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"content": "\u003cp>We’ve got a plethora of unique local stores in this town and Paxton Gate tops the list, stocked with taxidermy animals, carnivorous plants and other treasures of “the garden and the natural sciences” variety. When parents pick up their kids from writing sessions at Dave Egger’s 826 Valencia Pirate Store, Paxton Gate awaits next door with lions frozen in time, costumed mice, and bugs of all kinds. But the space is mostly for grown-ups, so Paxton opened a children’s store down the block last year, and has recently added an art gallery in the foyer.\u003c/p>\n\u003cp>The taxidermy is still present but it’s safe for toddlers, and the collection of toys and books will transport you to a simpler time when you picked blueberries, wore hand-knit mittens, and played with wooden toys. \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20082\">Emmanuel\u003c/a> and I checked out Jennifer Muskopf’s new exhibit of talking cockroaches telling creation tales, and asked Paxton Gate fans to give us their thoughts on the store and the wise insect artwork.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/entrance.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cockroachdoor.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jennifer-muskopf.jpg\">\u003c/p>\n\u003cp>\u003cb>Artist Jennifer Muskopf with her daughter, Dinah\u003c/b>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/zenaida-sengo.jpg\">\u003c/p>\n\u003cp>\u003cb>Zenaida Sengo\u003c/b>\u003cbr>“I would like to listen to the cockroaches in isolation when there’s not a lot of noise around. I really like them visually and I love insects. I raise cockroaches at home to feed reptiles; they’re a really nutritious insect so I have a kind of connection to them. There are a wide variety of cockroaches and I think Jennifer did a good job of representing different species.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/john-chiara.jpg\">\u003c/p>\n\u003cp>\u003cb>John Chiara\u003c/b>\u003cbr>“I love the show. I especially enjoyed the cockroach that recited the Cherokee story of how the earth came to be, and I was fascinated by it. I think the cockroaches are all really beautiful and the fact that they tell stories is just amazing.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/alpha.jpg\">\u003cbr> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/paxton-forgue.jpg\">\u003c/p>\n\u003cp>\u003cb>Paxton Forgue, whose name is just a coincidence\u003c/b>\u003cbr>“First of all, I really like the idea. You have the cockroaches that tell stories of creation, and they already have an archaic look to them and have been around for ages. They might be the only things left after the possible destruction that could happen — especially man-made destruction — they’re the only thing that could survive a nuclear winter. I also like the different cultural aspects, like the first one tells the Big Bang theory. I thought it was nice that was included, and it’s not just old stories. Some of them are even poems if you listen to them.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/books.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/priscilla-botsford.jpg\">\u003c/p>\n\u003cp>\u003cb>Priscilla Botsford with her daughter, Evyn\u003c/b>\u003cbr>“I like the exhibit’s timeless theme and its location. Cockroaches have been around forever, witnessing everything and they’re in this store where there’s a certain timelessness to the toys. This store has so much more of a history and timelessness to it than other stores you might go to. I was able to tell my daughter when we were coming here that it was an exhibit, like a museum, but the difference here is the art is with toys; it’s really great and they’re able to pull that off in this store.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gator.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/james-morrill.jpg\">\u003c/p>\n\u003cp>\u003cb>James Morrill of Paxton Gate’s plush trophies\u003c/b>\u003cbr>“In the beginning we had four stuffed animal heads just for display, in homage to the main Paxton Gate. We ended up getting so much positive feedback, and people wanted them so we decided we had to keep making them. We started mounting these heads, and it’s a process that all the employees know how to do, so you will sometimes find us decapitating these stuffed animals and mounting them, it’s a procedure. I absolutely love the frog, he’s very endearing. He’s the rattiest. Our co-worker Em made the beaver and the appendage hanging off the plaque is a new addition — it’s so perfect.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fingerpuppet.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dig.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Animal heads, archeological digs, and cockroaches — a child’s wildest holiday dreams come true at Paxton Gate Curiosities for Kids! Jennifer Muskopf’s “You Had to Be There” runs through January 20, 2010.\u003c/p>\n\n",
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"excerpt": "The tables have turned: instead of telling you what we think about art shows, we're hitting the streets to find out what the beautiful people think. Emmanuel and I checked out Jennifer Muskopf's new exhibit, \"You Had to Be There,\" at Paxton Gate that features talking cockroaches telling creationist tales.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/john-chiara.jpg\">\u003c/p>\n\u003cp>\u003cb>John Chiara\u003c/b>\u003cbr>“I love the show. I especially enjoyed the cockroach that recited the Cherokee story of how the earth came to be, and I was fascinated by it. I think the cockroaches are all really beautiful and the fact that they tell stories is just amazing.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/alpha.jpg\">\u003cbr> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/paxton-forgue.jpg\">\u003c/p>\n\u003cp>\u003cb>Paxton Forgue, whose name is just a coincidence\u003c/b>\u003cbr>“First of all, I really like the idea. You have the cockroaches that tell stories of creation, and they already have an archaic look to them and have been around for ages. They might be the only things left after the possible destruction that could happen — especially man-made destruction — they’re the only thing that could survive a nuclear winter. I also like the different cultural aspects, like the first one tells the Big Bang theory. I thought it was nice that was included, and it’s not just old stories. Some of them are even poems if you listen to them.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/books.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/priscilla-botsford.jpg\">\u003c/p>\n\u003cp>\u003cb>Priscilla Botsford with her daughter, Evyn\u003c/b>\u003cbr>“I like the exhibit’s timeless theme and its location. Cockroaches have been around forever, witnessing everything and they’re in this store where there’s a certain timelessness to the toys. This store has so much more of a history and timelessness to it than other stores you might go to. I was able to tell my daughter when we were coming here that it was an exhibit, like a museum, but the difference here is the art is with toys; it’s really great and they’re able to pull that off in this store.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gator.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/james-morrill.jpg\">\u003c/p>\n\u003cp>\u003cb>James Morrill of Paxton Gate’s plush trophies\u003c/b>\u003cbr>“In the beginning we had four stuffed animal heads just for display, in homage to the main Paxton Gate. We ended up getting so much positive feedback, and people wanted them so we decided we had to keep making them. We started mounting these heads, and it’s a process that all the employees know how to do, so you will sometimes find us decapitating these stuffed animals and mounting them, it’s a procedure. I absolutely love the frog, he’s very endearing. He’s the rattiest. Our co-worker Em made the beaver and the appendage hanging off the plaque is a new addition — it’s so perfect.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fingerpuppet.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dig.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Animal heads, archeological digs, and cockroaches — a child’s wildest holiday dreams come true at Paxton Gate Curiosities for Kids! Jennifer Muskopf’s “You Had to Be There” runs through January 20, 2010.