wish you the best and thank you again for the offer.'”\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/01/29/negative1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Yes, it’s a negative.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Another suggested, “I think if the curator wrote the artist an email saying, ‘I looked at your work on the website and while it is interesting (add whatever adjective to soften the blow), I’m not sure that it’s a great fit for the work that I generally show,’ I think the artist would find a way to understand.”\u003c/p>\n\u003cp>If you’d prefer to keep your rejection more open-ended, you could try, “Thank you for contacting me regarding a potential studio visit. At this time, I am not involved in any projects that would be suitable for your work and I prefer to make studio visits with a specific goal/endpoint/situation/exhibition in mind. I do encourage you to keep me updated on new bodies of work.”\u003c/p>\n\u003cp>An additional idea that almost everyone mentioned was your ability as a curator to point the artist in the right direction by supplying the names of other curators who might be interested. Obviously this is not always possible (for example, if the work is of a quality that you would be embarrassed to recommend); but barring the truly awful, if you can help the artist create a relationship that would be mutually beneficial, then you will have done two people (the artist and the other curator) a great service. One respondent to my query suggested, “I’m not the best person to review your work but perhaps ping these people [insert name here].”\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/01/29/yesnomaybe.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\u003c/p>\n\u003cp>Another artist would like to remind you that looking at work on a website isn’t the same as seeing it in person, and that sometimes there is more to a studio visit than finding a perfect aesthetic match. This person commented, “Above all, I would like for someone to come do a quick visit. You could say, ‘I have about 15 minutes to stop by,’ if the concern is wasting time. Talking with someone is never a waste of time in my opinion no matter how busy you are, and who knows what kind of relationship will develop — even if you still don’t like the work. There may be something about the work that is never seen in image form or that person may be able to contribute in some other way beyond the typical curator-artist relationship.” Another artist, thinking about this issue more long-term, added, “I would always consider if there is anything I could stand to benefit from a studio visit or meeting. If time is really of the essence, I would tell them that I have limited time for studio visits, but I would be interested in seeing what the work looks like in, say, a year, if time permits. If the artist is dedicated enough to follow up in a year, I would genuinely reevaluate the offer and take a look at the work again.”\u003c/p>\n\u003cp>To steal a line from one response, “Artists know that rejection is part and parcel of the field we have chosen.” It’s better for everyone involved in the arts — artists and curators alike — if we spend our time and energy with people who can support our endeavors.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/01/29/ouijaboard.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\u003c/p>\n\u003cp>\u003cb>How would you advise a young artist to stay mentally healthy in his/her studio? Dealing with extended solitary time and rejection can be tough. Tips?\u003c/b>\u003c/p>\n\u003cp>I gave some ideas about creating a peer group in \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=81629\">this column\u003c/a> a few weeks ago, to which I would add that you should be getting regular feedback on your work if you want to avoid that “toiling in Siberia” feeling. One way to get feedback is to contact local curators in your area and ask them for studio visits that focus on a “cold read” of your work. You might want to hunt down some similarly-young curators for this, so that you can all essentially practice on each other. They’ll be flattered to be asked and you might make some new friends.\u003c/p>\n\u003cp>Dealing with rejection is going to depend a bit on your personality and circumstances, but the one thing that you must learn to do is not internalize the negativity such that it affects your practice. Historically (and in Hollywood films), our models of oft-rejected artists have been bitter egotists, weepy depressives, and the drug-addicted. May I suggest that you sidestep these choices? Aside from being unhealthy and hard on your immediate circle of friends, they’re all quite clichéd and boring. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/01/29/targcast.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Jasper Johns, \u003ci>Target with Plaster Casts\u003c/i>, 1955.\u003c/center>\u003c/p>\n\u003cp>But how to avoid getting to that dark place? Life as an artist is full of rejection, so it’s best to learn how to bear the slings and arrows of outrageous fortune early on. One method that seems to work quite well is to apply for everything. It is time consuming, but can be quite effective. Using this strategy, when you get the next letter that begins with “Dear Artist” and ends with “…but we wish you good luck in the future” you can safely move your thoughts to the next possibility and not dwell on that particular unfavorable answer. Move forward, and concentrate on opportunities. \u003c/p>\n\u003cp>A little commiseration can help you lick your wounds, too. If you’ve got a peer network that you trust, have a rejection dinner party where everyone brings their form letters and reads aloud (I’m certain there’s a drinking game to be invented from this). It helps so much to know that you’re not alone, and this applies to everyone from a freshman performance artist to the wretched three people who did not win the Turner Prize last year. Their work hangs in the Tate and I’m still pretty sure that they all went home on award night and got out the gin and the telephone.\u003c/p>\n\u003cp>I think it was the writer \u003ca href=\"http://en.wikipedia.org/wiki/Natalie_Goldberg\">Natalie Goldberg\u003c/a> who suggested that all rejections should be countenanced with the mantra, “So what, so what, so what?” but if this seems too insouciant for the novice, I suggest the more earnest, “Next time, next time, next time.” Don’t let a negative reply take the \u003ci>joie\u003c/i> from your \u003ci>vivre\u003c/i>. And if nothing else works, try to remember that “no” is an extremely small word: only two letters, a single syllable, and utterly forgettable. \u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and Daily Serving, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/83018/help_desk-4",
"authors": [
"12027"
],
"categories": [
"arts_70"
],
"tags": [
"arts_342"
],
"featImg": "arts_10083018",
"label": "arts"
},
"arts_82734": {
"type": "posts",
"id": "arts_82734",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "82734",
"score": null,
"sort": [
1327629784000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1327629784,
"format": "standard",
"title": "Royal NoneSuch Gallery Redefines Alternative with Space, Time and Architecture",
"headTitle": "Royal NoneSuch Gallery Redefines Alternative with Space, Time and Architecture | KQED",
"content": "\u003cp>Royal NoneSuch Gallery, a small artist-run alternative art and event space in Oakland’s Temescal district, began as an alternative to conventional models right from the start. Founders Elizabeth Bernstein and Carrie Hott, acquaintance-slash-friends on Facebook, deepened their connection when Bernstein posted that she was looking for someone to partner with her to start an artist-run space. She already had the space and she wanted someone to share it with. This month, after two years of successfully managing operations between the two of them, Bernstein and Hott conducted a similar search before partnering with Carey Lin and Kathleen Quillian. This expansion allows each to maintain an interest in the gallery while further distributing labor and allowing more time for individual pursuits. Overall it is a lean operation, with fundraising limited to the overhead costs of keeping the lights on and the doors open and viewing hours limited to the weekend. Among the organizers it is a labor of love: each volunteers their time. This open-handed, collaborative approach to authorship is, in itself, a salient alternative to most alternative spaces based on jealously guarded singular leadership.\u003c/p>\n\u003cp>\u003cb>Space, Time and Architecture\u003c/b>, a two-person exhibition featuring works by Cybele Lyle and Luca Nino Antonucci, is the first show curated by this newly expanded foursome of organizers. Programming is selected through a democratic process within the group. This pairing of artists, as the first show of the year, auspiciously received a unanimous response among the four, cementing their faith in Royal NoneSuch’s unique organizational style. Interestingly, \u003cb>Space, Time and Architecture\u003c/b> reflects the gallery ethos while presenting the distinctly separate practices of two artists previously unfamiliar with one another. Rather than delineating space within the gallery for each artist, the work is intermixed. It is a dynamic pairing that reveals itself quietly.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nonesuch2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Luca Nino Antonucci\u003c/p>\n\u003cp>Lyle’s prints alternate with Antonucci’s print transparencies, cleanly installed around the one room space. The later features text, redacted by Antonucci, from architectural historian Siegfried Giedion’s seminal book \u003ci>Space, Time and Architecture: The Growth of a New Tradition\u003c/i>, published by Harvard University Press in 1941. (Giedion is counted among those who influenced the work of media theorist Marshall McLuhan, who in turn would probably have found some amusing significance in Giedion’s work ending up as edited text in a gallery formed over the bonds of Facebook. The medium is the message, indeed.) Using an actual tome, the artist has begun editing the book to create a distillation of the author’s essential arguments — at the same time, Antonucci’s redactions update the tenets of the book to reflect the collaborative phenomena evident in today’s creative practices, from social networking to collective production. Antonucci’s copy of \u003ci>Space, Time and Architecture\u003c/i>, each page variously altered with white paint or black lines, sits on a quirky pedestal in the center of the space. The visual quality of the pedestal mirror’s Lyle’s prints, purely by coincidence, as seems to happen quite naturally here.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nonesuch1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Cybele Lyle\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lyle’s prints are a departure from a larger body of work that explores projected images in architectural space. Each print is an image collaged from Lyle’s photographs of the natural landscape, cropped and arranged as architectural elements in open space. The original compositions are scanned and printed on metallic paper. The result is a series of uncanny landscapes where familiar elements are made surreal and a fourth dimension, merging time and space, is made real. “Space, Time and Architecture \u003ci>is an entity in itself which, with all its shortcomings should \u003cstrike>not\u003c/strike> be disturbed\u003c/i>,” reads some of Giedion’s text revised by Antonucci. The work is both collaborative and revisionist; a reflection on the imperative to study and respect old models — before destroying them to create anew from the pieces.\u003c/p>\n\u003cp>The gallery mission statement treads familiar territory — denying commercial interests, emphasizing community and experimentation — while reflecting an ideology that is both the driving compact of its partnerships and its programmatic agenda. It’s the approach not the agenda, per se, that is new here. Royal NoneSuch Gallery reflects a true alternative based on collaboration, with a willingness to reinvent as space and time allow. Long may it reign.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Space, Time and Architecture\u003c/b> is on view at Royal NoneSuch Gallery through February 26; Saturdays and Sundays 1 – 4 and by appointment. For \u003ca href=\"http://www.royalnonesuchgallery.com\">more information\u003c/a>\u003ca>\u003c/a> visit royalnonesuchgallery.com.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 758,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705050956,
"excerpt": "The newly-formed quartet of curators at Oakland's Royal NoneSuch Gallery have just opened a new show featuring works by Cybele Lyle and Luca Nino Antonucci.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The newly-formed quartet of curators at Oakland's Royal NoneSuch Gallery have just opened a new show featuring works by Cybele Lyle and Luca Nino Antonucci.",
"title": "Royal NoneSuch Gallery Redefines Alternative with Space, Time and Architecture | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Royal NoneSuch Gallery Redefines Alternative with Space, Time and Architecture",
"datePublished": "2012-01-26T18:03:04-08:00",
