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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=20082\">Emmanuel\u003c/a> and I headed to Southern Exposure to help celebrate their new space, their thirty-five-year anniversary, and their inaugural exhibition, \u003cb>Bellwether\u003c/b>. SoEx, as it’s affectionately known, is a non-profit arts organization that has finally found a permanent home in the Mission after years of space-hopping. During the opening weekend block party, supporters were at no loss for words when asked why SoEx is important to the community.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soex.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soexx.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soex-3.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/christine-yap.jpg\">\u003c/p>\n\u003cp>\u003cb>Christine Wong Yap, artist (reflected in her artwork titled mirrorsblack)\u003c/b>\u003cbr>“Tonight shows that it’s a major coup for Southern Exposure to be able to get a new building, make an amazing space, and throw a great neighborhood party in this economy. The thing that really moves me is that it’s a women-led organization. They’re all amazing women, they’re really great to work with, and they’re in it for the right reasons — to support artists and have a really strong community base.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soex-1.jpg\">\u003ci>Liz Glynn, Banner Year\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/courtney-sexton.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Courtney Sexton, SoEx volunteer\u003c/b>\u003cbr>“I’m really excited that Southern Exposure is back in this neighborhood again. There are a lot of cool new places around here like \u003ca href=\"http://www.piratecatradio.com/\">Pirate Cat Radio\u003c/a> and \u003ca href=\"http://flourandwater.com/\">Flour & Water\u003c/a>, and I think this is going to be a really great place to hang out in the Mission.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soex-4.jpg\">\u003ci>Lordy Rodriguez, First Colony\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/misako.jpg\">\u003c/p>\n\u003cp>\u003cb>Misako Inaoka, artist\u003c/b>\u003cbr>“Southern Exposure is really supportive and gives opportunities to artists. Not only the opportunity to show, but to teach or collaborate with younger artists and the community, which is great. It’s one of the best art organizations in the city.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ken-lo.jpg\">\u003c/p>\n\u003cp>\u003cb>Ken Lo, artist [center]\u003c/b>\u003cbr>“My favorite thing about Southern Exposure is its involvement with the community and its support of emerging artists that other galleries and museums aren’t quite aware of yet or don’t have the facilities to support. There’s a lot of conceptual and contemporary work that passes through here, and you can see some interesting projects.”\u003c/p>\n\u003cp>\u003cb>David Huff, curator [right]\u003c/b>\u003cbr>“I think places like Southern Exposure allow artists the chance to fail. If you’re a commercial gallery or museum, things have to work exactly right. But Southern Exposure takes chances on artists; they’re signing on with artists without actually knowing what they’re going to make, and I think we need more of that.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soex-2.jpg\">\u003ci> Renée Gertler, Deluge Collapse \u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sue-lopez.jpg\">\u003c/p>\n\u003cp>\u003cb>Sue Lopez [right], SoEx volunteer\u003c/b>\u003cbr>“Southern Exposure curates artists, not artwork. They provide opportunities for artists to do new work in a safe space, and if it doesn’t work, that’s fine. That just means Southern Exposure is doing its job.”\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\u003c/div>\u003c/p>",
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"title": "Sew Rad: Steve MacDonald at Gallery Three",
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"content": "\u003cp>Embroidery is not deceptively simple. You would think that the invention of the sewing machine would have made things easier, and while it does help speed up the process of creating shapes with a needle and thread, the intricacies of a sewing machine are so testy that working with one can make an intermediate sewer swear like a sailor. I might be referring to myself, but this \u003ca href=\"http://www.nataliedee.com/070309/those-bobbins-ruin-everything.jpg\">web comic\u003c/a> indicates that it’s a shared experience.