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I am not a fan of the suffix “-oholic” because it doesn’t make enough sense to come off as clever. And though Charles Saatchi, the rich and (in)famous ad man and art collector, claims not to be very clever, he clearly knew what he was doing when he published a long interview in pocket-sized book form, thoroughly answering the public’s questions about his life, his philosophies, and his art world activities for the first time ever. The questions were contributed over the years by a handful of British newspapers, and Saatchi finally sat down and answered them safely in front of his computer, rather than on the spot in front of a crowd of harsh critics.\u003c/p>\n\u003cp>He’s been criticized for making and breaking artists’ careers, but he finally reveals the truth about his socially anxious, Starbucks-loving, passionate personality in his new book, \u003cb>My Name is Charles Saatchi and I am an Artoholic: Everything you need to know about art, ads, life, God, and other mysteries — and weren’t afraid to ask.\u003c/b>. I developed a slight obsession with the collector when his ad agency, Saatchi & Saatchi, opened an office across the street from mine in San Francisco. As soon as they landed in the neighborhood, their building was promptly painted with giant polka-dots, à la the dot paintings by one of the artists whose career Saatchi helped launch, the once Young British Artist (a.k.a. YBA), Damien Hirst. After reading some snarky excerpts from Saatchi’s new book online, I was hungry for more Saatchiisms (and Britishisms — ever heard the term “clever-clogs?” It’s British for “smarty pants”) and snatched up the book, which costs no more than a movie ticket.\u003c/p>\n\u003cp>Saatchi is full of himself, but at least he admits it. In response to a question about whether he has been treated unfairly by the UK press, he says “If you can’t take a good kicking, you shouldn’t parade how much luckier you are than other people.” When asked about his intentions with the book, he admits he is “desperate for something” because he’s finally responding to all these questions, but that it “certainly isn’t celebrity,” though he does casually mention his new BBC reality television series \u003cb>Saatchi’s Art Stars\u003c/b> (a.k.a. Saatchi’s Best of British) more than once.\u003c/p>\n\u003cp>His pomposity is balanced by self-deprecating humor, and I enjoyed reading Saatchi’s side of scandalous stories from the art world. In 1999, an exhibition of work from his collection called \u003cb>Sensation\u003c/b>, traveled to New York where it was highly controversial due to artist Chris Ofili’s \u003cb>Virgin Mary\u003c/b>, a mixed-media image of a black Madonna embellished with the artist’s signature clod of elephant dung. The exhibit caused a lawsuit and countersuit between then Mayor Rudolph Giuliani and The Brooklyn Museum, and the museum’s city funding was temporarily withdrawn as a result. It was assumed that Saatchi banked on the drama to increase the selling power of the artwork, but it’s no surprise that the same exhibit didn’t cause any fuss when shown on the other side of the pond. I’m digressing here because you may not know that similarly, in San Francisco, Gilbert & George’s exhibition at the de Young Museum required warning plaques that were unnecessary at museums in the UK — when it comes to art, we’re total prudes over here.\u003c/p>\n\u003cp>Though ego-driven and bold, Saatchi does seem to have a deep respect for artists. He created \u003ca href=\"http://www.saatchi-gallery.co.uk/yourgallery/\">Saatchi Online\u003c/a>, a web site where anyone can display and sell their artwork. And I appreciated his favorable description of truly talented artists and his reminder that there should be “no talk of temperamental, self-absorbed and petulant babies. Being a good artist is the toughest job you could pick, and you have to be a little nuts to take it on.” While it’s bothersome that he claims only Pollock, Warhol, Judd, and his boy Hirst will go down in history (according to Saatchi, every other artist “will be a footnote”), he may, unfortunately, be right.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’m not sure how you’d get an answer but at the end of the book, you are invited to send your own questions for Saatchi via email. But don’t ask him if he thinks you’re a real art collector (I thought I was) because I already know his answer: not unless you have so much art that you require an extra storage unit. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I am not a fan of the suffix “-oholic” because it doesn’t make enough sense to come off as clever. And though Charles Saatchi, the rich and (in)famous ad man and art collector, claims not to be very clever, he clearly knew what he was doing when he published a long interview in pocket-sized book form, thoroughly answering the public’s questions about his life, his philosophies, and his art world activities for the first time ever. The questions were contributed over the years by a handful of British newspapers, and Saatchi finally sat down and answered them safely in front of his computer, rather than on the spot in front of a crowd of harsh critics.\u003c/p>\n\u003cp>He’s been criticized for making and breaking artists’ careers, but he finally reveals the truth about his socially anxious, Starbucks-loving, passionate personality in his new book, \u003cb>My Name is Charles Saatchi and I am an Artoholic: Everything you need to know about art, ads, life, God, and other mysteries — and weren’t afraid to ask.\u003c/b>. I developed a slight obsession with the collector when his ad agency, Saatchi & Saatchi, opened an office across the street from mine in San Francisco. As soon as they landed in the neighborhood, their building was promptly painted with giant polka-dots, à la the dot paintings by one of the artists whose career Saatchi helped launch, the once Young British Artist (a.k.a. YBA), Damien Hirst. After reading some snarky excerpts from Saatchi’s new book online, I was hungry for more Saatchiisms (and Britishisms — ever heard the term “clever-clogs?” It’s British for “smarty pants”) and snatched up the book, which costs no more than a movie ticket.\u003c/p>\n\u003cp>Saatchi is full of himself, but at least he admits it. In response to a question about whether he has been treated unfairly by the UK press, he says “If you can’t take a good kicking, you shouldn’t parade how much luckier you are than other people.” When asked about his intentions with the book, he admits he is “desperate for something” because he’s finally responding to all these questions, but that it “certainly isn’t celebrity,” though he does casually mention his new BBC reality television series \u003cb>Saatchi’s Art Stars\u003c/b> (a.k.a. Saatchi’s Best of British) more than once.\u003c/p>\n\u003cp>His pomposity is balanced by self-deprecating humor, and I enjoyed reading Saatchi’s side of scandalous stories from the art world. In 1999, an exhibition of work from his collection called \u003cb>Sensation\u003c/b>, traveled to New York where it was highly controversial due to artist Chris Ofili’s \u003cb>Virgin Mary\u003c/b>, a mixed-media image of a black Madonna embellished with the artist’s signature clod of elephant dung. The exhibit caused a lawsuit and countersuit between then Mayor Rudolph Giuliani and The Brooklyn Museum, and the museum’s city funding was temporarily withdrawn as a result. It was assumed that Saatchi banked on the drama to increase the selling power of the artwork, but it’s no surprise that the same exhibit didn’t cause any fuss when shown on the other side of the pond. I’m digressing here because you may not know that similarly, in San Francisco, Gilbert & George’s exhibition at the de Young Museum required warning plaques that were unnecessary at museums in the UK — when it comes to art, we’re total prudes over here.\u003c/p>\n\u003cp>Though ego-driven and bold, Saatchi does seem to have a deep respect for artists. He created \u003ca href=\"http://www.saatchi-gallery.co.uk/yourgallery/\">Saatchi Online\u003c/a>, a web site where anyone can display and sell their artwork. And I appreciated his favorable description of truly talented artists and his reminder that there should be “no talk of temperamental, self-absorbed and petulant babies. Being a good artist is the toughest job you could pick, and you have to be a little nuts to take it on.” While it’s bothersome that he claims only Pollock, Warhol, Judd, and his boy Hirst will go down in history (according to Saatchi, every other artist “will be a footnote”), he may, unfortunately, be right.