"dateModified": "2024-01-12T01:15:56-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "royal_nonesuch_gallery_redefines_alternative_with_space",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/",
"sticky": false,
"path": "/arts/82734/royal_nonesuch_gallery_redefines_alternative_with_space",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Royal NoneSuch Gallery, a small artist-run alternative art and event space in Oakland’s Temescal district, began as an alternative to conventional models right from the start. Founders Elizabeth Bernstein and Carrie Hott, acquaintance-slash-friends on Facebook, deepened their connection when Bernstein posted that she was looking for someone to partner with her to start an artist-run space. She already had the space and she wanted someone to share it with. This month, after two years of successfully managing operations between the two of them, Bernstein and Hott conducted a similar search before partnering with Carey Lin and Kathleen Quillian. This expansion allows each to maintain an interest in the gallery while further distributing labor and allowing more time for individual pursuits. Overall it is a lean operation, with fundraising limited to the overhead costs of keeping the lights on and the doors open and viewing hours limited to the weekend. Among the organizers it is a labor of love: each volunteers their time. This open-handed, collaborative approach to authorship is, in itself, a salient alternative to most alternative spaces based on jealously guarded singular leadership.\u003c/p>\n\u003cp>\u003cb>Space, Time and Architecture\u003c/b>, a two-person exhibition featuring works by Cybele Lyle and Luca Nino Antonucci, is the first show curated by this newly expanded foursome of organizers. Programming is selected through a democratic process within the group. This pairing of artists, as the first show of the year, auspiciously received a unanimous response among the four, cementing their faith in Royal NoneSuch’s unique organizational style. Interestingly, \u003cb>Space, Time and Architecture\u003c/b> reflects the gallery ethos while presenting the distinctly separate practices of two artists previously unfamiliar with one another. Rather than delineating space within the gallery for each artist, the work is intermixed. It is a dynamic pairing that reveals itself quietly.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nonesuch2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Luca Nino Antonucci\u003c/p>\n\u003cp>Lyle’s prints alternate with Antonucci’s print transparencies, cleanly installed around the one room space. The later features text, redacted by Antonucci, from architectural historian Siegfried Giedion’s seminal book \u003ci>Space, Time and Architecture: The Growth of a New Tradition\u003c/i>, published by Harvard University Press in 1941. (Giedion is counted among those who influenced the work of media theorist Marshall McLuhan, who in turn would probably have found some amusing significance in Giedion’s work ending up as edited text in a gallery formed over the bonds of Facebook. The medium is the message, indeed.) Using an actual tome, the artist has begun editing the book to create a distillation of the author’s essential arguments — at the same time, Antonucci’s redactions update the tenets of the book to reflect the collaborative phenomena evident in today’s creative practices, from social networking to collective production. Antonucci’s copy of \u003ci>Space, Time and Architecture\u003c/i>, each page variously altered with white paint or black lines, sits on a quirky pedestal in the center of the space. The visual quality of the pedestal mirror’s Lyle’s prints, purely by coincidence, as seems to happen quite naturally here.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nonesuch1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Cybele Lyle\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>Lyle’s prints are a departure from a larger body of work that explores projected images in architectural space. Each print is an image collaged from Lyle’s photographs of the natural landscape, cropped and arranged as architectural elements in open space. The original compositions are scanned and printed on metallic paper. The result is a series of uncanny landscapes where familiar elements are made surreal and a fourth dimension, merging time and space, is made real. “Space, Time and Architecture \u003ci>is an entity in itself which, with all its shortcomings should \u003cstrike>not\u003c/strike> be disturbed\u003c/i>,” reads some of Giedion’s text revised by Antonucci. The work is both collaborative and revisionist; a reflection on the imperative to study and respect old models — before destroying them to create anew from the pieces.\u003c/p>\n\u003cp>The gallery mission statement treads familiar territory — denying commercial interests, emphasizing community and experimentation — while reflecting an ideology that is both the driving compact of its partnerships and its programmatic agenda. It’s the approach not the agenda, per se, that is new here. Royal NoneSuch Gallery reflects a true alternative based on collaboration, with a willingness to reinvent as space and time allow. Long may it reign.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Space, Time and Architecture\u003c/b> is on view at Royal NoneSuch Gallery through February 26; Saturdays and Sundays 1 – 4 and by appointment. For \u003ca href=\"http://www.royalnonesuchgallery.com\">more information\u003c/a>\u003ca>\u003c/a> visit royalnonesuchgallery.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/82734/royal_nonesuch_gallery_redefines_alternative_with_space",
"authors": [
"58"
],
"categories": [
"arts_70"
],
"featImg": "arts_10082734",
"label": "arts"
},
"arts_82252": {
"type": "posts",
"id": "arts_82252",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "82252",
"score": null,
"sort": [
1327282018000
]
},
"guestAuthors": [],
"slug": "help_desk_not_enoughtoo_much",
"title": "Help Desk: Not Enough/Too Much?",
"publishDate": 1327282018,
"format": "standard",
"headTitle": "Help Desk: Not Enough/Too Much? | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003ci>Welcome to HELP DESK, step into my office! Each week I’ll be answering your queries about making, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions, or use a free anonymizer like \u003ca href=\"http://anonymouse.org/anonemail.html\">Anonymouse.org\u003c/a> to send an email to the same address. Comments are enabled, but be good or be gone! All submissions will be treated as anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Some galleries provide artists with information on who is purchasing their artwork… others do not. What’s up with that? I feel like smaller galleries are super paranoid of artists selling out from under them while bigger more stable galleries offer full contact information to artists.\u003c/b>\u003c/p>\n\u003cp>I’m not a gallerist, so I asked around to see if anyone could help me shed a little light on this subject. Catharine Clark, of \u003ca href=\"http://www.cclarkgallery.com/\">Catharine Clark Gallery\u003c/a> in San Francisco, generously provided this information for me to share:\u003c/p>\n\u003cp>“We disclose the name of a collector to an artist when a sale is made. Often collectors and artists enjoy meeting one another, and we help to facilitate that when it’s possible. We disclose additional contact information when artists are in the process of determining what work can be available for a museum exhibit, for example, or if they ask for it because they want to write a thank you note or correspond in some way with the collector. Some collectors are very private, and the information about them is proprietary, so we evaluate each request as it is made and determine whether the use of the information will be respectful. We have had the unfortunate experience of the information being inappropriately shared and the collectors have then felt betrayed. Since we work on loan agreements with the museum registrars, collectors, and artists, usually it is at that point that all contact information becomes most transparent. We also maintain relationships with the collectors so that we are able to follow the whereabouts of work as people move or re-sell their collections.”\u003c/p>\n\u003cp>Of course, Catharine Clark is an established and highly professional operation. You might find a different set of standards at work with another, smaller or newer gallery. While I can’t speak to the “paranoia” of a gallery, I can offer some advice to artists just starting out: ask for a contract that specifically states that you need to be given collector information when a sale is made. I do believe that you have a right to know where your work is going.\u003c/p>\n\u003cp>I also want to stress that you don’t want to use collector information in an improper way. It would be indecorous and short-sighted to pester your collector, or to try to make a direct-from-studio sale next time and skip the gallery’s commission. If you’re represented, don’t ever ever do this; and if you’re not represented and the buyer connected with you through a gallery, then you owe the gallery a percentage of the sale anyway — unless you like bad blood and never want to show there again. But it’s not a bad idea to have at least basic collector information so that you can keep a spreadsheet on the whereabouts of your work. That way when \u003ca href=\"http://momaps1.org/\">PS1\u003c/a> offers you a retrospective and then makes you track down and then pick up all your own work — like they did to a certain unnamed young female artist recently — you can find it all. I also refer readers to Chapter 13, “Gallery Representation” of the excellent \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333/ref=sr_1_1?ie=UTF8&qid=1327205617&sr=8-1\">\u003cem>Art/Work\u003c/em>\u003c/a> by Heather Darcy Bhandari and Jonathan Melber, which goes into more detail about the ins and outs of working with galleries.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"//u.s.kqed.org/2012/01/22/nolandtarget.jpg\" />\u003cbr />\nKenneth Noland, \u003ci>Untitled (Target)\u003c/i>, 1963. Collection of the Museum of Contemporary Art, Los Angeles.\u003c/p>\n\u003cp>\u003cb>I have large breasts. I recognize that this affords me some extra opportunities, considering most of the dealers I have worked with are straight men. I should add that I think my work is strong. Should I feel guilty about the advantages my sex appeal might grant me?\u003c/b>\u003c/p>\n\u003cp>At first glance, your question seems rather straightforward: Can I use my boobs to get ahead? And the answer, of course, is yes, you can. But I worry about you, buxom lass, because I wonder what “extra opportunities” you’re talking about. Is this a euphemism for being shtupped on the casting couch or just an invitation to show at an art fair? If it’s the former, please do be careful, I’d hate to read a follow-up letter about a chesty misunderstanding. If it’s the latter, I’m not entirely convinced. Your assumption that large tatas give you an edge is a smidge dubious; how do you know it’s not just the power of your “strong” work? Because believe it or not, there are a lot of men out there for whom a pair of big knockers is a non-issue. It’s been forty years since Dow Corning first introduced breast implants to the market, so it’s not as if large breasts are hard to find these days, even in the art world.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"//u.s.kqed.org/2012/01/22/abramovic.jpg\" />\u003cbr />\nMarina Abramovic, \u003ci>Balkan Erotic Epic\u003c/i>, 2005.\u003c/p>\n\u003cp>Remember that a condition that is emphasized in the mind may not be such a big deal in reality. Consider this: you probably use your smile often. Your happy grin might possibly contribute to your sex appeal. When you smile at your dealers, do you consider the advantages of your teeth, which I’m guessing are clean(ish) and all still in your mouth? Do you feel guilty about using your lips and teeth? Probably not, but you have to admit that they are a physical advantage that others may not have. As ridiculous as that sounds, I want you to consider your breasts as just one more attribute, like shiny white teeth or your height or red hair, that may or may not have a bearing on your relative position in the world. Otherwise, I fear you run the risk of overestimating the advantage of your chest and underestimating the energy of your work.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"//u.s.kqed.org/2012/01/22/lorenmansfield.jpg\" />\u003cbr />\nSophia Loren and Jayne Mansfield\u003c/p>\n\u003cp>My final answer is this: you’re not going to feel guilty, Miss Balcony, because you’re going to continue to make good art and get it in front of the people who need to see it. If your breasts provide a pleasing place for a dealer’s eye to occasionally rest when taking a breather from oggling your incredible work, so be it, \u003ci>as long as you’re comfortable with that\u003c/i>. You may use this if you like, but I beg you not to believe, not for one minute, that this is the source of your power. You are an artist, not a stripper, and may you never mistake one profession for the other.\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n",
"blocks": [],
"excerpt": "In which our intrepid advice columnist considers not enough and possibly too much information.",
"status": "publish",
"parent": 0,
"modified": 1788905845,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 1234
},
"headData": {