\u003c/p>\n\u003cp>Now imagine owning a vintage sewing machine in the modern age and mastering it to the point that you can crank out dynamic thread drawings of things like shark jaws, Campbell’s soup cans, and brass knuckles. The fact that Steve MacDonald can do such things has blown my mind for years. I can’t even remember the first time I saw one of his pieces, and the embellished sweatshirt I once commissioned him to embroider is practically threadbare, but nearly every time he’s participated in a local group show, I’ve made sure to check it out.\u003c/p>\n\u003cp>MacDonald, who also goes by the pseudonym Ramblin’ Worker, has taken fiber art into both sculptural and painterly dimensions. He’s created three-dimensional cuckoo clocks, skateboard decks, and even the surface of a tank that was towed down the streets of Manhattan in the \u003ca href=\"http://www.youtube.com/watch?v=dSUIAWZx1bw\">2006 Deitch Parade\u003c/a>. Using gold or white canvas and red thread as the groundwork for many of his pieces, he plays with symbology, and his style is informed by elements of collage and design.\u003c/p>\n\u003cp>At Gallery Three, the upstairs exhibition space of \u003ca href=\"http://www.whitewallssf.com/\">White Walls\u003c/a>, Ramblin’ Worker is currently showing a new body of work appropriately titled \u003cb>Upstairs is Where the Magic Happens\u003c/b>. But the magic actually starts to happen along the stairwell where he painted a geometric mural to back an alphabet of 26 individually framed skate ramp-shaped graphic letters. Thread takes the place of pens, paints, and adhesive — the embroidery is used as an outline, a fill-in, or a structural glue.\u003c/p>\n\u003cp>MacDonald is adept with color, shape, line work, and presentation. Gems in the show include a soaring bird and a multi-colored, overlapping ode to bikes. The show’s title is shared by its signature piece — a side view of a head with the recurring skate ramp image on its mind. It is clear that, like many contemporary young artists, MacDonald’s art is partly driven by graffiti, bike, and skate cultures. It goes without saying that the aforementioned cultures and the world of needlepoint are traditionally gender specific, but the art MacDonald creates is about more than merging boys’ and girls’ hobbies and transcends such obvious observations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Upstairs is Where the Magic Happens\u003c/b> is on view at Gallery Three through November 3rd, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Embroidery is not deceptively simple. You would think that the invention of the sewing machine would have made things easier, and while it does help speed up the process of creating shapes with a needle and thread, the intricacies of a sewing machine are so testy that working with one can make an intermediate sewer swear like a sailor. I might be referring to myself, but this \u003ca href=\"http://www.nataliedee.com/070309/those-bobbins-ruin-everything.jpg\">web comic\u003c/a> indicates that it’s a shared experience.\u003c/p>\n\u003cp>Now imagine owning a vintage sewing machine in the modern age and mastering it to the point that you can crank out dynamic thread drawings of things like shark jaws, Campbell’s soup cans, and brass knuckles. The fact that Steve MacDonald can do such things has blown my mind for years. I can’t even remember the first time I saw one of his pieces, and the embellished sweatshirt I once commissioned him to embroider is practically threadbare, but nearly every time he’s participated in a local group show, I’ve made sure to check it out.\u003c/p>\n\u003cp>MacDonald, who also goes by the pseudonym Ramblin’ Worker, has taken fiber art into both sculptural and painterly dimensions. He’s created three-dimensional cuckoo clocks, skateboard decks, and even the surface of a tank that was towed down the streets of Manhattan in the \u003ca href=\"http://www.youtube.com/watch?v=dSUIAWZx1bw\">2006 Deitch Parade\u003c/a>. Using gold or white canvas and red thread as the groundwork for many of his pieces, he plays with symbology, and his style is informed by elements of collage and design.\u003c/p>\n\u003cp>At Gallery Three, the upstairs exhibition space of \u003ca href=\"http://www.whitewallssf.com/\">White Walls\u003c/a>, Ramblin’ Worker is currently showing a new body of work appropriately titled \u003cb>Upstairs is Where the Magic Happens\u003c/b>. But the magic actually starts to happen along the stairwell where he painted a geometric mural to back an alphabet of 26 individually framed skate ramp-shaped graphic letters. Thread takes the place of pens, paints, and adhesive — the embroidery is used as an outline, a fill-in, or a structural glue.\u003c/p>\n\u003cp>MacDonald is adept with color, shape, line work, and presentation. Gems in the show include a soaring bird and a multi-colored, overlapping ode to bikes. The show’s title is shared by its signature piece — a side view of a head with the recurring skate ramp image on its mind. It is clear that, like many contemporary young artists, MacDonald’s art is partly driven by graffiti, bike, and skate cultures. It goes without saying that the aforementioned cultures and the world of needlepoint are traditionally gender specific, but the art MacDonald creates is about more than merging boys’ and girls’ hobbies and transcends such obvious observations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "William T. Wiley does Washington, D.C",