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’m not sure how you’d get an answer but at the end of the book, you are invited to send your own questions for Saatchi via email. But don’t ask him if he thinks you’re a real art collector (I thought I was) because I already know his answer: not unless you have so much art that you require an extra storage unit. Speaking of storage units, Saatchi’s most venomous answer was spat out when asked if he himself was the arsonist behind a \u003ca href=\"http://news.bbc.co.uk/2/hi/entertainment/3750819.stm\">vicious warehouse fire\u003c/a> that consumed several works from his collection: “It wasn’t terrifically amusing the first time dull people came up with this. Now it’s the 100th time.” Oh, snap! Dullards beware: Saatchi will shut you down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Buy the book at \u003ca href=\"http://www.phaidon.com/Default.aspx/Web/my-name-is-charles-saatchi-and-i-am-an-artoholic-9780714857473\">Phaidon\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In November 2009, \u003ci>Gallery Crawl\u003c/i> checked out \u003cem>SPARROW LANE\u003c/em>, a series of photographs by Portland artist Holly Andres at the Robert Koch Gallery in San Francisco. Inspired by classic Nancy Drew book covers and Hitchcock films, Andres handcrafts highly-stylized scenes featuring a group of young girls grappling with mysterious objects, secret rooms, forbidden knowledge, and ultimately their own burgeoning sexuality.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>Resources\u003c/h3>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.kqed.org/assets/pdf/arts/programs/gallerycrawl/edguide-nov09.pdf\">Download educator guide\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Maxwell Loren Holyoke-Hirsch wants you to see his studio. But since it’s weird to invite strangers into one’s personal space, he has set up a condensed version of it inside Fecal Face Dot Gallery and called it \u003cb>Megarealms\u003c/b>. There is a shelf full of objects, and ladders stacked with supplies. Artwork is clustered on the walls, suggesting an economy of space riddled with installation experiments. There are paintings you can’t get a good look at because they’re hidden behind other things — maybe because the artist wants you to know he made them — he’s just not sure he wants you to see them.\u003c/p>\n\u003cp>The shelf installation is chaotic but somehow seems organized. There are figures made of crude materials like metal scraps and wound-up newspaper. Scattered among them are vibrantly painted wood chunks and found objects including an asthma inhaler not too far from a cigarette, which are both painted over with an opaque brown color like most of the objects in the show’s installation pieces. Seeing everyday objects like funnels, soap bottles, and cans painted in a monochrome shade forces you to consider them as unified objects rather than distinctive packages, or brands, or tools of the trade.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hirsch-overview.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Holyoke-Hirsch seems to be compelled to make things, and this obsessive nature is apparent in his latest work. While some viewers might see the installation as a random pile of junk, others might see a visual poetry, sensing how each object was placed at least somewhat deliberately.\u003c/p>\n\u003cp>Resin is layered over many of the paintings in the show, protecting their fragile materials, which include cheap paint, pen, pastels, and scraps of blue painters’ tape. The artist’s line work is simple but incredibly expressive. A shoe or a hairdo are represented as one blob of color but are still distinct and familiar. It occurred to me while looking at his work that Holyoke-Hirsch could be the three-way lovechild of artists \u003ca href=\"http://www.calder.org/\">Alexander Calder\u003c/a>, \u003ca href=\"http://www.gallerypauleanglim.com/Gallery_Paule_Anglim/Joan_Brown.html\">Joan Brown\u003c/a>, and \u003ca href=\"http://chrisjohanson.com/\">Chris Johanson\u003c/a>. For me, his art evokes several different eras. The timelessness of his drawing style is probably one of the reasons he’s also had a successful career as a commercial illustrator.\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/hirsch-sheep.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>I recently heard Albert Reyes, an artist who uses similar installation techniques, talk about the fact that he’s not making individual bodies of work, but rather everything he makes contributes to one life-long series. I get the same feeling from Holyoke-Hirsch’s work. Experimentation with materials is key to this approach, and the artist seems to be on his way to creating one mega long series of \u003cb>Megarealms\u003c/b> for us to navigate.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Megarealms\u003c/b> is on view at Fecal Face dot Gallery in San Francisco through November 28th, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maxwell Loren Holyoke-Hirsch wants you to see his studio. But since it’s weird to invite strangers into one’s personal space, he has set up a condensed version of it inside Fecal Face Dot Gallery and called it \u003cb>Megarealms\u003c/b>. There is a shelf full of objects, and ladders stacked with supplies. Artwork is clustered on the walls, suggesting an economy of space riddled with installation experiments. There are paintings you can’t get a good look at because they’re hidden behind other things — maybe because the artist wants you to know he made them — he’s just not sure he wants you to see them.\u003c/p>\n\u003cp>The shelf installation is chaotic but somehow seems organized. There are figures made of crude materials like metal scraps and wound-up newspaper. Scattered among them are vibrantly painted wood chunks and found objects including an asthma inhaler not too far from a cigarette, which are both painted over with an opaque brown color like most of the objects in the show’s installation pieces. Seeing everyday objects like funnels, soap bottles, and cans painted in a monochrome shade forces you to consider them as unified objects rather than distinctive packages, or brands, or tools of the trade.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hirsch-overview.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Holyoke-Hirsch seems to be compelled to make things, and this obsessive nature is apparent in his latest work. While some viewers might see the installation as a random pile of junk, others might see a visual poetry, sensing how each object was placed at least somewhat deliberately.\u003c/p>\n\u003cp>Resin is layered over many of the paintings in the show, protecting their fragile materials, which include cheap paint, pen, pastels, and scraps of blue painters’ tape. The artist’s line work is simple but incredibly expressive. A shoe or a hairdo are represented as one blob of color but are still distinct and familiar. It occurred to me while looking at his work that Holyoke-Hirsch could be the three-way lovechild of artists \u003ca href=\"http://www.calder.org/\">Alexander Calder\u003c/a>, \u003ca href=\"http://www.gallerypauleanglim.com/Gallery_Paule_Anglim/Joan_Brown.html\">Joan Brown\u003c/a>, and \u003ca href=\"http://chrisjohanson.com/\">Chris Johanson\u003c/a>. For me, his art evokes several different eras. The timelessness of his drawing style is probably one of the reasons he’s also had a successful career as a commercial illustrator.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Afterlife\u003c/b>, currently at the San Jose Institute of Contemporary Art, is not the first exhibition to devote itself the work of artists who use nothing but recycled materials, nor will it be the last. The show opened just a few weeks after San Francisco enacted a tough new recycling and composting law, a coincidence that reminds us of the Bay Area’s position at the forefront of recycling practices, in all their forms. Indeed, \u003cb>Afterlife\u003c/b> continues an international tradition of making art out of everyday objects, including the stuff most of us routinely kick to the curb.\u003c/p>\n\u003cp>Early in the last century, French surrealist Marcel Duchamp shocked the art world with his “\u003ca href=\"http://en.wikipedia.org/wiki/Readymades_of_Marcel_Duchamp\">readymades\u003c/a>,” artworks made out of ordinary manufactured objects. The most famous of these were his “\u003ca href=\"http://en.wikipedia.org/wiki/Bicycle_Wheel\">Bicycle Wheel\u003c/a>,” a tireless rim mounted by its fork to a painted stool, and “\u003ca href=\"http://en.wikipedia.org/wiki/Fountain_%28Duchamp%29\">Fountain\u003c/a>,” a urinal turned on its side and signed by the artist. In both cases, Duchamp’s refusal to take things at their face value is what transformed these common objects into art.