"title": "Help Desk: Not Enough/Too Much? | KQED",
"description": "In which our intrepid advice columnist considers not enough and possibly too much information.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Help Desk: Not Enough/Too Much?",
"datePublished": "2012-01-22T17:26:58-08:00",
"dateModified": "2026-09-08T15:17:25-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 70,
"slug": "visualarts",
"name": "Visual Arts"
},
"sourceUrl": "http://www.kqed.org/arts/programs/helpdesk/",
"sticky": false,
"nprStoryId": "kqed-82252",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/82252/help_desk_not_enoughtoo_much",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to HELP DESK, step into my office! Each week I’ll be answering your queries about making, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions, or use a free anonymizer like \u003ca href=\"http://anonymouse.org/anonemail.html\">Anonymouse.org\u003c/a> to send an email to the same address. Comments are enabled, but be good or be gone! All submissions will be treated as anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Some galleries provide artists with information on who is purchasing their artwork… others do not. What’s up with that? I feel like smaller galleries are super paranoid of artists selling out from under them while bigger more stable galleries offer full contact information to artists.\u003c/b>\u003c/p>\n\u003cp>I’m not a gallerist, so I asked around to see if anyone could help me shed a little light on this subject. Catharine Clark, of \u003ca href=\"http://www.cclarkgallery.com/\">Catharine Clark Gallery\u003c/a> in San Francisco, generously provided this information for me to share:\u003c/p>\n\u003cp>“We disclose the name of a collector to an artist when a sale is made. Often collectors and artists enjoy meeting one another, and we help to facilitate that when it’s possible. We disclose additional contact information when artists are in the process of determining what work can be available for a museum exhibit, for example, or if they ask for it because they want to write a thank you note or correspond in some way with the collector. Some collectors are very private, and the information about them is proprietary, so we evaluate each request as it is made and determine whether the use of the information will be respectful. We have had the unfortunate experience of the information being inappropriately shared and the collectors have then felt betrayed. Since we work on loan agreements with the museum registrars, collectors, and artists, usually it is at that point that all contact information becomes most transparent. We also maintain relationships with the collectors so that we are able to follow the whereabouts of work as people move or re-sell their collections.”\u003c/p>\n\u003cp>Of course, Catharine Clark is an established and highly professional operation. You might find a different set of standards at work with another, smaller or newer gallery. While I can’t speak to the “paranoia” of a gallery, I can offer some advice to artists just starting out: ask for a contract that specifically states that you need to be given collector information when a sale is made. I do believe that you have a right to know where your work is going.\u003c/p>\n\u003cp>I also want to stress that you don’t want to use collector information in an improper way. It would be indecorous and short-sighted to pester your collector, or to try to make a direct-from-studio sale next time and skip the gallery’s commission. If you’re represented, don’t ever ever do this; and if you’re not represented and the buyer connected with you through a gallery, then you owe the gallery a percentage of the sale anyway — unless you like bad blood and never want to show there again. But it’s not a bad idea to have at least basic collector information so that you can keep a spreadsheet on the whereabouts of your work. That way when \u003ca href=\"http://momaps1.org/\">PS1\u003c/a> offers you a retrospective and then makes you track down and then pick up all your own work — like they did to a certain unnamed young female artist recently — you can find it all. I also refer readers to Chapter 13, “Gallery Representation” of the excellent \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333/ref=sr_1_1?ie=UTF8&qid=1327205617&sr=8-1\">\u003cem>Art/Work\u003c/em>\u003c/a> by Heather Darcy Bhandari and Jonathan Melber, which goes into more detail about the ins and outs of working with galleries.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"//u.s.kqed.org/2012/01/22/nolandtarget.jpg\" />\u003cbr />\nKenneth Noland, \u003ci>Untitled (Target)\u003c/i>, 1963. Collection of the Museum of Contemporary Art, Los Angeles.\u003c/p>\n\u003cp>\u003cb>I have large breasts. I recognize that this affords me some extra opportunities, considering most of the dealers I have worked with are straight men. I should add that I think my work is strong. Should I feel guilty about the advantages my sex appeal might grant me?\u003c/b>\u003c/p>\n\u003cp>At first glance, your question seems rather straightforward: Can I use my boobs to get ahead? And the answer, of course, is yes, you can. But I worry about you, buxom lass, because I wonder what “extra opportunities” you’re talking about. Is this a euphemism for being shtupped on the casting couch or just an invitation to show at an art fair? If it’s the former, please do be careful, I’d hate to read a follow-up letter about a chesty misunderstanding. If it’s the latter, I’m not entirely convinced. Your assumption that large tatas give you an edge is a smidge dubious; how do you know it’s not just the power of your “strong” work? Because believe it or not, there are a lot of men out there for whom a pair of big knockers is a non-issue. It’s been forty years since Dow Corning first introduced breast implants to the market, so it’s not as if large breasts are hard to find these days, even in the art world.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"//u.s.kqed.org/2012/01/22/abramovic.jpg\" />\u003cbr />\nMarina Abramovic, \u003ci>Balkan Erotic Epic\u003c/i>, 2005.\u003c/p>\n\u003cp>Remember that a condition that is emphasized in the mind may not be such a big deal in reality. Consider this: you probably use your smile often. Your happy grin might possibly contribute to your sex appeal. When you smile at your dealers, do you consider the advantages of your teeth, which I’m guessing are clean(ish) and all still in your mouth? Do you feel guilty about using your lips and teeth? Probably not, but you have to admit that they are a physical advantage that others may not have. As ridiculous as that sounds, I want you to consider your breasts as just one more attribute, like shiny white teeth or your height or red hair, that may or may not have a bearing on your relative position in the world. Otherwise, I fear you run the risk of overestimating the advantage of your chest and underestimating the energy of your work.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"//u.s.kqed.org/2012/01/22/lorenmansfield.jpg\" />\u003cbr />\nSophia Loren and Jayne Mansfield\u003c/p>\n\u003cp>My final answer is this: you’re not going to feel guilty, Miss Balcony, because you’re going to continue to make good art and get it in front of the people who need to see it. If your breasts provide a pleasing place for a dealer’s eye to occasionally rest when taking a breather from oggling your incredible work, so be it, \u003ci>as long as you’re comfortable with that\u003c/i>. You may use this if you like, but I beg you not to believe, not for one minute, that this is the source of your power. You are an artist, not a stripper, and may you never mistake one profession for the other.\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/82252/help_desk_not_enoughtoo_much",
"authors": [
"12027"
],
"categories": [
"arts_70"
],
"tags": [
"arts_342"
],
"featImg": "arts_10082252",
"label": "arts"
},
"arts_81885": {
"type": "posts",
"id": "arts_81885",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "81885",
"score": null,
"sort": [
1326939775000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1326939775,
"format": "standard",
"title": "Recology San Francisco Enables Artists to 'Make Art, Not Landfill'",
"headTitle": "Recology San Francisco Enables Artists to ‘Make Art, Not Landfill’ | KQED",
"content": "\u003cp>Recology San Francisco is the only garbage dump in the country that hosts a rotating artist-in-residence program. Artists are granted studio space for four months, along with a stipend and free access to items dropped off in the Public Disposal and Recycling (PDR) area. It is essentially the penultimate dumpster diving experience: anything and everything, from old electronics to musical instruments and every other possible art material under the sun, appears at some point, free for the unlimited taking. Resident artists must use only that which they salvage from the PDR to make new work while in residence. Founded in 1990 by artist Jo Hanson, by the end of this year the Recology San Francisco A. I. R. program will have served 99 artists, including the likes of Val Britton, Packard Jennings, Christine Lee, and Scott Oliver. Current resident artists Terry Berlier and Donna Anderson Kam present the fruits of their labor in a two-day reception in the on-site studio this weekend.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/recology-1.jpg\">\u003c/p>\n\u003cp>Terry Berlier\u003cbr>\u003ci>The Beginning and the End Meet\u003c/i>\u003cbr>Photo: Micah Gibson\u003c/p>\n\u003cp>The residency program is an exercise in resourcefulness and a resounding statement about the surplus generated by consumer culture. Upon arrival, Berlier wondered about the possibility of procuring a piano. Within two days a perfectly suitable upright was brought to the dump and snagged for deconstruction in her studio. A fully functioning MacBook computer dropped off for electronics recycling is among other plethora implemented in the construction of the artist’s sculptural new media installations. An assistant professor of sculpture at Stanford University, Berlier took a sabbatical to work in her dump studio. She notes that “the residency has blown up my practice” through the wealth of raw materials available daily as people arrive hourly with carloads of stuff cleared out of their homes, offices and storage spaces. For someone like Berlier, who previously worked with found objects, the residency can be an overwhelming abundance of raw materials for art-making. The anticipated challenge of finding supplies for artists who have more narrowly focused practices can be nerve wracking. But the experience can also lead to new discoveries, such as for Anderson Kam, whose practice prior to the residency focused on drawing on conventional paper. During the residency, she has begun experimenting with new materials, such as the cast-off perforated vinyl advertising skins from transit buses. Oversized cardboard spools have spurred her development of continuous narratives drawn on their circular surfaces.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/recology-2.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Donna Anderson Kam\u003cbr>\u003ci>(08-12-2011) 4:47 PDT Little Hollywood, Ca.\u003c/i>\u003cbr>Photo: Micah Gibson\u003c/p>\n\u003cp>Beyond the art program, this dump is a surprisingly fascinating place. Despite whatever expectations one might have about messiness, it is very orderly and clean. Even the seagulls are kept in line by a professional Falconer named Indigo who patrols regularly with three exquisite falcons, steering the gulls away from the organic waste and out to the Bay. The facility itself is a model for creative reuse — a private sculpture garden on site offers sound buffering between the dump and the nearby residential neighborhood known as Little Hollywood. Designed by Susan Leibovitz Steinman (sister to photographer Annie Leibovitz) in 1992, the garden features concrete salvaged from the collapsed Embarcadero Freeway damaged in the 1989 Loma Prieta Earthquake. Resident artists are encouraged to create work for the garden — to date it houses more than 35 sculptures scattered throughout the three-acre space.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/recology-3.jpg\">\u003c/p>\n\u003cp>Ethan Estess\u003cbr>\u003ci>Last Dive at the Farallones: 100,000 Marine Mammals Killed Per Year\u003c/i>\u003cbr>Photo: Micah Gibson\u003c/p>\n\u003cp>Recycling is, of course, the highest order of Recology San Francisco, followed closely by educational efforts to encourage recycling. Every pound of waste that goes into a landfill has a cost attached to it and, as a for-profit employee-owned company, Recology San Francisco is incentivized to educate the public about recycling efficiently. The artist-in-residence program is an internally funded community-based endeavor that combines actual recycling with public outreach. Other efforts include participation in street parades — a spotless garage houses an extensive collection of antique garbage trucks — and more than 150 public tours for adults and children annually. Beyond the work it does locally, Recology San Francisco endeavors to provide a model for other waste management programs by making its business model available as an open source set of guidelines. “Make Art, Not Landfill” reads a stamp on the Recology San Francisco materials, designed to look like a stenciled graffiti tag. The message that we need to recycle for the betterment of the planet is writing on the wall, as it were — that recycling can also support artists gives new life to an old idea.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/01/20/garden.jpg\">\u003c/p>\n\u003cp>Recology Sculpture Garden\u003cbr>Garden designed by Susan Leibowitz-Steinman\u003cbr>\u003ci>Conehead Chairs\u003c/i> by Norma Yorba\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Artist in Residence Program at Recology San Francisco will host an exhibition and reception for current artists-in-residence Terry Berlier, Donna Anderson Kam and Ethan Estess on Friday, January 20, 2012 from 5-9pm and Saturday, January 21, from 1-5pm. For more information \u003ca href=\"http://sunsetscavenger.com/AIR/\">vist sunsetscavenger.com/AIR\u003c/a>.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 841,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705050968,