"headTitle": "William T. Wiley does Washington, D.C | KQED",
"content": "\u003cp>A few weeks ago, our nation’s capital tilted noticeably to the left when friends, associates and supporters of the Bay Area’s William T. Wiley stormed Washington, D.C. for the opening of \u003cb>What’s It All Mean: William T. Wiley in Retrospect\u003c/b>, now through January 24, 2010 at the Smithsonian American Art Museum. A concurrent exhibition of new watercolors and constructions at the Marsha Mateyka Gallery near Dupont Circle meant that fans of Wiley’s art had only to hop the Red Line to catch two stellar exhibitions of this important artist’s work.\u003c/p>\n\u003cp>On hand for the festivities were about 30 or so members of the Oakland Museum of California’s Art Guild, who were treated to a private tour of the SAAM show by Wiley and his high-school art teacher, James McGrath, who was in town for the occasion. Representing the Berkeley Art Museum & Pacific Film Archive, which \u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/wiley_2010\">hosts the show\u003c/a> from March 17 to July 18, 2010, was that institution’s chief curator and director of programs and collections, Lucinda Barnes. Even Wiley’s congresswoman, Lynn Woolsey, was in the audience for the artist’s talk and musical performance the night before the show’s opening. It’s not every artist, noted SAAM’s director, Elizabeth Broun, who travels with his own congresswoman.\u003c/p>\n\u003cp>But then, Wiley is not every artist and never has been. He has always charted his own course, and his artwork has often been the means to make sense of his life’s journey between both physical spaces (growing up in Bedford, Indiana; attending high school in Richland, Washington; raising a family in west Marin) and metaphysical ones (the teachings of various Zen masters).\u003c/p>\n\u003cp>The 88-piece exhibition began in a room off the main galleries with a selection of early works that suggested the influences of artists from Giorgio di Chirico to Bruce Connor to Marcel Duchamp to H.C. Westermann. If you know Wiley’s work, the room was like a cocktail party with old friends: There’s \u003cb>Mona Lisa Wipe Out\u003c/b> from 1967; oh look, it’s \u003cb>Ship’s Log\u003c/b> (1969) from SFMOMA’s collection; and hasn’t \u003cb>Wizdumb Bridge\u003c/b> (1969) aged well?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wiley-mona-lisa.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Mona Lisa Wipe Out (1967)\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Those who were not familiar with the artist’s early work probably had to fight the urge to scoot through this satellite gallery to get to the main event, and who could blame them? What awaited was a trove of Wiley’s most enduring pieces, including watercolors like \u003cb>Lame and Blind in Eden\u003c/b> (1969) and \u003cb>Reading the Stains\u003c/b> (1971), as well as paintings such as \u003cb>Random Remarks and Digs\u003c/b> (1971) and \u003cb>Studio Space\u003c/b> (1975). This was the Wiley many visitors were probably most familiar with. Soon we were deep in a world of map-like landscapes ringed with tattered edges; of seemingly endless layers of mottled surfaces percolating through watercolor wash; of the same effect rendered even more dizzyingly in monotone via charcoal and graphite; of storytelling and musings about current events documented directly onto the artworks; and of the cohabitation of disparate imagery that is at once formal and playful, serious and careless, respectful and irreverent. I could look at this work forever.\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/wiley-studio-space.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Studio Space (1975)\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Which, of course, is a rather long time to expect an artist to make the same piece, over and over and over. Happily, Wiley moved on, and so did the exhibition, shifting effortlessly between the light touch of a painting-watercolor combo like \u003cb>Nothing Seems Clear\u003c/b> (1978), and the meticulously deliberate messiness of \u003cb>Acid Rain\u003c/b> (1981). As one moved deeper into the exhibition, jarring lightning bolts and fissures of abstract paint began to pierce the work, as if to pick up where the show’s earliest piece, \u003cb>Flag Song\u003c/b> (1959) left off.