\u003c/p>\n\u003cp>The impulse to elevate the everyday has gone through many mutations since, notably in \u003ca href=\"http://www.josephcornellbox.com/\">Joseph Cornell\u003c/a>‘s collages and boxes, \u003ca href=\"http://www.metmuseum.org/Special/se_event.asp?OccurrenceId=%7B6E31DECE-D293-4EB0-BBB8-3A78F4EA2EC1%7D\">Robert Rauschenberg’s Combines\u003c/a> and the work of Southern California artists from \u003ca href=\"http://www.beatmuseum.org/kienholz/edkienholz.html\">Ed Kienholz\u003c/a> to Simon Rodia, who produced the region’s most important piece of public sculpture, \u003ca href=\"http://www.greatbuildings.com/buildings/Watts_Towers.html\">Watts Towers. In the Bay Area, many of the \u003c/a>\u003ca href=\"http://www.wsu.edu/~delahoyd/20th/funk.html\">“Funk” artists\u003c/a>, from Bruce Conner to Robert Hudson, produced work using unlikely combinations of techniques and materials, including found objects.\u003c/p>\n\u003cp>\u003cb>Afterlife\u003c/b> contains some startling pieces, regardless of where they fit, or don’t, in this continuum. For the most part, the best works celebrate the repetition that can occur when working with recycled materials, particularly recycled packaging. Thus, the exhibition’s centerpiece is a triptych by Robert Larson called “Twelve Titles,” which consists of three 8-by-10-foot linen panels, each papered with a grid of Surgeon General’s Warnings from found packs of Marlboros. Larson has grouped the labels by their relative degrees of filthiness, as well as by the type of warning that appears on the label (the warning has varied over the years). The result is an almost hypnotic abstraction of subtle patterns, which seem to blur and shimmer as you approach or move away from the piece to admire its formal, scruffy beauty.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/afterlife-cigs.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At first glance, Larson’s orderly piece does not seem descended from San Franciscan \u003ca href=\"http://www.gallerypauleanglim.com/Gallery_Paule_Anglim/Bruce_COnner.html\">Bruce Conner\u003c/a>‘s unkempt, late-1950s assemblages, but there are some interesting connections. Both artists allow pedestrian materials to fill their pieces with meaning, and both have keen eyes for the aesthetics of rot and decay. Conner’s nylon stocking-strewn pieces evoked a creepy sense of emotional degradation and entropy. Larson takes our breath away with his unvarnished inventory of self-induced abuse.\u003c/p>\n\u003cp>Another inspirational Bay Area practitioner of the found-object tradition was \u003ca href=\"http://www.netropolitan.org/herms/herms_main.html\">George Herms\u003c/a>, who, in the late 1950s, lived in a shack on the Larkspur canal. Herms’ funky constructions were sunnier than Conner’s: The \u003ci>San Francisco Chronicle\u003c/i>‘s Thomas Albright once referred to Herms’ work as “gentle and genial.” That was certainly true for much of his output (in later years, the letters L, O, V, and E would grace most of his pieces), but it should be remembered that his 1961 show at the Batman Gallery (a famous Beat hangout) on Fillmore Street in San Francisco featured an installation called \u003cb>The Meat Market\u003c/b>, which paired baby dolls and butcher-shop price tags.\u003c/p>\n\u003cp>The Slant Step Show of 1966, at the Berkeley Gallery in San Francisco, codified the role of the found object in art. Then a U.C. Davis art professor, \u003ca href=\"http://www.williamtwiley.com/\">William T. Wiley\u003c/a> had found an enigmatic, linoleum-covered object in a thrift shop (it turned out to be a stool designed to be placed beneath the feet in order to help produce a bowel movement). Artists from \u003ca href=\"http://en.wikipedia.org/wiki/Bruce_Nauman\">Bruce Nauman\u003c/a>, one of Wiley’s students at the time, to Jim Melchert were invited to riff on the Slant Step in a wry, “readymade” group grope.\u003c/p>\n\u003cp>By the 1960s and ’70s, these transformative impulses had spread beyond the galleries. Down on the Emeryville mudflats, just north of the approach to the Bay Bridge, anonymous artists with no goal greater than not sinking up to their necks in the briny muck made stuff out of junk for the pure pleasure of doing it. They created impromptu public sculptures cobbled together from the waterlogged flotsam and jetsam that routinely washed up on the muddy shore. To be sure, there were a lot of dopey stick figures and childlike depictions of dogs, but there were also complex dinosaurs and giraffes, guitarists and drummers, even a lunar lander topped with an American flag. When Caltrans cleaned up the site in the 1980s, one of the last, free, messy, imperfect relics of the San Francisco Bay Area in the 1960s died.\u003c/p>\n\u003cp>Still, artists remained drawn to junk. To give them an outlet, and perhaps recycle a fraction of the city’s trash before sending it off to the landfill, San Francisco’s city dump developed an >a href=”http://www.sunsetscavenger.com/AIR/index.php?t=d”>Artist in Residence program in 1990, providing local artists with studio space, equipment and access to materials from the waste stream.\u003c/p>\n\u003cp>That first year, William Wareham cut and welded dozens of sculptures from busted up grocery carts, metal springs, and water heaters. Since then more than 80 artists have been given the opportunity to make art out of stuff San Franciscans throw away. Indeed, two of \u003cb>Afterlife’s\u003c/b> highlights were produced by Scott Oliver, an alum of the SF Dump’s class of 2008. Oliver’s “Loop” is a found fake-wood-grain Formica table that has been meticulously sliced and reassembled so that its center sags almost to the floor. A found orb-shaped fixture hangs overhead, casting a circle of light through the hole in the table.\u003c/p>\n\u003cp>In contrast to the unexpected elegance of “Loop,” Oliver’s “The Valley” is a violated green fabric easy chair, whose exposed springs, foam and padding read like some kind of furniture autopsy. However, topography is more what Oliver had in mind; a variation on the landscape painting hangs behind the chair. Scraps of green thread suggest vegetation, with layers and striations of furniture padding, presumably from the chair itself, standing in for a Yosemite-like valley.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/afterlife-valley.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Two other artists successfully mine the vein of repetition offered by recycled materials. Charlotte Kruk’s dress made of stitched together packages of toothpaste is circled overhead by a flock of winged, stuffed hearts covered in chewing gum packaging. Ann Weber contributes a trio of odd-looking biomorphic shapes, including “Topsy,” whose exterior is wrapped in ribbons of cardboard Clos du Bois boxes.\u003c/p>\n\u003cp>“When an object has been discharged from its original purpose it still carries some association with its past. When that association is altered it takes on new meaning,” writes \u003cb>Afterlife\u003c/b> curator Kathryn Funk. True enough, but in the end, it’s always been about what artists do with their materials, not the fact that their materials have a past. The particular challenge for an artist working with recycled materials is to permanently remove those materials from the waste stream; the risk is that the art gallery may merely be a detour on the way back to the dump. When such artworks succeed, as many in \u003cb>Afterlife\u003c/b> do, the result is a triumph of the human spirit over the endless acres of waste that are the byproducts of our lives. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Afterlife\u003c/b> runs through January 23, 2010 at San Jose Institute of Contemporary Art. For \u003ca href=\"http://sjica.org\">more information\u003c/a>, visit sjica.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Afterlife\u003c/b>, currently at the San Jose Institute of Contemporary Art, is not the first exhibition to devote itself the work of artists who use nothing but recycled materials, nor will it be the last. The show opened just a few weeks after San Francisco enacted a tough new recycling and composting law, a coincidence that reminds us of the Bay Area’s position at the forefront of recycling practices, in all their forms. Indeed, \u003cb>Afterlife\u003c/b> continues an international tradition of making art out of everyday objects, including the stuff most of us routinely kick to the curb.