"excerpt": "Recology San Francisco is the only garbage dump in the country that hosts a rotating artist-in-residence program. Current resident artists Terry Berlier and Donna Anderson Kam present the fruits of their labor in a two-day reception in the on-site studio this weekend.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Recology San Francisco is the only garbage dump in the country that hosts a rotating artist-in-residence program. Current resident artists Terry Berlier and Donna Anderson Kam present the fruits of their labor in a two-day reception in the on-site studio this weekend.",
"title": "Recology San Francisco Enables Artists to 'Make Art, Not Landfill' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Recology San Francisco Enables Artists to 'Make Art, Not Landfill'",
"datePublished": "2012-01-18T18:22:55-08:00",
"dateModified": "2024-01-12T01:16:08-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "recology_san_francisco_enables_artists_to_make_art_not_landfill",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/81885/recology_san_francisco_enables_artists_to_make_art_not_landfill",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Recology San Francisco is the only garbage dump in the country that hosts a rotating artist-in-residence program. Artists are granted studio space for four months, along with a stipend and free access to items dropped off in the Public Disposal and Recycling (PDR) area. It is essentially the penultimate dumpster diving experience: anything and everything, from old electronics to musical instruments and every other possible art material under the sun, appears at some point, free for the unlimited taking. Resident artists must use only that which they salvage from the PDR to make new work while in residence. Founded in 1990 by artist Jo Hanson, by the end of this year the Recology San Francisco A. I. R. program will have served 99 artists, including the likes of Val Britton, Packard Jennings, Christine Lee, and Scott Oliver. Current resident artists Terry Berlier and Donna Anderson Kam present the fruits of their labor in a two-day reception in the on-site studio this weekend.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/recology-1.jpg\">\u003c/p>\n\u003cp>Terry Berlier\u003cbr>\u003ci>The Beginning and the End Meet\u003c/i>\u003cbr>Photo: Micah Gibson\u003c/p>\n\u003cp>The residency program is an exercise in resourcefulness and a resounding statement about the surplus generated by consumer culture. Upon arrival, Berlier wondered about the possibility of procuring a piano. Within two days a perfectly suitable upright was brought to the dump and snagged for deconstruction in her studio. A fully functioning MacBook computer dropped off for electronics recycling is among other plethora implemented in the construction of the artist’s sculptural new media installations. An assistant professor of sculpture at Stanford University, Berlier took a sabbatical to work in her dump studio. She notes that “the residency has blown up my practice” through the wealth of raw materials available daily as people arrive hourly with carloads of stuff cleared out of their homes, offices and storage spaces. For someone like Berlier, who previously worked with found objects, the residency can be an overwhelming abundance of raw materials for art-making. The anticipated challenge of finding supplies for artists who have more narrowly focused practices can be nerve wracking. But the experience can also lead to new discoveries, such as for Anderson Kam, whose practice prior to the residency focused on drawing on conventional paper. During the residency, she has begun experimenting with new materials, such as the cast-off perforated vinyl advertising skins from transit buses. Oversized cardboard spools have spurred her development of continuous narratives drawn on their circular surfaces.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/recology-2.jpg\">\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>Donna Anderson Kam\u003cbr>\u003ci>(08-12-2011) 4:47 PDT Little Hollywood, Ca.\u003c/i>\u003cbr>Photo: Micah Gibson\u003c/p>\n\u003cp>Beyond the art program, this dump is a surprisingly fascinating place. Despite whatever expectations one might have about messiness, it is very orderly and clean. Even the seagulls are kept in line by a professional Falconer named Indigo who patrols regularly with three exquisite falcons, steering the gulls away from the organic waste and out to the Bay. The facility itself is a model for creative reuse — a private sculpture garden on site offers sound buffering between the dump and the nearby residential neighborhood known as Little Hollywood. Designed by Susan Leibovitz Steinman (sister to photographer Annie Leibovitz) in 1992, the garden features concrete salvaged from the collapsed Embarcadero Freeway damaged in the 1989 Loma Prieta Earthquake. Resident artists are encouraged to create work for the garden — to date it houses more than 35 sculptures scattered throughout the three-acre space.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/recology-3.jpg\">\u003c/p>\n\u003cp>Ethan Estess\u003cbr>\u003ci>Last Dive at the Farallones: 100,000 Marine Mammals Killed Per Year\u003c/i>\u003cbr>Photo: Micah Gibson\u003c/p>\n\u003cp>Recycling is, of course, the highest order of Recology San Francisco, followed closely by educational efforts to encourage recycling. Every pound of waste that goes into a landfill has a cost attached to it and, as a for-profit employee-owned company, Recology San Francisco is incentivized to educate the public about recycling efficiently. The artist-in-residence program is an internally funded community-based endeavor that combines actual recycling with public outreach. Other efforts include participation in street parades — a spotless garage houses an extensive collection of antique garbage trucks — and more than 150 public tours for adults and children annually. Beyond the work it does locally, Recology San Francisco endeavors to provide a model for other waste management programs by making its business model available as an open source set of guidelines. “Make Art, Not Landfill” reads a stamp on the Recology San Francisco materials, designed to look like a stenciled graffiti tag. The message that we need to recycle for the betterment of the planet is writing on the wall, as it were — that recycling can also support artists gives new life to an old idea.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/01/20/garden.jpg\">\u003c/p>\n\u003cp>Recology Sculpture Garden\u003cbr>Garden designed by Susan Leibowitz-Steinman\u003cbr>\u003ci>Conehead Chairs\u003c/i> by Norma Yorba\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Artist in Residence Program at Recology San Francisco will host an exhibition and reception for current artists-in-residence Terry Berlier, Donna Anderson Kam and Ethan Estess on Friday, January 20, 2012 from 5-9pm and Saturday, January 21, from 1-5pm. For more information \u003ca href=\"http://sunsetscavenger.com/AIR/\">vist sunsetscavenger.com/AIR\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/81885/recology_san_francisco_enables_artists_to_make_art_not_landfill",
"authors": [
"58"
],
"categories": [
"arts_70"
],
"featImg": "arts_10081885",
"label": "arts"
},
"arts_81641": {
"type": "posts",
"id": "arts_81641",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "81641",
"score": null,
"sort": [
1326749353000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1326749353,
"format": "standard",
"title": "San Francisco History Beneath the Future Transbay Terminal",
"headTitle": "San Francisco History Beneath the Future Transbay Terminal | KQED",
"content": "\u003cp>Tucked away inside the lobby of 201 Mission Street is a deceptively simple arrangement of four vitrines and four information stands. I say deceptively because I only expected to spend about twenty minutes browsing the seventy-odd items. An hour later, I was ruminating on an empty container of Burnett’s Cocoaine, a product from 1857 Boston and purportedly “a perfect hair dressing.”\u003c/p>\n\u003cp>Through the end of January, the \u003cb>Transbay Archaeology Exhibit\u003c/b> is on view during building hours, free to any curious passersby. While contractors excavate the future terminal site, archaeologists from William Self Associates, commissioned by the Transbay Joint Powers Authority (TJPA), have pinpointed prime locations for exploratory digs and unearthed a variety of historical artifacts.\u003c/p>\n\u003cp>If you’re hoping for buried treasure, you won’t find it here. Instead, the archaeologists discovered evidence of rough working-class lives, the remnants of families and businesses in the South of Market neighborhood in the difficult post-Gold Rush time. The exhibition casts an unbiased eye across the selected objects, providing evidence of both virtue (a student’s slate pencil) and vice (an opium pipe).\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/burnetts.jpg\" alt=\"\">\u003cbr>\nBurnett’s CocoaineViewing the bluish glass bottle that formerly housed Burnett’s Cocoaine, I was impressed by the sheer number of small business with custom containers. It appears that nearly every pharmacist marketed his own “miraculous” product (most of them mostly alcohol, a tried and true cure-all). Some examples on display: Dr. Rowell’s Fire of Life (made in San Francisco from 1875 to 1897), Emerson’s Bromo-Seltzer (popular for the impressive span of 1889 to 1950), and Dr. J. Hostetter’s Stomach Bitters, a brown embossed vial that once contained a liquid so high in alcohol content it was sold by the glass at saloons.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/bitters.jpg\" alt=\"\">The objects themselves are intriguing, but the exhibition truly excels in expanding upon the artifacts through the use of written and visual support materials. One featured newspaper clipping from the \u003ci>San Francisco Chronicle\u003c/i>, titled “CASUALTIES THE LOT OF THIS SMALL BOY” tells the story of little Joseph Ferry, bit by dogs. The article’s value comes from the telling picture it paints of the neighborhood in 1899.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the first South of Market residents lived in tents and shacks, these dwellings were gradually replaced with prefabricated wooden homes brought in from New England. Ferry and his family lived in one of these narrow buildings, crowded onto a tiny lot with others like it. He suffered his accident watching the neighborhood take on a new permanence: “this boy, with several other youngsters, was in the alley, admiring the prowess of mechanics engaged in the construction of a two-story brick stable at 40 Natoma Street, for new brick buildings do not rise in the lifetime of many dwellers in that humble thoroughfare.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/southofmarket.jpg\" alt=\"\">Such snippets of information — combined with pictures, maps, and census records — cannot bring viewers fully into the past, but even a brief glimpse into the South of Market neighborhood in the latter half of the 19th century can (and will) spark a visitors’ curiosity for more.\u003c/p>\n\u003cp>Some complementary resources for the amateur historian are readily available online. If you are interested in the “medicines” of the time, the bottles of which dominate the exhibit’s vitrines, go no further than the \u003ca href=\"http://www.lcpimages.org/inventories/helfand/\">William H. Helfand Collection of Proprietary Medicine Pamphlets\u003c/a>. For those more interested in San Francisco’s physical transition into the present, \u003ca href=\"http://www.oldsf.org/about\">Old SF\u003c/a> pairs Google Maps with images from the San Francisco Public Library’s Historical Photographs Collection. And lastly, \u003ca href=\"http://www.pastmapper.com/\">Pastmapper\u003c/a> puts the 1852-53 San Francisco city directory into yet another Google Maps format, providing glimpses of the people and business (importers, cabinet makers, and tinmen galore) that once were.\u003c/p>\n\u003cp>Exiting the exhibition onto Mission Street as the light was fading, I thought about all the remnants of San Francisco lives that sit buried under our contemporary city, literally providing the foundations for our daily activities. In turn, what material objects will prove to be our legacy in generations to come? We can only hope they are as strange and wonderful as Burnett’s Cocoaine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Transbay Archaeology Exhibit\u003c/b> is on view through the end of January 2012 at 201 Mission Street, with plans to go on tour around the Bay Area, locations not yet announced. For \u003ca href=\"http://transbaycenter.org/project/archaeology\">more information\u003c/a> visit transbaycenter.org/project/archaeology.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 748,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705050973,