\u003c/p>\n\u003cp>By the mid-1980s, Wiley’s watercolors, once lyrical and trippy, had become so dense that the viewer hardly knew where to look first. But the absence of hierarchy has its advantages. As a viewer, I’m grateful for a work of art that does not tell me what to do, whether it’s in the seemingly random collection of objects arranged on the artist’s studio floor in a watercolor called \u003cb>Song of the Torturer\u003c/b> (1989), or the more recent grid of grinning, frowning and just-plain foolish moons in \u003cb>Meridian Moons Overwhatarewe\u003c/b> (2006). I can start where I want, leave for a few minutes or a couple of years, and then dive back in again wherever it feels right. Sounds very Northern Californian, I know, but as a viewer, I’ll take that sort of freedom any day over works of art, even abstract ones, with fussy beginnings, middles, and ends.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wiley-meridian-moons.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Meridian Moons Overwhatarewe (2006)\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Such wooly-headed thinking on my part may be why I have never completely warmed to the paintings from the 1990s, in which the artist appropriated details from Bosch, Bruegel and even Manet to give voice to issues ranging from the nuclear meltdown at Chernobyl to the loss of wild salmon stocks in the Pacific Ocean. As examples of what can be done with acrylic, charcoal and graphite on canvas, the paintings are extraordinary, and the ones on view at SAAM are the best of the best. But these pieces leave little room for interpretation once you learn what they are supposed to be about. As I say, I’m spoiled.\u003c/p>\n\u003cp>Meanwhile, a couple of subway stops away, at the Marsha Mateyka Gallery, the artist grappled with ancient insults and revenge in the Middle East; the foreclosure of modest family homesteads; mountaintop coal mining; the perils of political geography; and torture.\u003c/p>\n\u003cp>This last topic was covered in a political-cartoon-of-a-watercolor called \u003cb>Enhanced Techniques of Interrogation\u003c/b> (2009). In it, a bulky canvas has been bound and strung up, pierced in places by spikes. An electric pincher sits on the floor, as does a bucket of water with a board in it (get it?). Blood is dripping from the canvas onto the floor and a clipboard leans against the stucco cell wall, as if to document and detail the violent indignities that have been heaped upon the contents of this blank canvas before the victim inside finally spilled the beans. Unless, of course, there’s nothing inside the canvas but canvas, in which case the painting is also about the struggles an artist occasionally encounters when trying to wring inspiration from his chosen medium. Once again a course has been charted, the personal collides with the political, and still we cannot look away.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>What’s It All Mean: William T. Wiley in Retrospect\u003c/b> runs through January 24, 2010 at the Smithsonian American Art Museum. For \u003ca href=\"http://americanart.si.edu/exhibitions/archive/2009/wiley/\">more information\u003c/a> visit americanart.si.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few weeks ago, our nation’s capital tilted noticeably to the left when friends, associates and supporters of the Bay Area’s William T. Wiley stormed Washington, D.C. for the opening of \u003cb>What’s It All Mean: William T. Wiley in Retrospect\u003c/b>, now through January 24, 2010 at the Smithsonian American Art Museum. A concurrent exhibition of new watercolors and constructions at the Marsha Mateyka Gallery near Dupont Circle meant that fans of Wiley’s art had only to hop the Red Line to catch two stellar exhibitions of this important artist’s work.\u003c/p>\n\u003cp>On hand for the festivities were about 30 or so members of the Oakland Museum of California’s Art Guild, who were treated to a private tour of the SAAM show by Wiley and his high-school art teacher, James McGrath, who was in town for the occasion. Representing the Berkeley Art Museum & Pacific Film Archive, which \u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/wiley_2010\">hosts the show\u003c/a> from March 17 to July 18, 2010, was that institution’s chief curator and director of programs and collections, Lucinda Barnes. Even Wiley’s congresswoman, Lynn Woolsey, was in the audience for the artist’s talk and musical performance the night before the show’s opening. It’s not every artist, noted SAAM’s director, Elizabeth Broun, who travels with his own congresswoman.