\u003c/p>\n\u003cp>Early in the last century, French surrealist Marcel Duchamp shocked the art world with his “\u003ca href=\"http://en.wikipedia.org/wiki/Readymades_of_Marcel_Duchamp\">readymades\u003c/a>,” artworks made out of ordinary manufactured objects. The most famous of these were his “\u003ca href=\"http://en.wikipedia.org/wiki/Bicycle_Wheel\">Bicycle Wheel\u003c/a>,” a tireless rim mounted by its fork to a painted stool, and “\u003ca href=\"http://en.wikipedia.org/wiki/Fountain_%28Duchamp%29\">Fountain\u003c/a>,” a urinal turned on its side and signed by the artist. In both cases, Duchamp’s refusal to take things at their face value is what transformed these common objects into art.\u003c/p>\n\u003cp>The impulse to elevate the everyday has gone through many mutations since, notably in \u003ca href=\"http://www.josephcornellbox.com/\">Joseph Cornell\u003c/a>‘s collages and boxes, \u003ca href=\"http://www.metmuseum.org/Special/se_event.asp?OccurrenceId=%7B6E31DECE-D293-4EB0-BBB8-3A78F4EA2EC1%7D\">Robert Rauschenberg’s Combines\u003c/a> and the work of Southern California artists from \u003ca href=\"http://www.beatmuseum.org/kienholz/edkienholz.html\">Ed Kienholz\u003c/a> to Simon Rodia, who produced the region’s most important piece of public sculpture, \u003ca href=\"http://www.greatbuildings.com/buildings/Watts_Towers.html\">Watts Towers. In the Bay Area, many of the \u003c/a>\u003ca href=\"http://www.wsu.edu/~delahoyd/20th/funk.html\">“Funk” artists\u003c/a>, from Bruce Conner to Robert Hudson, produced work using unlikely combinations of techniques and materials, including found objects.\u003c/p>\n\u003cp>\u003cb>Afterlife\u003c/b> contains some startling pieces, regardless of where they fit, or don’t, in this continuum. For the most part, the best works celebrate the repetition that can occur when working with recycled materials, particularly recycled packaging. Thus, the exhibition’s centerpiece is a triptych by Robert Larson called “Twelve Titles,” which consists of three 8-by-10-foot linen panels, each papered with a grid of Surgeon General’s Warnings from found packs of Marlboros. Larson has grouped the labels by their relative degrees of filthiness, as well as by the type of warning that appears on the label (the warning has varied over the years). The result is an almost hypnotic abstraction of subtle patterns, which seem to blur and shimmer as you approach or move away from the piece to admire its formal, scruffy beauty.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/afterlife-cigs.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At first glance, Larson’s orderly piece does not seem descended from San Franciscan \u003ca href=\"http://www.gallerypauleanglim.com/Gallery_Paule_Anglim/Bruce_COnner.html\">Bruce Conner\u003c/a>‘s unkempt, late-1950s assemblages, but there are some interesting connections. Both artists allow pedestrian materials to fill their pieces with meaning, and both have keen eyes for the aesthetics of rot and decay. Conner’s nylon stocking-strewn pieces evoked a creepy sense of emotional degradation and entropy. Larson takes our breath away with his unvarnished inventory of self-induced abuse.\u003c/p>\n\u003cp>Another inspirational Bay Area practitioner of the found-object tradition was \u003ca href=\"http://www.netropolitan.org/herms/herms_main.html\">George Herms\u003c/a>, who, in the late 1950s, lived in a shack on the Larkspur canal. Herms’ funky constructions were sunnier than Conner’s: The \u003ci>San Francisco Chronicle\u003c/i>‘s Thomas Albright once referred to Herms’ work as “gentle and genial.” That was certainly true for much of his output (in later years, the letters L, O, V, and E would grace most of his pieces), but it should be remembered that his 1961 show at the Batman Gallery (a famous Beat hangout) on Fillmore Street in San Francisco featured an installation called \u003cb>The Meat Market\u003c/b>, which paired baby dolls and butcher-shop price tags.\u003c/p>\n\u003cp>The Slant Step Show of 1966, at the Berkeley Gallery in San Francisco, codified the role of the found object in art. Then a U.C. Davis art professor, \u003ca href=\"http://www.williamtwiley.com/\">William T. Wiley\u003c/a> had found an enigmatic, linoleum-covered object in a thrift shop (it turned out to be a stool designed to be placed beneath the feet in order to help produce a bowel movement). Artists from \u003ca href=\"http://en.wikipedia.org/wiki/Bruce_Nauman\">Bruce Nauman\u003c/a>, one of Wiley’s students at the time, to Jim Melchert were invited to riff on the Slant Step in a wry, “readymade” group grope.\u003c/p>\n\u003cp>By the 1960s and ’70s, these transformative impulses had spread beyond the galleries. Down on the Emeryville mudflats, just north of the approach to the Bay Bridge, anonymous artists with no goal greater than not sinking up to their necks in the briny muck made stuff out of junk for the pure pleasure of doing it. They created impromptu public sculptures cobbled together from the waterlogged flotsam and jetsam that routinely washed up on the muddy shore. To be sure, there were a lot of dopey stick figures and childlike depictions of dogs, but there were also complex dinosaurs and giraffes, guitarists and drummers, even a lunar lander topped with an American flag. When Caltrans cleaned up the site in the 1980s, one of the last, free, messy, imperfect relics of the San Francisco Bay Area in the 1960s died.\u003c/p>\n\u003cp>Still, artists remained drawn to junk. To give them an outlet, and perhaps recycle a fraction of the city’s trash before sending it off to the landfill, San Francisco’s city dump developed an >a href=”http://www.sunsetscavenger.com/AIR/index.php?t=d”>Artist in Residence program in 1990, providing local artists with studio space, equipment and access to materials from the waste stream.\u003c/p>\n\u003cp>That first year, William Wareham cut and welded dozens of sculptures from busted up grocery carts, metal springs, and water heaters. Since then more than 80 artists have been given the opportunity to make art out of stuff San Franciscans throw away. Indeed, two of \u003cb>Afterlife’s\u003c/b> highlights were produced by Scott Oliver, an alum of the SF Dump’s class of 2008. Oliver’s “Loop” is a found fake-wood-grain Formica table that has been meticulously sliced and reassembled so that its center sags almost to the floor. A found orb-shaped fixture hangs overhead, casting a circle of light through the hole in the table.\u003c/p>\n\u003cp>In contrast to the unexpected elegance of “Loop,” Oliver’s “The Valley” is a violated green fabric easy chair, whose exposed springs, foam and padding read like some kind of furniture autopsy. However, topography is more what Oliver had in mind; a variation on the landscape painting hangs behind the chair. Scraps of green thread suggest vegetation, with layers and striations of furniture padding, presumably from the chair itself, standing in for a Yosemite-like valley.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/afterlife-valley.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Two other artists successfully mine the vein of repetition offered by recycled materials. Charlotte Kruk’s dress made of stitched together packages of toothpaste is circled overhead by a flock of winged, stuffed hearts covered in chewing gum packaging. Ann Weber contributes a trio of odd-looking biomorphic shapes, including “Topsy,” whose exterior is wrapped in ribbons of cardboard Clos du Bois boxes.\u003c/p>\n\u003cp>“When an object has been discharged from its original purpose it still carries some association with its past. When that association is altered it takes on new meaning,” writes \u003cb>Afterlife\u003c/b> curator Kathryn Funk. True enough, but in the end, it’s always been about what artists do with their materials, not the fact that their materials have a past. The particular challenge for an artist working with recycled materials is to permanently remove those materials from the waste stream; the risk is that the art gallery may merely be a detour on the way back to the dump. When such artworks succeed, as many in \u003cb>Afterlife\u003c/b> do, the result is a triumph of the human spirit over the endless acres of waste that are the byproducts of our lives. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Afterlife\u003c/b> runs through January 23, 2010 at San Jose Institute of Contemporary Art. For \u003ca href=\"http://sjica.org\">more information\u003c/a>, visit sjica.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco artist Tara Foley creates worlds in her delicate drawings. In \u003cb>Either in a Million Years or Until the Bitter End\u003c/b>, her current show at Adobe Books Backroom Gallery, cliffs and cathedrals float on the page, their forms twisted around mandalas and repeated imagery. Foley writes that the show is about memory, real and imagined, personal and collective. And there is something familiar about it, the way a Grimm’s fairy tale can feel familiar and yet unexplored.