"excerpt": "If you're hoping for buried treasure, you won't find it here. Instead, the archaeologists discovered evidence of rough working-class lives.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "If you're hoping for buried treasure, you won't find it here. Instead, the archaeologists discovered evidence of rough working-class lives.",
"title": "San Francisco History Beneath the Future Transbay Terminal | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "San Francisco History Beneath the Future Transbay Terminal",
"datePublished": "2012-01-16T13:29:13-08:00",
"dateModified": "2024-01-12T01:16:13-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "san_francisco_history_beneath_the_future_transbay_terminal",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/",
"sticky": false,
"path": "/arts/81641/san_francisco_history_beneath_the_future_transbay_terminal",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tucked away inside the lobby of 201 Mission Street is a deceptively simple arrangement of four vitrines and four information stands. I say deceptively because I only expected to spend about twenty minutes browsing the seventy-odd items. An hour later, I was ruminating on an empty container of Burnett’s Cocoaine, a product from 1857 Boston and purportedly “a perfect hair dressing.”\u003c/p>\n\u003cp>Through the end of January, the \u003cb>Transbay Archaeology Exhibit\u003c/b> is on view during building hours, free to any curious passersby. While contractors excavate the future terminal site, archaeologists from William Self Associates, commissioned by the Transbay Joint Powers Authority (TJPA), have pinpointed prime locations for exploratory digs and unearthed a variety of historical artifacts.\u003c/p>\n\u003cp>If you’re hoping for buried treasure, you won’t find it here. Instead, the archaeologists discovered evidence of rough working-class lives, the remnants of families and businesses in the South of Market neighborhood in the difficult post-Gold Rush time. The exhibition casts an unbiased eye across the selected objects, providing evidence of both virtue (a student’s slate pencil) and vice (an opium pipe).\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/burnetts.jpg\" alt=\"\">\u003cbr>\nBurnett’s CocoaineViewing the bluish glass bottle that formerly housed Burnett’s Cocoaine, I was impressed by the sheer number of small business with custom containers. It appears that nearly every pharmacist marketed his own “miraculous” product (most of them mostly alcohol, a tried and true cure-all). Some examples on display: Dr. Rowell’s Fire of Life (made in San Francisco from 1875 to 1897), Emerson’s Bromo-Seltzer (popular for the impressive span of 1889 to 1950), and Dr. J. Hostetter’s Stomach Bitters, a brown embossed vial that once contained a liquid so high in alcohol content it was sold by the glass at saloons.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/bitters.jpg\" alt=\"\">The objects themselves are intriguing, but the exhibition truly excels in expanding upon the artifacts through the use of written and visual support materials. One featured newspaper clipping from the \u003ci>San Francisco Chronicle\u003c/i>, titled “CASUALTIES THE LOT OF THIS SMALL BOY” tells the story of little Joseph Ferry, bit by dogs. The article’s value comes from the telling picture it paints of the neighborhood in 1899.\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 the first South of Market residents lived in tents and shacks, these dwellings were gradually replaced with prefabricated wooden homes brought in from New England. Ferry and his family lived in one of these narrow buildings, crowded onto a tiny lot with others like it. He suffered his accident watching the neighborhood take on a new permanence: “this boy, with several other youngsters, was in the alley, admiring the prowess of mechanics engaged in the construction of a two-story brick stable at 40 Natoma Street, for new brick buildings do not rise in the lifetime of many dwellers in that humble thoroughfare.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/southofmarket.jpg\" alt=\"\">Such snippets of information — combined with pictures, maps, and census records — cannot bring viewers fully into the past, but even a brief glimpse into the South of Market neighborhood in the latter half of the 19th century can (and will) spark a visitors’ curiosity for more.\u003c/p>\n\u003cp>Some complementary resources for the amateur historian are readily available online. If you are interested in the “medicines” of the time, the bottles of which dominate the exhibit’s vitrines, go no further than the \u003ca href=\"http://www.lcpimages.org/inventories/helfand/\">William H. Helfand Collection of Proprietary Medicine Pamphlets\u003c/a>. For those more interested in San Francisco’s physical transition into the present, \u003ca href=\"http://www.oldsf.org/about\">Old SF\u003c/a> pairs Google Maps with images from the San Francisco Public Library’s Historical Photographs Collection. And lastly, \u003ca href=\"http://www.pastmapper.com/\">Pastmapper\u003c/a> puts the 1852-53 San Francisco city directory into yet another Google Maps format, providing glimpses of the people and business (importers, cabinet makers, and tinmen galore) that once were.\u003c/p>\n\u003cp>Exiting the exhibition onto Mission Street as the light was fading, I thought about all the remnants of San Francisco lives that sit buried under our contemporary city, literally providing the foundations for our daily activities. In turn, what material objects will prove to be our legacy in generations to come? We can only hope they are as strange and wonderful as Burnett’s Cocoaine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Transbay Archaeology Exhibit\u003c/b> is on view through the end of January 2012 at 201 Mission Street, with plans to go on tour around the Bay Area, locations not yet announced. For \u003ca href=\"http://transbaycenter.org/project/archaeology\">more information\u003c/a> visit transbaycenter.org/project/archaeology.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/81641/san_francisco_history_beneath_the_future_transbay_terminal",
"authors": [
"61"
],
"categories": [
"arts_70"
],
"featImg": "arts_10081641",
"label": "arts"
},
"arts_81629": {
"type": "posts",
"id": "arts_81629",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "81629",
"score": null,
"sort": [
1326746874000
]
},
"guestAuthors": [],
"slug": "help_desk_extracurricular__activities",
"title": "Help Desk: Extracurricular (!) Activities",
"publishDate": 1326746874,
"format": "standard",
"headTitle": "Help Desk: Extracurricular (!) Activities | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003ci>Welcome to \u003ci>Help Desk\u003c/i>, step into my office! Each week I’ll be answering your queries about making, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions, or use a free anonymizer like \u003ca href=\"http://anonymouse.org/anonemail.html\">Anonymouse.org\u003c/a> to send an email to the same address. Comments are enabled, but be good or be gone! All submissions will be treated as anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>What advice would you have for artists who are separated from the university realm to keep themselves sharp (in terms of criticism and general growth)? Have you found specific groups or events that have helped keep you on track beyond academic circles?\u003c/b>\u003c/p>\n\u003cp>Good for you for wanting to stay sharp! The instantaneous peer network and programming that a school provides helps to keep you on your toes, and once school is over it’s hard to maintain that momentum outside of an institutional setting. Groups and events do different things, so you’ll definitely want both in your life: a group will keep you connected and supported, and events will keep you informed and thinking. For groups, the network you’ve already established is a good start: with any luck, you still have the contact information for some of your old classmates. Why not email them to suggest a get-together? I recommend keeping it short and informal at first if you haven’t seen them in a while — maybe just a one-beer meetup at a bar or even an email list — because too much pressure to commit will drive shyer folks away. When you settle in with some like-minded people you could start a crit group or a reading club, go to openings together, or even just host a few fun, gossipy dinner parties.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/breakfast-club-KQED.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />First, find a group of people who share your interests.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>If that’s no good (you hated everyone, you moved to another state, etc.) and you don’t already have a circle of art friends, you can make one by going to the events in your area and meeting other artists and curators. It will take time and effort, but it can be done. Start by listing the institutional networks that are available to you. If there’s an art school or a university art program in your area, they probably have a lecture series. Ditto for the local art museum and the galleries. Don’t forget to do an internet search for medium-specific groups like \u003ca href=\"http://dorkbot.org/\">Dorkbot\u003c/a>, and if you don’t know the name of a particular group try googling search terms in your field (I tried “painters art group Seattle” and got a great list of links to follow). Go to their websites and put yourself on their mailing lists, and then go to every lecture and opening you can possibly muster the energy for, where you will simultaneously look at a lot of art and see the same people over and over again. Put some energy into it, and within three months you’ll be a familiar face to a lot of people and have a good handle on your local art scene. If you feel extra stuck right now, consider taking a class. Most institutions offer noncredit classes where you can get in some studio time and meet other artists. And good luck! Build yourself a network of thoughtful, hard-working people and make sure to get in — and out! — of the studio regularly, and you’ll never have to worry about staying on track.\u003c/p>\n\u003cp/>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bueller-hd.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Go to museums, galleries, lectures, and medium-specific group meetings.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>\u003cb>I have a strange question involving an incident I witnessed two years ago when I moved to a new city. Some friends set up a welcome dinner for me at a trendy restaurant. Upon entering the bathroom I came upon a woman in her late-30s sobbing hysterically. She begged me to help her and revealed that her husband was cheating on her and she was absolutely going to do something desperate if I didn’t help her at that moment. I called a cab and helped her outside and waited until she was picked up. I never knew her name, but I do have a remarkable memory for faces. Fast forward, two years: I am a recent grad of an MFA program and I’ve had a close relationship with my adviser all along. I knew he was married and had children, but it wasn’t until our MFA show that I met his family. Imagine my shock when I saw that his wife was that drunk lady I had helped. My real issue lies in my relationship with my adviser. He has helped me greatly and until this revelation, I would have continued our communications, which are still frequent. This information has severely altered my impression of him, and I’m just not sure how to proceed. Any advice?\u003c/b>\u003c/p>\n\u003cp>Can you trust this man, or not? I’ll accept your avowal that the weeping restaurant inebriate and the advisor’s wife are truly the same woman, but before you un-friend this man on Facebook and delete his name from your phone, let’s look at another possibility. How do you know she was telling the truth? She may be bipolar, delusional, or simply mistaken. She may be a pathological liar, desperately needy for attention from strangers. Let’s remember that the world is full of broken people who say and do aberrant things — just look at reality TV. Perhaps the only way to know the veracity of this story would be to ask him, which you are not going to do. My rule is that you can only inquire about a person’s sex life if you are currently sleeping with him or her; and if you are now sleeping with your ex-advisor, you’ve asked me the wrong question. But I digress.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dialm-hd.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />If you haven’t seen Hitchcock’s masterpiece about an affair, revenge, and redemption, you really should. Also, it was his only film made for 3D! Keep an eye out for staging that specifically creates depth.