\u003c/p>\n\u003cp>But then, Wiley is not every artist and never has been. He has always charted his own course, and his artwork has often been the means to make sense of his life’s journey between both physical spaces (growing up in Bedford, Indiana; attending high school in Richland, Washington; raising a family in west Marin) and metaphysical ones (the teachings of various Zen masters).\u003c/p>\n\u003cp>The 88-piece exhibition began in a room off the main galleries with a selection of early works that suggested the influences of artists from Giorgio di Chirico to Bruce Connor to Marcel Duchamp to H.C. Westermann. If you know Wiley’s work, the room was like a cocktail party with old friends: There’s \u003cb>Mona Lisa Wipe Out\u003c/b> from 1967; oh look, it’s \u003cb>Ship’s Log\u003c/b> (1969) from SFMOMA’s collection; and hasn’t \u003cb>Wizdumb Bridge\u003c/b> (1969) aged well?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wiley-mona-lisa.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Mona Lisa Wipe Out (1967)\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Those who were not familiar with the artist’s early work probably had to fight the urge to scoot through this satellite gallery to get to the main event, and who could blame them? What awaited was a trove of Wiley’s most enduring pieces, including watercolors like \u003cb>Lame and Blind in Eden\u003c/b> (1969) and \u003cb>Reading the Stains\u003c/b> (1971), as well as paintings such as \u003cb>Random Remarks and Digs\u003c/b> (1971) and \u003cb>Studio Space\u003c/b> (1975). This was the Wiley many visitors were probably most familiar with. Soon we were deep in a world of map-like landscapes ringed with tattered edges; of seemingly endless layers of mottled surfaces percolating through watercolor wash; of the same effect rendered even more dizzyingly in monotone via charcoal and graphite; of storytelling and musings about current events documented directly onto the artworks; and of the cohabitation of disparate imagery that is at once formal and playful, serious and careless, respectful and irreverent. I could look at this work forever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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/wiley-studio-space.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Studio Space (1975)\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Which, of course, is a rather long time to expect an artist to make the same piece, over and over and over. Happily, Wiley moved on, and so did the exhibition, shifting effortlessly between the light touch of a painting-watercolor combo like \u003cb>Nothing Seems Clear\u003c/b> (1978), and the meticulously deliberate messiness of \u003cb>Acid Rain\u003c/b> (1981). As one moved deeper into the exhibition, jarring lightning bolts and fissures of abstract paint began to pierce the work, as if to pick up where the show’s earliest piece, \u003cb>Flag Song\u003c/b> (1959) left off.\u003c/p>\n\u003cp>By the mid-1980s, Wiley’s watercolors, once lyrical and trippy, had become so dense that the viewer hardly knew where to look first. But the absence of hierarchy has its advantages. As a viewer, I’m grateful for a work of art that does not tell me what to do, whether it’s in the seemingly random collection of objects arranged on the artist’s studio floor in a watercolor called \u003cb>Song of the Torturer\u003c/b> (1989), or the more recent grid of grinning, frowning and just-plain foolish moons in \u003cb>Meridian Moons Overwhatarewe\u003c/b> (2006). I can start where I want, leave for a few minutes or a couple of years, and then dive back in again wherever it feels right. Sounds very Northern Californian, I know, but as a viewer, I’ll take that sort of freedom any day over works of art, even abstract ones, with fussy beginnings, middles, and ends.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wiley-meridian-moons.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Meridian Moons Overwhatarewe (2006)\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Such wooly-headed thinking on my part may be why I have never completely warmed to the paintings from the 1990s, in which the artist appropriated details from Bosch, Bruegel and even Manet to give voice to issues ranging from the nuclear meltdown at Chernobyl to the loss of wild salmon stocks in the Pacific Ocean. As examples of what can be done with acrylic, charcoal and graphite on canvas, the paintings are extraordinary, and the ones on view at SAAM are the best of the best. But these pieces leave little room for interpretation once you learn what they are supposed to be about. As I say, I’m spoiled.\u003c/p>\n\u003cp>Meanwhile, a couple of subway stops away, at the Marsha Mateyka Gallery, the artist grappled with ancient insults and revenge in the Middle East; the foreclosure of modest family homesteads; mountaintop coal mining; the perils of political geography; and torture.