\u003c/p>\n\u003cp>While this show consists mostly of drawings, Foley, not a stranger to installation, includes a three-sided monochrome paper citadel, which hangs in a corner of the gallery. Light from a projector glows from the windows. Walk around and peak in; there’s a comfortable, fancy-looking interior projected on the inside walls of the paper castle. Despite dimensional differences, the installation echoes the architectural elements of the drawings in the show.\u003c/p>\n\u003cp>\u003cimg>\u003c/p>\n\u003cp>Foley draws imposing structures, but then softens them. Her castles and cathedrals are dreamlike: in “The Hands Hold Up the Feet” spires are built of hands and teeth, and in “The Mysterious Sleep” pillars bloom out of arms and legs, and hair twists into structural details. Foley’s drawings are mysterious without being threatening; there’s comfort and richness in her colors and shapes, even when they take unfamiliar form.\u003c/p>\n\u003cp>\u003cimg>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Foley had another show at Adobe earlier this year, before the Backroom Gallery was remodeled. Adobe’s a fitting match for her, both the bookstore and her drawings have nooks and crannies stuffed with details, the closer you look, the more there is to see. With cliffs plunging into a couch, and a golden citadel rising from the cushions, “Neither Still Waters or the Great Abyss” could be a flag for Adobe, recalling its precarious piles of books, and low-slung, well-used furniture.\u003c/p>\n\u003cp>Vaguely familiar but still magical, not quite safe but not sinister either, the drawings in \u003cb>Either in a Million Years or Until the Bitter End\u003c/b> transport the viewer into buildings carved out of cliffs, held up by feet, and adorned with hands, where organic forms disappear into each other while twists and patterns bloom out of them. But Foley keeps her buildings suspended, either in the air or in the middle of the page. Even while they draw you in, there’s an edge in sight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Either in a Million Years or Until the Bitter End\u003c/b> runs through December 1, 2009 at Adobe Books Backroom Gallery in San Francisco.For \u003ca href=\"http://adobebooksbackroomgallery.blogspot.com/\">information\u003c/a>, visit adobebooksbackroomgallery.blogspot.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Foley had another show at Adobe earlier this year, before the Backroom Gallery was remodeled. Adobe’s a fitting match for her, both the bookstore and her drawings have nooks and crannies stuffed with details, the closer you look, the more there is to see. With cliffs plunging into a couch, and a golden citadel rising from the cushions, “Neither Still Waters or the Great Abyss” could be a flag for Adobe, recalling its precarious piles of books, and low-slung, well-used furniture.\u003c/p>\n\u003cp>Vaguely familiar but still magical, not quite safe but not sinister either, the drawings in \u003cb>Either in a Million Years or Until the Bitter End\u003c/b> transport the viewer into buildings carved out of cliffs, held up by feet, and adorned with hands, where organic forms disappear into each other while twists and patterns bloom out of them. But Foley keeps her buildings suspended, either in the air or in the middle of the page. Even while they draw you in, there’s an edge in sight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Either in a Million Years or Until the Bitter End\u003c/b> runs through December 1, 2009 at Adobe Books Backroom Gallery in San Francisco.For \u003ca href=\"http://adobebooksbackroomgallery.blogspot.com/\">information\u003c/a>, visit adobebooksbackroomgallery.blogspot.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The tables have turned: instead of telling you what we think about art shows, we’re hitting the streets to find out what the beautiful people think. \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=8281\">Kristin\u003c/a> and I headed to the Yerba Buena Center for the Arts to revel in the Brazilian spirit of their latest exhibition, \u003cb>When Lives Become Form\u003c/b>. Having recently won a bid for the Olympics (despite the magical powers of Oprah and Obama), Brazil is really hot right now and so are its artists. On opening night, movers and shakers took some time away from the impressive art collection and put down their Campari cocktails to share their thoughts on the exhibit.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ybca-1.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ybca-2.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/klover-kim.jpg\">\u003c/p>\n\u003cp>\u003cb>Klover Kim pictured with Isabela Capeto’s piece, \u003ci>Lucha Libre\u003c/i> \u003c/b>\u003cbr>“My next vacation destination I hope would be Brazil but this is the closest I can get to it right now, so I thought I’d come and pretend like I was there and get in the spirit.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ybca-3.jpg\">\u003cbr> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/vivian-crockett.jpg\">\u003c/p>\n\u003cp>\u003cb>Vivian Crockett\u003c/b>\u003cbr>“I’m excited about this show for lots of reasons. I was born in Brazil and my family is Brazilian and American. Growing up, art that was privileged most of the time was mainstream American or European art, and there are so many amazing, radical, experimental Brazilian artists that I only got to know in my 20s. Once I started doing actual research on them, it sort of opened a whole new world. I’m excited to see all this work here and also see what contemporary artists are doing. Unfortunately I don’t get to go back to Brazil all that often, so it’s nice to see artists I haven’t heard about that are doing work in the city where I’m from and around the Bay Area.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp><img src=\"http://a.s.kqed.net/img/arts/blog/ybca-4.jpg\"\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/alex-crane.jpg\">\u003c/p>\n\u003cp>\u003cb>Alex Crane\u003c/b>\u003cbr>“I’ve come to this show primarily so that I can get a sense of Brazilian culture through the eyes of my friend, she’s studying Portuguese.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/katie-freitas.jpg\">\u003c/p>\n\u003cp>\u003cb>Katie Freitas\u003c/b>\u003cbr>“I’m majoring in Brazilian studies so obviously this pertains to what I’m studying. My studies span literature, art, history and politics — it’s a broad spectrum of things.”\u003c/p>\n\u003cp><img src=\"http://a.s.kqed.net/img/arts/blog/ybca-5.jpg\"\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/adal-castellon.jpg\">\u003c/p>\n\u003cp>\u003cb>Adal Castellon Jr. in front of Jum Nakao’s video called \u003ci>Sewing the Invisible\u003c/i>\u003c/b>\u003cbr>“My favorite piece here is one that I’d already seen, it’s a video of a fashion show where all the models tore off their dresses at the end of the show. I didn’t know it was going to be part of this show but I just saw it and got goose bumps, and every time I see it I get goose bumps! Jum Nakao is the artist and he made a whole collection out of organic paper and had the models do a show. At the very end they all did the final catwalk and then turned around and started ripping off the clothes. That’s always been my favorite one.” \u003c/p>\n\u003cp> <img src=\"http://a.s.kqed.net/img/arts/blog/ybca-6.jpg\"\u003cbr><img src=\"http://a.s.kqed.net/img/arts/blog/ybca-7.jpg\"\u003cbr><img src=\"http://a.s.kqed.net/img/arts/blog/ybca-8.jpg\"\u003c/p>\n\u003cp>\u003cb>When Lives Become Form\u003c/b> runs through January 31, 2010. For \u003ca href=\"http://www.ybca.org\">more information\u003c/a>, visit ybca.org\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Add your own photos of the show and see more beautiful people in our \u003ca href=\"http://www.flickr.com/groups/1193208@N23/\">KQED Arts’ In Your Face Flickr group\u003c/a>!\u003c/p>\n\n",