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Even if you do have all your facts straight (same woman, definitely an affair), the matter of another person’s extracurricular nookie is really none of your business. I understand why you’re in a muddle and why your view of this man is shaken. Of necessity, when you are in school you must put your faith in your relationship with your advisors. After all, these men and women are charged with nothing less than overseeing the personal, intellectual and artistic growth of the students that they work with. You probably looked up to this man for some good reasons: he is wise and has been generous with his time and energy. He helped you focus on your work to make it better, and if you’re still in touch it means that you had a good personality match. While you may not have articulated it to yourself, you probably assumed that because his professional behavior was congenial, \u003ci>all\u003c/i> his actions were above reproach. And now you’re also in the unsteady transition period from graduate school to real life, one in which very good mentors slowly develop into friends. Your trust in this person has been altered by the revelation that he is, or at least was, weak and unreliable to an important person in his family. The higher your former regard for this man, the more profound your disappointment is now.\u003c/p>\n\u003cp>Yet his marital iniquity doesn’t have anything to do with his ability to act as a friend and mentor. Yes, the moral transgression of adultery is ugly and wounding, but it doesn’t mean that he is completely evil. If you have other, undivulged, reasons for cutting this person out of your life, then do so. But consider that a person who has been kind to you but who has issues in other parts of his life may need a little compassion. A marriage is a complicated and private alliance and this incident with his wife occurred two years ago. If they are still together, then perhaps she has forgiven him and he has become a better husband. Why should you condemn what his own wife would absolve? An advisor-advisee relationship that evolves into a true friendship is a rare thing. If he hasn’t done anything vexatious to you personally, then don’t throw your advisor out with his dirty bathwater.\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n",
"blocks": [],
"excerpt": "This week, \u003ci>Help Desk\u003c/i> provides tips on how to build community -- while minding your own business.",
"status": "publish",
"parent": 0,
"modified": 1788905850,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 1512
},
"headData": {
"title": "Help Desk: Extracurricular (!) Activities | KQED",
"description": "This week, Help Desk provides tips on how to build community -- while minding your own business.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Help Desk: Extracurricular (!) Activities",
"datePublished": "2012-01-16T12:47:54-08:00",
"dateModified": "2026-09-08T15:17:30-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 70,
"slug": "visualarts",
"name": "Visual Arts"
},
"sourceUrl": "http://www.kqed.org/arts/programs/helpdesk/",
"sticky": false,
"nprStoryId": "kqed-81629",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/81629/help_desk_extracurricular__activities",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to \u003ci>Help Desk\u003c/i>, step into my office! Each week I’ll be answering your queries about making, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions, or use a free anonymizer like \u003ca href=\"http://anonymouse.org/anonemail.html\">Anonymouse.org\u003c/a> to send an email to the same address. Comments are enabled, but be good or be gone! All submissions will be treated as anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>What advice would you have for artists who are separated from the university realm to keep themselves sharp (in terms of criticism and general growth)? Have you found specific groups or events that have helped keep you on track beyond academic circles?\u003c/b>\u003c/p>\n\u003cp>Good for you for wanting to stay sharp! The instantaneous peer network and programming that a school provides helps to keep you on your toes, and once school is over it’s hard to maintain that momentum outside of an institutional setting. Groups and events do different things, so you’ll definitely want both in your life: a group will keep you connected and supported, and events will keep you informed and thinking. For groups, the network you’ve already established is a good start: with any luck, you still have the contact information for some of your old classmates. Why not email them to suggest a get-together? I recommend keeping it short and informal at first if you haven’t seen them in a while — maybe just a one-beer meetup at a bar or even an email list — because too much pressure to commit will drive shyer folks away. When you settle in with some like-minded people you could start a crit group or a reading club, go to openings together, or even just host a few fun, gossipy dinner parties.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/breakfast-club-KQED.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />First, find a group of people who share your interests.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>If that’s no good (you hated everyone, you moved to another state, etc.) and you don’t already have a circle of art friends, you can make one by going to the events in your area and meeting other artists and curators. It will take time and effort, but it can be done. Start by listing the institutional networks that are available to you. If there’s an art school or a university art program in your area, they probably have a lecture series. Ditto for the local art museum and the galleries. Don’t forget to do an internet search for medium-specific groups like \u003ca href=\"http://dorkbot.org/\">Dorkbot\u003c/a>, and if you don’t know the name of a particular group try googling search terms in your field (I tried “painters art group Seattle” and got a great list of links to follow). Go to their websites and put yourself on their mailing lists, and then go to every lecture and opening you can possibly muster the energy for, where you will simultaneously look at a lot of art and see the same people over and over again. Put some energy into it, and within three months you’ll be a familiar face to a lot of people and have a good handle on your local art scene. If you feel extra stuck right now, consider taking a class. Most institutions offer noncredit classes where you can get in some studio time and meet other artists. And good luck! Build yourself a network of thoughtful, hard-working people and make sure to get in — and out! — of the studio regularly, and you’ll never have to worry about staying on track.\u003c/p>\n\u003cp/>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bueller-hd.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Go to museums, galleries, lectures, and medium-specific group meetings.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>\u003cb>I have a strange question involving an incident I witnessed two years ago when I moved to a new city. Some friends set up a welcome dinner for me at a trendy restaurant. Upon entering the bathroom I came upon a woman in her late-30s sobbing hysterically. She begged me to help her and revealed that her husband was cheating on her and she was absolutely going to do something desperate if I didn’t help her at that moment. I called a cab and helped her outside and waited until she was picked up. I never knew her name, but I do have a remarkable memory for faces. Fast forward, two years: I am a recent grad of an MFA program and I’ve had a close relationship with my adviser all along. I knew he was married and had children, but it wasn’t until our MFA show that I met his family. Imagine my shock when I saw that his wife was that drunk lady I had helped. My real issue lies in my relationship with my adviser. He has helped me greatly and until this revelation, I would have continued our communications, which are still frequent. This information has severely altered my impression of him, and I’m just not sure how to proceed. Any advice?\u003c/b>\u003c/p>\n\u003cp>Can you trust this man, or not? I’ll accept your avowal that the weeping restaurant inebriate and the advisor’s wife are truly the same woman, but before you un-friend this man on Facebook and delete his name from your phone, let’s look at another possibility. How do you know she was telling the truth? She may be bipolar, delusional, or simply mistaken. She may be a pathological liar, desperately needy for attention from strangers. Let’s remember that the world is full of broken people who say and do aberrant things — just look at reality TV. Perhaps the only way to know the veracity of this story would be to ask him, which you are not going to do. My rule is that you can only inquire about a person’s sex life if you are currently sleeping with him or her; and if you are now sleeping with your ex-advisor, you’ve asked me the wrong question. But I digress.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dialm-hd.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />If you haven’t seen Hitchcock’s masterpiece about an affair, revenge, and redemption, you really should. Also, it was his only film made for 3D! Keep an eye out for staging that specifically creates depth.\u003cbr />\u003c/center>\u003c/p>\n\u003cp>Even if you do have all your facts straight (same woman, definitely an affair), the matter of another person’s extracurricular nookie is really none of your business. I understand why you’re in a muddle and why your view of this man is shaken. Of necessity, when you are in school you must put your faith in your relationship with your advisors. After all, these men and women are charged with nothing less than overseeing the personal, intellectual and artistic growth of the students that they work with. You probably looked up to this man for some good reasons: he is wise and has been generous with his time and energy. He helped you focus on your work to make it better, and if you’re still in touch it means that you had a good personality match. While you may not have articulated it to yourself, you probably assumed that because his professional behavior was congenial, \u003ci>all\u003c/i> his actions were above reproach. And now you’re also in the unsteady transition period from graduate school to real life, one in which very good mentors slowly develop into friends. Your trust in this person has been altered by the revelation that he is, or at least was, weak and unreliable to an important person in his family. The higher your former regard for this man, the more profound your disappointment is now.\u003c/p>\n\u003cp>Yet his marital iniquity doesn’t have anything to do with his ability to act as a friend and mentor. Yes, the moral transgression of adultery is ugly and wounding, but it doesn’t mean that he is completely evil. If you have other, undivulged, reasons for cutting this person out of your life, then do so. But consider that a person who has been kind to you but who has issues in other parts of his life may need a little compassion. A marriage is a complicated and private alliance and this incident with his wife occurred two years ago. If they are still together, then perhaps she has forgiven him and he has become a better husband. Why should you condemn what his own wife would absolve? An advisor-advisee relationship that evolves into a true friendship is a rare thing. If he hasn’t done anything vexatious to you personally, then don’t throw your advisor out with his dirty bathwater.\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/81629/help_desk_extracurricular__activities",
"authors": [
"12027"
],
"categories": [
"arts_70"
],
"tags": [
"arts_342"
],
"featImg": "arts_10081629",
"label": "arts"
},
"arts_81263": {
"type": "posts",
"id": "arts_81263",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "81263",
"score": null,
"sort": [
1326419245000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1326419245,
"format": "standard",
"title": "Depression Art in Jeopardy?",
"headTitle": "Depression Art in Jeopardy? | KQED",