\u003c/p>\n\u003cp>This last topic was covered in a political-cartoon-of-a-watercolor called \u003cb>Enhanced Techniques of Interrogation\u003c/b> (2009). In it, a bulky canvas has been bound and strung up, pierced in places by spikes. An electric pincher sits on the floor, as does a bucket of water with a board in it (get it?). Blood is dripping from the canvas onto the floor and a clipboard leans against the stucco cell wall, as if to document and detail the violent indignities that have been heaped upon the contents of this blank canvas before the victim inside finally spilled the beans. Unless, of course, there’s nothing inside the canvas but canvas, in which case the painting is also about the struggles an artist occasionally encounters when trying to wring inspiration from his chosen medium. Once again a course has been charted, the personal collides with the political, and still we cannot look away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>What’s It All Mean: William T. Wiley in Retrospect\u003c/b> runs through January 24, 2010 at the Smithsonian American Art Museum. For \u003ca href=\"http://americanart.si.edu/exhibitions/archive/2009/wiley/\">more information\u003c/a> visit americanart.si.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Call me Ishmael. Just kidding. I’ve never read \u003cb>Moby Dick\u003c/b>, a book so mythologized in American letters that high schools don’t even bother requiring students to read it. Too long? Too hard? Maybe it was just the high school I went to? Or maybe it’s enough just to know the basics: Ahab, the obsessive quest for revenge, Moby-Dick himself. But California College of the Arts’ \u003ca href=\"http://www.wattis.org/\">Wattis Institute\u003c/a> has gone ahead and leapt into the book for the \u003ca href=\"http://www.wattis.org/exhibitions/mobydick\">second\u003c/a> in a three-part series based on American novels (the \u003ca href=\"http://www.wattis.org/exhibitions/oz\">show based on \u003cb>The Wizard of Oz\u003c/b>\u003c/a> appeared last year; \u003cb>Huckleberry Finn\u003c/b> will go up in 2010).\u003c/p>\n\u003cp>Like the book — and the quest, and the whale — the Wattis show is ambitious in scale: it takes up both of their galleries at CCA, and includes pieces commissioned for this show and older work: a Buster Keaton film and another by Kenneth Anger, Marcel Dzama drawings, and prints depicting a Richard Serra sculpture give a sense of the breadth. Rockwell Kent’s vivid illustrations for a 1930 edition of the novel provide the exhibition’s structure. 19th century whaling artifacts pepper the show. And overhead, TVs in each gallery play Orson Welles reciting excerpts from the play he based on the book.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dzama.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Artist: Marcel Dzama\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The show is best taken in from a distance. If you look across the room in the downstairs gallery Angela Bulloch’s \u003cb>Night Sky\u003c/b> shines in the middle while Hiroshi Sugimoto’s black and white seascapes look dramatic against the deep blue walls on the other side and Orson Welles thunders away about fate.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bulloch.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Artist: Angela Bulloch\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Upstairs a recording of whale songs playing in one corner provides an aural break from Welles’s \u003cb>Moby Dick\u003c/b> recitations. Mateo López accompanies the recording with a drawing of sheet music that morphs into waves with whale tails flipping up out of the staff. But the most striking (and largest) piece is Adrián Villar Rojas and Alan Legal’s burlap, chicken wire and clay white whale that’s sprawled across the floor, dominating the room. It’s an up-close encounter with Moby Dick. And then the show comes to an end with the last period in the book, cut and pasted by Kris Martin.\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/moby-sugimoto.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Artist: Hiroshi Sugimoto\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Not everything in the show is so striking. The quieter and smaller pieces are overwhelmed by the bombast of waves, whales, and dark walls, and some, while lovely, seem to have only a tenuous relationship with the book. But there’s no need for pedantry here, especially since I haven’t read the thing. And frankly, this collection of paintings, films, and artifacts made me want to try the book more than any Great Books list ever has. Meditations on the meaning of whiteness, obscure details of 19th century whaling, and vague homoeroticism, here I come!