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"excerpt": "The tables have turned: instead of telling you what we think about art shows, we're hitting the streets to find out what the beautiful people think. This month, we headed to the Yerba Buena Center for the Arts to revel in the Brazilian spirit of their latest exhibition, \u003cb>When Lives Become Form\u003c/b>.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The tables have turned: instead of telling you what we think about art shows, we’re hitting the streets to find out what the beautiful people think. \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=8281\">Kristin\u003c/a> and I headed to the Yerba Buena Center for the Arts to revel in the Brazilian spirit of their latest exhibition, \u003cb>When Lives Become Form\u003c/b>. Having recently won a bid for the Olympics (despite the magical powers of Oprah and Obama), Brazil is really hot right now and so are its artists. On opening night, movers and shakers took some time away from the impressive art collection and put down their Campari cocktails to share their thoughts on the exhibit.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ybca-1.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ybca-2.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/klover-kim.jpg\">\u003c/p>\n\u003cp>\u003cb>Klover Kim pictured with Isabela Capeto’s piece, \u003ci>Lucha Libre\u003c/i> \u003c/b>\u003cbr>“My next vacation destination I hope would be Brazil but this is the closest I can get to it right now, so I thought I’d come and pretend like I was there and get in the spirit.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ybca-3.jpg\">\u003cbr> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/vivian-crockett.jpg\">\u003c/p>\n\u003cp>\u003cb>Vivian Crockett\u003c/b>\u003cbr>“I’m excited about this show for lots of reasons. I was born in Brazil and my family is Brazilian and American. Growing up, art that was privileged most of the time was mainstream American or European art, and there are so many amazing, radical, experimental Brazilian artists that I only got to know in my 20s. Once I started doing actual research on them, it sort of opened a whole new world. I’m excited to see all this work here and also see what contemporary artists are doing. Unfortunately I don’t get to go back to Brazil all that often, so it’s nice to see artists I haven’t heard about that are doing work in the city where I’m from and around the Bay Area.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Charles Darwin made his voyage to the Galapagos Islands as a young man, and then went home and mulled over his ideas about evolution for years. Conveniently enough for celebrants of modern science, he finally published his theory, after decades of waffling, at age 50. That makes 2009 a big Darwin year: both the 200th anniversary of his birth (that was in February) and the 150th anniversary of the publication of \u003cb>On the Origin of Species\u003c/b> (later this month). \u003cb>Evidence of Evolution\u003c/b>, a new book from Bay Area photographer Susan Middleton and author Mary Ellen Hannibal takes advantage of the timing. It’s out now, and the authors have a couple of events planned to celebrate this month’s \u003cb>Origin\u003c/b> anniversary.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/EvidenceofEvolution_p59bottom.jpg\">\u003c/center>\n\u003cp>Middleton and Hannibal teamed up to comb through the California Academy of Sciences’ collection of specimens and to interview working scientists there. The result is an elegant book, full of vivid, vibrant photographs (ironically all of dead things) and clear, down-to-earth text. Hannibal and Middleton explain and illustrate the intricacies of how evolution works, going beyond textbook definitions to tell the stories of species’ singular traits and common attributes. It’s a solid introduction for anyone, and a lovely visual reference even for those more versed in Darwin’s theory. Even the captions for the photographs contain gems of information; one caption introducing several Galapagos tortoises, each from a different environment, points out the shapes of their shells, differing depending on the availability of food where each subspecies evolved.\u003c/p>\n\u003cp>Middleton and Hannibal had extraordinary access to the Academy. Beyond the aquarium, beyond the living roof, beyond the rainforest and planetarium and penguin feedings, the California Academy of Sciences is a research institution and home to more than twenty million specimens. These specimens — of endangered California plants, newly discovered Asian reptiles, long-extinct mollusks — are the evidence for evolution. They form the backbone of natural history research and the heart of \u003cb>Evidence for Evolution\u003c/b>. And, as Hannibal and Middleton point out, the specimens of now-living species may serve as historical references some day down the line if habitat destruction and climate change continue unabated.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/EvidenceofEvolution_p79.jpg\">\u003c/center>\n\u003cp>Susan Middleton and Mary Ellen Hannibal will read and show blown-up photographs from the book twice this week at the California Academy of Sciences. Middleton says these photos provide “a peak into the inner sanctum of the Academy.” They’re a link to scientists working today, explorers and naturalists working two hundred years ago, and to historians working hundreds of years from now.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mary Ellen Hannibal and Susan Middleton will show photos and read from \u003cb>Evidence of Evolution\u003c/b> on Tuesday, November 10, 2009 and Thursday, November 12, 2009 at California Academy of Sciences in San Francisco. For \u003ca href=\"http://www.calacademy.org/events/?e=256&d=10&m=11&y=2009\">tickets and information\u003c/a>, visit calacademy.org\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Photo credits: Susan Middleton; Evidence of Evolution (Abrams; 2009)\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Charles Darwin made his voyage to the Galapagos Islands as a young man, and then went home and mulled over his ideas about evolution for years. Conveniently enough for celebrants of modern science, he finally published his theory, after decades of waffling, at age 50. That makes 2009 a big Darwin year: both the 200th anniversary of his birth (that was in February) and the 150th anniversary of the publication of \u003cb>On the Origin of Species\u003c/b> (later this month). \u003cb>Evidence of Evolution\u003c/b>, a new book from Bay Area photographer Susan Middleton and author Mary Ellen Hannibal takes advantage of the timing. It’s out now, and the authors have a couple of events planned to celebrate this month’s \u003cb>Origin\u003c/b> anniversary.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/EvidenceofEvolution_p59bottom.jpg\">\u003c/center>\n\u003cp>Middleton and Hannibal teamed up to comb through the California Academy of Sciences’ collection of specimens and to interview working scientists there. The result is an elegant book, full of vivid, vibrant photographs (ironically all of dead things) and clear, down-to-earth text. Hannibal and Middleton explain and illustrate the intricacies of how evolution works, going beyond textbook definitions to tell the stories of species’ singular traits and common attributes. It’s a solid introduction for anyone, and a lovely visual reference even for those more versed in Darwin’s theory. Even the captions for the photographs contain gems of information; one caption introducing several Galapagos tortoises, each from a different environment, points out the shapes of their shells, differing depending on the availability of food where each subspecies evolved.\u003c/p>\n\u003cp>Middleton and Hannibal had extraordinary access to the Academy. Beyond the aquarium, beyond the living roof, beyond the rainforest and planetarium and penguin feedings, the California Academy of Sciences is a research institution and home to more than twenty million specimens. These specimens — of endangered California plants, newly discovered Asian reptiles, long-extinct mollusks — are the evidence for evolution. They form the backbone of natural history research and the heart of \u003cb>Evidence for Evolution\u003c/b>. And, as Hannibal and Middleton point out, the specimens of now-living species may serve as historical references some day down the line if habitat destruction and climate change continue unabated.