"content": "\u003cp>Two-hundred thousand visitors show up at Coit Tower in San Francisco every year, and most of them seem to ignore one the most fascinating and enjoyable art treasures in the country: the depression-era murals that cover the tower’s walls. In the course of preparing a video story on the state of the murals for the \u003ci>PBS NewsHour\u003c/i>, I watched as hundreds of tourists entered the tower, paid $7 for an elevator ride to the top, and hardly gave a second glance to the frescos painted by 25 artists during the depression.\u003c/p>\n\u003cp>Those art works may be in jeopardy from weather and official (as well as tourist) neglect. In fact, many of the 2500 murals from that era in schools and post offices and other public buildings, have already been destroyed, and more could be, as the post offices are closed around the country, some of them home to valuable art.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/coit4.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Coit Tower was built in 1933 atop Telegraph Hill with money — $125,000 — bequested to the city for its beautification by a wealthy, eccentric widow, Lillie Hitchcock Coit. It stands out on the San Francisco skyline, viewable from miles around.\u003c/p>\n\u003cp>When Franklin Roosevelt decided to put out-of-work artists back to work, the recently-dedicated tower was chosen as one of the sites in the country for murals. In less than a year, artists had turned the walls of the tower into a grand display of realistic art depicting life in California in the ’30s. It’s lovely stuff; there are city scenes of congestion and crime, views of tranquil country life, agriculture and leisure. Some panels portray a distinct political message: certainly leftist and pro worker. Others are completely non political and show Californians at play, in collegiate sports and outdoor recreation. The quality of the art is high, and the scenes of California evoke awe and nostalgia.\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/coit1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Ruth Gottstein at Coit Tower, standing in front of the portrait her father painted when she was 12 years old.\u003cbr>\u003c/center>\n\u003cp>One of the murals shows a young girl in a middy blouse — the 12-year-old Ruth Gottstein — whose father, Bernard Zakheim, was one of the prominent artists who painted the walls. Today, Gottstein is 89, and she is disturbed by what she sees in Coit Tower: water-damaged murals, chipped plaster, general neglect of the frescos.\u003c/p>\n\u003cp>“They’re constantly threatened, not only by people walking by, but the building itself,” she told me. “If it were treated as a museum, if the walls were kept secure, if the entrance was guarded so that people could walk around as in any other museum of any importance in the world, it would be secure. And it’s not.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/coit2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Water damage on one of the murals.\u003cbr>\u003c/center>\n\u003cp>The city says it is concerned, and is trying to find money to preserve the murals. But these are hard economic times, the Recreation and Parks department has millions of dollars in deferred maintenance, and so little is being done, other than studying the problem. There’s no climate control in the tower, and little protection for the murals. Workmen repairing the elevator recently stored equipment in one area and chipped some frescos.\u003c/p>\n\u003cp>Those problems have prompted residents of Telegraph Hill to start gathering signatures to place a measure on the San Francisco ballot that would make preservation of Coit Tower and its murals a priority, and insure that funds from the elevator ride and the other concessions be used for the tower’s upkeep. Much of that money today goes to support other recreation sites in the city that don’t generate any revenue.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/coit3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>The city wants to rent out the top floor for small parties once a month, as a way of getting funds. But the Telegraph Hill Dwellers Association objects, concerned about traffic and the idea of corporations holding private affairs in a public space.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The issue of how to preserve the tower and its murals is a long way from resolved. Most, though not all, of the frescos are in good shape and retain the brilliant colors that were applied by dedicated, hungry artists in the 1930s. Frescos are generally pretty hearty. But the clamor to take a new approach to Coit Tower seems to be increasing, and that attention may be what those old murals need, even if the tourists pass them by.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 743,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705050978,
"excerpt": "One the most fascinating and enjoyable art treasures in the country -- the depression-era murals that cover the Coit Tower's walls -- is being damaged by weather and official neglect.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "One the most fascinating and enjoyable art treasures in the country -- the depression-era murals that cover the Coit Tower's walls -- is being damaged by weather and official neglect.",
"title": "Depression Art in Jeopardy? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Depression Art in Jeopardy?",
"datePublished": "2012-01-12T17:47:25-08:00",
"dateModified": "2024-01-12T01:16:18-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "depression_art_in_jeopardy",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/",
"sticky": false,
"path": "/arts/81263/depression_art_in_jeopardy",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two-hundred thousand visitors show up at Coit Tower in San Francisco every year, and most of them seem to ignore one the most fascinating and enjoyable art treasures in the country: the depression-era murals that cover the tower’s walls. In the course of preparing a video story on the state of the murals for the \u003ci>PBS NewsHour\u003c/i>, I watched as hundreds of tourists entered the tower, paid $7 for an elevator ride to the top, and hardly gave a second glance to the frescos painted by 25 artists during the depression.\u003c/p>\n\u003cp>Those art works may be in jeopardy from weather and official (as well as tourist) neglect. In fact, many of the 2500 murals from that era in schools and post offices and other public buildings, have already been destroyed, and more could be, as the post offices are closed around the country, some of them home to valuable art.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/coit4.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Coit Tower was built in 1933 atop Telegraph Hill with money — $125,000 — bequested to the city for its beautification by a wealthy, eccentric widow, Lillie Hitchcock Coit. It stands out on the San Francisco skyline, viewable from miles around.\u003c/p>\n\u003cp>When Franklin Roosevelt decided to put out-of-work artists back to work, the recently-dedicated tower was chosen as one of the sites in the country for murals. In less than a year, artists had turned the walls of the tower into a grand display of realistic art depicting life in California in the ’30s. It’s lovely stuff; there are city scenes of congestion and crime, views of tranquil country life, agriculture and leisure. Some panels portray a distinct political message: certainly leftist and pro worker. Others are completely non political and show Californians at play, in collegiate sports and outdoor recreation. The quality of the art is high, and the scenes of California evoke awe and nostalgia.\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/coit1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Ruth Gottstein at Coit Tower, standing in front of the portrait her father painted when she was 12 years old.\u003cbr>\u003c/center>\n\u003cp>One of the murals shows a young girl in a middy blouse — the 12-year-old Ruth Gottstein — whose father, Bernard Zakheim, was one of the prominent artists who painted the walls. Today, Gottstein is 89, and she is disturbed by what she sees in Coit Tower: water-damaged murals, chipped plaster, general neglect of the frescos.\u003c/p>\n\u003cp>“They’re constantly threatened, not only by people walking by, but the building itself,” she told me. “If it were treated as a museum, if the walls were kept secure, if the entrance was guarded so that people could walk around as in any other museum of any importance in the world, it would be secure. And it’s not.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/coit2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Water damage on one of the murals.\u003cbr>\u003c/center>\n\u003cp>The city says it is concerned, and is trying to find money to preserve the murals. But these are hard economic times, the Recreation and Parks department has millions of dollars in deferred maintenance, and so little is being done, other than studying the problem. There’s no climate control in the tower, and little protection for the murals. Workmen repairing the elevator recently stored equipment in one area and chipped some frescos.\u003c/p>\n\u003cp>Those problems have prompted residents of Telegraph Hill to start gathering signatures to place a measure on the San Francisco ballot that would make preservation of Coit Tower and its murals a priority, and insure that funds from the elevator ride and the other concessions be used for the tower’s upkeep. Much of that money today goes to support other recreation sites in the city that don’t generate any revenue.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/coit3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>The city wants to rent out the top floor for small parties once a month, as a way of getting funds. But the Telegraph Hill Dwellers Association objects, concerned about traffic and the idea of corporations holding private affairs in a public space.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The issue of how to preserve the tower and its murals is a long way from resolved. Most, though not all, of the frescos are in good shape and retain the brilliant colors that were applied by dedicated, hungry artists in the 1930s. Frescos are generally pretty hearty. But the clamor to take a new approach to Coit Tower seems to be increasing, and that attention may be what those old murals need, even if the tourists pass them by.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/81263/depression_art_in_jeopardy",
"authors": [
"71"
],
"categories": [
"arts_70"
],
"featImg": "arts_10081263",
"label": "arts"
},
"arts_80910": {
"type": "posts",
"id": "arts_80910",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "80910",
"score": null,
"sort": [
1326145134000
]
},
"guestAuthors": [],
"slug": "help_desk_on_collaboration_and_curating",
"title": "Help Desk: On Collaboration and Curating",
"publishDate": 1326145134,
"format": "standard",
"headTitle": "Help Desk: On Collaboration and Curating | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003ci>Welcome to \u003ci>Help Desk\u003c/i>, step into my office! Each week I’ll be answering your queries about making, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. But a few words before we begin: first, comments are enabled, but be good or be gone! You may email your questions to \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a>. All submissions become the property of \u003ci>Daily Serving\u003c/i>, and all will be treated anonymously.\u003c/i>\u003c/p>\n\u003cp>One more piece of business before we begin: \u003ci>Help Desk\u003c/i> is a brand-spanking-new collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/p>\n\u003cp>\u003cb>Question: Both my girlfriend and I are artists. Neither of us are particularly successful with our art careers (yet!). In the past, we’ve worked separately in our studios, but we are thinking that we may be stronger working together. I’m a little nervous to start this process. Do you think it is a good idea to mix art and love?\u003c/b>\u003c/p>\n\u003cp>Two creative minds are often better than one, and the examples of \u003ca href=\"http://www.christojeanneclaude.net\">Jeanne Claude and Christo\u003c/a> and \u003ca href=\"http://www.artnet.com/artists/ed and nancy-kienholz/\">Ed and Nancy Kienholz\u003c/a> tell us that art and love can surely be mixed. But before you run out to buy matching smocks and berets, consider the reality of working on tasks that you already do together. When you cook, does one of you tend to take the lead, dictating the selection of dishes and the proper ways to prep, add, and stir? Or are you happily slicing and dicing like synchronized surgeons? When you’re running errands in the car, do you argue about routes and where to park? Or does one drive and the other assume co-pilot duties with nary a cross word between you? Your everyday activities will tell you a lot about how a collaborative relationship might proceed.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/helpdesk1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\" />\u003cbr />\u003ci>Oh yeah? Well I have 20/20 vision, so I get to choose all the paint colors!\u003c/i>\u003cbr />\u003c/center>\u003c/p>\n\u003cp>And that’s not to say that a bickering duo should never work together; friction is productive both in and out of the studio. But in the interest of household harmony, you might want to start small with one piece or a limited-run project. Lay out the terms in advance: how much time and money you’re going to spend, who decides on which aspect, how you’re going to negotiate a disagreement. Talking about the issues will prepare you for what’s ahead and alert you to any sticking points in advance. If you can agree to the basics at the verbal level, then you’ll know that working together is worth a try. And if your short-term project doesn’t pan out as well as you’d like, you’ll have an easy out that’s not as damaging to true love in the same way as saying, “You’re a pain in the ass and I don’t think we should work together anymore.”\u003c/p>\n\u003cp>You mention that you’re “not particularly successful” and while I don’t think that has any direct bearing on your question, it does give you the advantage of being able to experiment and iron out all the kinks in your collaborative process before you’re in the public eye.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/helpdesk2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\" />\u003cbr />\u003ci>From left to right, Whitney Biennial curatorial teams Elisabeth Sussman and Jay Sanders, Francesco Bonami and Gary Carrion-Murayari, Henriette Huldisch and Shamim M. Momin, Chrissie Iles and Philippe Vergne\u003c/i>\u003cbr />\u003c/center>\u003c/p>\n\u003cp>\u003cb>Currently, the lines between curator, artist, and gallerist are relatively flexible. A person could consider themselves all of the above, switching hats regularly to occupy different art world roles. My question stems from frequently noticing that the person responsible for curating a group show has also included his or her work into the group show. How appropriate is this? When is it being proactive about creating opportunities for oneself and when is it opportunistic?\u003c/b>\u003c/p>\n\u003cp>Let me start by saying that I’m all for the wearing of different hats. However, in art as in sartorial matters, it is strange to wear two hats at the same time. They clash, and they also make your head look big.\u003c/p>\n\u003cp>As far as I have been able to determine, there are two good reasons to put your own work into a show for which you are also administratively responsible, but for neither are you actually truly a curator. The first is if you want to organize a show around a particular theme for which none of the participants will exhibit preexisting work; that is to say, all work will be created specifically for the show. In this way, everyone is experimenting around a concept, and the hierarchy is fairly level: you are merely one of the exhibitors, albeit one with more tasks. You are not actually a curator. The other situation is an exhibition juried by an artist. In viewing the work of the juror, the audience gets a glimpse into the tastes (and perhaps methodologies) of the person selecting the pieces for the show. Often the artist-juror works in the same medium or in a similar conceptual framework, so looking at his/her art in the context of the exhibition can be enlightening. Again, this person is not a curator. So go ahead and be proactive, just don’t use the wrong terminology.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/helpdesk3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\" />\u003cbr />\u003ci>Still the right way to wear a hat.\u003c/i>\u003cbr />\u003c/center>\u003c/p>\n\u003cp>The role of a curator is not to just select work for an exhibition, but to shape the relationships between the work, the space, and the audience. Curating involves research, studio visits, knowledge of art history and theory, and an understanding of current artistic practices, as well as a host of (probably boring) administrative tasks. Since I’m not a practitioner myself, I asked a few curators what they thought about the idea of “curating” your own work into a show. \u003ca href=\"http://en.wikipedia.org/wiki/Jens_Hoffmann\">Jens Hoffmann\u003c/a>, curator of the \u003ca href=\"http://www.wattis.org\">Wattis Institute for Contemporary Art\u003c/a> said, “It is great that someone who is an artist is organizing an exhibition without waiting for a gallery or curator to come along… If the work however is not of a certainl quality and the idea of organizing the show is just created so the organizer/artist can have his work be seen with the work of other (better) artists, it just becomes a farce.” Most other curators I asked simply said, “Don’t.”\u003c/p>\n\u003cp>To the aspiring artist/curators out there, I ask: if you are truly curating a show, what reason do you have to include your own work? Is it because you want to pad your resume? Or do you want to get your work out into the world? If it’s the latter (let’s not even discuss the former), it would be more productive in the long run to find a space for your own artwork. Put your energy toward making contacts, writing proposals, or renting one of the ubiquitous \u003ca href=\"http://www.popupartloop.com/artists.php\">vacant storefronts\u003c/a> in your area for a solo show. Clarify and concentrate your goals… if for no other reason than because working with other artists can be a complete nightmare (see question #1).\u003c/p>\n",
"blocks": [],
"excerpt": "Check out the first edition of KQED and \u003ci>Daily Serving\u003c/i>'s new advice column dealing with issues in the making, finding, buying, selling and various other activities related to contemporary art.",
"status": "publish",
"parent": 0,
"modified": 1788905855,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 1244
},
"headData": {
"title": "Help Desk: On Collaboration and Curating | KQED",
"description": "Check out the first edition of KQED and Daily Serving's new advice column dealing with issues in the making, finding, buying, selling and various other activities related to contemporary art.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Help Desk: On Collaboration and Curating",
"datePublished": "2012-01-09T13:38:54-08:00",
"dateModified": "2026-09-08T15:17:35-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 70,
"slug": "visualarts",
"name": "Visual Arts"
},
"sourceUrl": "http://www.kqed.org/arts/programs/helpdesk/",
"sticky": false,
"nprStoryId": "kqed-80910",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/80910/help_desk_on_collaboration_and_curating",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to \u003ci>Help Desk\u003c/i>, step into my office! Each week I’ll be answering your queries about making, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. But a few words before we begin: first, comments are enabled, but be good or be gone! You may email your questions to \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a>. All submissions become the property of \u003ci>Daily Serving\u003c/i>, and all will be treated anonymously.\u003c/i>\u003c/p>\n\u003cp>One more piece of business before we begin: \u003ci>Help Desk\u003c/i> is a brand-spanking-new collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/p>\n\u003cp>\u003cb>Question: Both my girlfriend and I are artists. Neither of us are particularly successful with our art careers (yet!). In the past, we’ve worked separately in our studios, but we are thinking that we may be stronger working together. I’m a little nervous to start this process. Do you think it is a good idea to mix art and love?\u003c/b>\u003c/p>\n\u003cp>Two creative minds are often better than one, and the examples of \u003ca href=\"http://www.christojeanneclaude.net\">Jeanne Claude and Christo\u003c/a> and \u003ca href=\"http://www.artnet.com/artists/ed and nancy-kienholz/\">Ed and Nancy Kienholz\u003c/a> tell us that art and love can surely be mixed. But before you run out to buy matching smocks and berets, consider the reality of working on tasks that you already do together. When you cook, does one of you tend to take the lead, dictating the selection of dishes and the proper ways to prep, add, and stir? Or are you happily slicing and dicing like synchronized surgeons? When you’re running errands in the car, do you argue about routes and where to park? Or does one drive and the other assume co-pilot duties with nary a cross word between you? Your everyday activities will tell you a lot about how a collaborative relationship might proceed.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/helpdesk1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\" />\u003cbr />\u003ci>Oh yeah? Well I have 20/20 vision, so I get to choose all the paint colors!\u003c/i>\u003cbr />\u003c/center>\u003c/p>\n\u003cp>And that’s not to say that a bickering duo should never work together; friction is productive both in and out of the studio. But in the interest of household harmony, you might want to start small with one piece or a limited-run project. Lay out the terms in advance: how much time and money you’re going to spend, who decides on which aspect, how you’re going to negotiate a disagreement. Talking about the issues will prepare you for what’s ahead and alert you to any sticking points in advance. If you can agree to the basics at the verbal level, then you’ll know that working together is worth a try. And if your short-term project doesn’t pan out as well as you’d like, you’ll have an easy out that’s not as damaging to true love in the same way as saying, “You’re a pain in the ass and I don’t think we should work together anymore.”\u003c/p>\n\u003cp>You mention that you’re “not particularly successful” and while I don’t think that has any direct bearing on your question, it does give you the advantage of being able to experiment and iron out all the kinks in your collaborative process before you’re in the public eye.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/helpdesk2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\" />\u003cbr />\u003ci>From left to right, Whitney Biennial curatorial teams Elisabeth Sussman and Jay Sanders, Francesco Bonami and Gary Carrion-Murayari, Henriette Huldisch and Shamim M. Momin, Chrissie Iles and Philippe Vergne\u003c/i>\u003cbr />\u003c/center>\u003c/p>\n\u003cp>\u003cb>Currently, the lines between curator, artist, and gallerist are relatively flexible. A person could consider themselves all of the above, switching hats regularly to occupy different art world roles. My question stems from frequently noticing that the person responsible for curating a group show has also included his or her work into the group show. How appropriate is this? When is it being proactive about creating opportunities for oneself and when is it opportunistic?\u003c/b>\u003c/p>\n\u003cp>Let me start by saying that I’m all for the wearing of different hats. However, in art as in sartorial matters, it is strange to wear two hats at the same time. They clash, and they also make your head look big.\u003c/p>\n\u003cp>As far as I have been able to determine, there are two good reasons to put your own work into a show for which you are also administratively responsible, but for neither are you actually truly a curator. The first is if you want to organize a show around a particular theme for which none of the participants will exhibit preexisting work; that is to say, all work will be created specifically for the show. In this way, everyone is experimenting around a concept, and the hierarchy is fairly level: you are merely one of the exhibitors, albeit one with more tasks. You are not actually a curator. The other situation is an exhibition juried by an artist. In viewing the work of the juror, the audience gets a glimpse into the tastes (and perhaps methodologies) of the person selecting the pieces for the show. Often the artist-juror works in the same medium or in a similar conceptual framework, so looking at his/her art in the context of the exhibition can be enlightening. Again, this person is not a curator. So go ahead and be proactive, just don’t use the wrong terminology.\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/helpdesk3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\" />\u003cbr />\u003ci>Still the right way to wear a hat.\u003c/i>\u003cbr />\u003c/center>\u003c/p>\n\u003cp>The role of a curator is not to just select work for an exhibition, but to shape the relationships between the work, the space, and the audience. Curating involves research, studio visits, knowledge of art history and theory, and an understanding of current artistic practices, as well as a host of (probably boring) administrative tasks. Since I’m not a practitioner myself, I asked a few curators what they thought about the idea of “curating” your own work into a show. \u003ca href=\"http://en.wikipedia.org/wiki/Jens_Hoffmann\">Jens Hoffmann\u003c/a>, curator of the \u003ca href=\"http://www.wattis.org\">Wattis Institute for Contemporary Art\u003c/a> said, “It is great that someone who is an artist is organizing an exhibition without waiting for a gallery or curator to come along… If the work however is not of a certainl quality and the idea of organizing the show is just created so the organizer/artist can have his work be seen with the work of other (better) artists, it just becomes a farce.” Most other curators I asked simply said, “Don’t.”\u003c/p>\n\u003cp>To the aspiring artist/curators out there, I ask: if you are truly curating a show, what reason do you have to include your own work? Is it because you want to pad your resume? Or do you want to get your work out into the world? If it’s the latter (let’s not even discuss the former), it would be more productive in the long run to find a space for your own artwork. Put your energy toward making contacts, writing proposals, or renting one of the ubiquitous \u003ca href=\"http://www.popupartloop.com/artists.php\">vacant storefronts\u003c/a> in your area for a solo show. Clarify and concentrate your goals… if for no other reason than because working with other artists can be a complete nightmare (see question #1).\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/80910/help_desk_on_collaboration_and_curating",
"authors": [
"12027"
],
"categories": [
"arts_70"
],
"tags": [
"arts_342"
],
"featImg": "arts_10080910",
"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": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=visualarts": {
"isFetching": false,
"latestQuery": {
"from": 2172,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2494,
"relation": "eq"
},
"items": [
"arts_85043",
"arts_84578",
"arts_83842",
"arts_83754",
"arts_83018",
"arts_82734",
"arts_82252",
"arts_81885",
"arts_81641",
"arts_81629",
"arts_81263",
"arts_80910"
],
"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_369": {
"type": "terms",
"id": "arts_369",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "369",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Art Practical",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Art Practical Archives | KQED Arts",
"ogDescription": null
},
"ttid": 370,
"slug": "artpractical",
"isLoading": false,
"link": "/arts/tag/artpractical"
},
"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
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}