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/EvidenceofEvolution_p79.jpg\">\u003c/center>\n\u003cp>Susan Middleton and Mary Ellen Hannibal will read and show blown-up photographs from the book twice this week at the California Academy of Sciences. Middleton says these photos provide “a peak into the inner sanctum of the Academy.” They’re a link to scientists working today, explorers and naturalists working two hundred years ago, and to historians working hundreds of years from now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mary Ellen Hannibal and Susan Middleton will show photos and read from \u003cb>Evidence of Evolution\u003c/b> on Tuesday, November 10, 2009 and Thursday, November 12, 2009 at California Academy of Sciences in San Francisco. For \u003ca href=\"http://www.calacademy.org/events/?e=256&d=10&m=11&y=2009\">tickets and information\u003c/a>, visit calacademy.org\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Photo credits: Susan Middleton; Evidence of Evolution (Abrams; 2009)\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>From the edge of the Castro, looking down Market Street at dusk, Market almost looks beautiful with its streetlights, trees, and brick sidewalks. But it is not a street I try to linger on. Tourists and high-end shoppers, drug addicts and commuters can be a potent mix. Market’s never been ignored, though it’s certainly seen better days. And lately, it’s been getting just a bit more attention. We’re mid-way through the ban on private cars, the ballot initiative to allow billboards on certain blocks to raise money for the area is coming up in a couple weeks, and last weekend the \u003ca href=\"http://www.sfartscommission.org/CAE/category/art-in-storefronts/\"> San Francisco Arts Commission\u003c/a>, along with a couple other city agencies and \u003ca href=\"http://basebasebase.com/\">Triple Base gallery\u003c/a> launched its first \u003cb>\u003ca href=\"http://www.sfartscommission.org/CAE/category/art-in-storefronts/\">Art in Storefronts\u003c/a>\u003c/b> show, on Market between 5th and 7th.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/giant-ghosts.jpg\">\n\u003cp>\u003ci>“Giant Ghosts” (photo credit: \u003ca href=\"http://www.flickr.com/photos/paulandrewhayes/\">Paul Hayes\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cb>Art in Storefronts\u003c/b>, which, by the end of the year will also include art installed in empty storefronts in the Tenderloin, the Mission, and the Bayview, makes sense: local artists get visibility and recognition, empty storefronts look better than they did before, and maybe some people will visit (and linger in) neighborhoods they wouldn’t have otherwise. The best pieces really take advantage of the setting, using the storefronts like dioramas, adding to the street scene and being inspired by it. \u003ca href=\"http://www.paulandrewhayes.com/\">Paul Hayes\u003c/a>‘s “Giant Ghosts” is made of crumpled pieces of paper strewn around and hung up to take the form of huge figures swaying in soft light. The giant ghosts seem benevolent. They feel removed from the hectic street, even though they’re rustling and looming nearby. The effect draws onlookers into their quiet world.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dont-ship.jpg\">\n\u003cp>\u003ci>“Don’t Give Up the Ship” (photo credit: \u003ca href=\"http://www.flickr.com/photos/sfac\">SFAC\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dont-ship2.jpg\">\u003c/p>\n\u003cp>\u003ci>“Don’t Give Up the Ship” (photo credit: \u003ca href=\"http://www.flickr.com/photos/josh1\">Josh Ellingson\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Across the street from those dimly-lit piles of paper, \u003ca href=\"http://www.alexisamann.com/\">Alexis Amann\u003c/a> and \u003ca href=\"http://www.jburstein.com/\">Jonathan Burstein\u003c/a>‘s “Don’t Give Up the Ship” glows from a smaller storefront. A blacklight mermaid and diver float in a neon underwater world, echoing the psychedelic posters of San Francisco’s past, and referencing our present and future of rising sea levels and the ongoing foreclosure crisis. A block down, in \u003ca href=\"http://www.lizmaher.com/\">Liz Maher\u003c/a>‘s “No One Seems to Care That I Want Roots,” Victorian row houses reach out and cling to hills as they’re pulled up into pillowy clouds. Trying to hold on to location and time, they’re forced into movement and change.\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/noonecares2.jpg\">\n\u003cp>\u003ci>“No One Seems to Care that I Want Roots” (photo credit: \u003ca href=\"http://www.flickr.com/photos/josh1\">Josh Ellingson\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>But there are certain difficulties that come with art in public spaces that you just don’t get in a gallery. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the edge of the Castro, looking down Market Street at dusk, Market almost looks beautiful with its streetlights, trees, and brick sidewalks. But it is not a street I try to linger on. Tourists and high-end shoppers, drug addicts and commuters can be a potent mix. Market’s never been ignored, though it’s certainly seen better days. And lately, it’s been getting just a bit more attention. We’re mid-way through the ban on private cars, the ballot initiative to allow billboards on certain blocks to raise money for the area is coming up in a couple weeks, and last weekend the \u003ca href=\"http://www.sfartscommission.org/CAE/category/art-in-storefronts/\"> San Francisco Arts Commission\u003c/a>, along with a couple other city agencies and \u003ca href=\"http://basebasebase.com/\">Triple Base gallery\u003c/a> launched its first \u003cb>\u003ca href=\"http://www.sfartscommission.org/CAE/category/art-in-storefronts/\">Art in Storefronts\u003c/a>\u003c/b> show, on Market between 5th and 7th.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/giant-ghosts.jpg\">\n\u003cp>\u003ci>“Giant Ghosts” (photo credit: \u003ca href=\"http://www.flickr.com/photos/paulandrewhayes/\">Paul Hayes\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003cb>Art in Storefronts\u003c/b>, which, by the end of the year will also include art installed in empty storefronts in the Tenderloin, the Mission, and the Bayview, makes sense: local artists get visibility and recognition, empty storefronts look better than they did before, and maybe some people will visit (and linger in) neighborhoods they wouldn’t have otherwise. The best pieces really take advantage of the setting, using the storefronts like dioramas, adding to the street scene and being inspired by it. \u003ca href=\"http://www.paulandrewhayes.com/\">Paul Hayes\u003c/a>‘s “Giant Ghosts” is made of crumpled pieces of paper strewn around and hung up to take the form of huge figures swaying in soft light. The giant ghosts seem benevolent. They feel removed from the hectic street, even though they’re rustling and looming nearby. The effect draws onlookers into their quiet world.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dont-ship.jpg\">\n\u003cp>\u003ci>“Don’t Give Up the Ship” (photo credit: \u003ca href=\"http://www.flickr.com/photos/sfac\">SFAC\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dont-ship2.jpg\">\u003c/p>\n\u003cp>\u003ci>“Don’t Give Up the Ship” (photo credit: \u003ca href=\"http://www.flickr.com/photos/josh1\">Josh Ellingson\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Across the street from those dimly-lit piles of paper, \u003ca href=\"http://www.alexisamann.com/\">Alexis Amann\u003c/a> and \u003ca href=\"http://www.jburstein.com/\">Jonathan Burstein\u003c/a>‘s “Don’t Give Up the Ship” glows from a smaller storefront. A blacklight mermaid and diver float in a neon underwater world, echoing the psychedelic posters of San Francisco’s past, and referencing our present and future of rising sea levels and the ongoing foreclosure crisis. A block down, in \u003ca href=\"http://www.lizmaher.com/\">Liz Maher\u003c/a>‘s “No One Seems to Care That I Want Roots,” Victorian row houses reach out and cling to hills as they’re pulled up into pillowy clouds. Trying to hold on to location and time, they’re forced into movement and change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"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": {
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"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.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"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": {
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"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": {
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"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",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"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": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"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",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"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": {
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"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",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"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": {
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"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"
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},
"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": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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