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Moby Dick\u003c/b> runs through December 12, 2009 at CCA Wattis Institute in San Francisco. For \u003ca href=\"http://www.wattis.org/exhibitions/mobydick\">information\u003c/a>, visit wattis.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Call me Ishmael. Just kidding. I’ve never read \u003cb>Moby Dick\u003c/b>, a book so mythologized in American letters that high schools don’t even bother requiring students to read it. Too long? Too hard? Maybe it was just the high school I went to? Or maybe it’s enough just to know the basics: Ahab, the obsessive quest for revenge, Moby-Dick himself. But California College of the Arts’ \u003ca href=\"http://www.wattis.org/\">Wattis Institute\u003c/a> has gone ahead and leapt into the book for the \u003ca href=\"http://www.wattis.org/exhibitions/mobydick\">second\u003c/a> in a three-part series based on American novels (the \u003ca href=\"http://www.wattis.org/exhibitions/oz\">show based on \u003cb>The Wizard of Oz\u003c/b>\u003c/a> appeared last year; \u003cb>Huckleberry Finn\u003c/b> will go up in 2010).\u003c/p>\n\u003cp>Like the book — and the quest, and the whale — the Wattis show is ambitious in scale: it takes up both of their galleries at CCA, and includes pieces commissioned for this show and older work: a Buster Keaton film and another by Kenneth Anger, Marcel Dzama drawings, and prints depicting a Richard Serra sculpture give a sense of the breadth. Rockwell Kent’s vivid illustrations for a 1930 edition of the novel provide the exhibition’s structure. 19th century whaling artifacts pepper the show. And overhead, TVs in each gallery play Orson Welles reciting excerpts from the play he based on the book.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dzama.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Artist: Marcel Dzama\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The show is best taken in from a distance. If you look across the room in the downstairs gallery Angela Bulloch’s \u003cb>Night Sky\u003c/b> shines in the middle while Hiroshi Sugimoto’s black and white seascapes look dramatic against the deep blue walls on the other side and Orson Welles thunders away about fate.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bulloch.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Artist: Angela Bulloch\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Upstairs a recording of whale songs playing in one corner provides an aural break from Welles’s \u003cb>Moby Dick\u003c/b> recitations. Mateo López accompanies the recording with a drawing of sheet music that morphs into waves with whale tails flipping up out of the staff. But the most striking (and largest) piece is Adrián Villar Rojas and Alan Legal’s burlap, chicken wire and clay white whale that’s sprawled across the floor, dominating the room. It’s an up-close encounter with Moby Dick. And then the show comes to an end with the last period in the book, cut and pasted by Kris Martin.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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/moby-sugimoto.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Artist: Hiroshi Sugimoto\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Not everything in the show is so striking. The quieter and smaller pieces are overwhelmed by the bombast of waves, whales, and dark walls, and some, while lovely, seem to have only a tenuous relationship with the book. But there’s no need for pedantry here, especially since I haven’t read the thing. And frankly, this collection of paintings, films, and artifacts made me want to try the book more than any Great Books list ever has. Meditations on the meaning of whiteness, obscure details of 19th century whaling, and vague homoeroticism, here I come!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Moby Dick\u003c/b> runs through December 12, 2009 at CCA Wattis Institute in San Francisco. For \u003ca href=\"http://www.wattis.org/exhibitions/mobydick\">information\u003c/a>, visit wattis.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In early September 2009, local artists Griffin McPartland and Chris Duncan threw a party seven years in the making. Upon completion of their tenth \u003cb>Hot & Cold\u003c/b> zine, they invited participating artists to show work at a gallery exhibition and final zine release party, \u003cb>Hot & Cold: The End is Here\u003c/b>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hot-and-cold-1.jpg\"> \u003c/p>\n\u003cp>If any zine were to be part of a museum’s collection, it would be this one. And it is. Three inches thick, it’s a double-sided cornucopia spilling over with prints, stickers, music, secret treasure maps, and magic horseshoes! It is a massive, comprehensive, keepsake survey of young talent in Northern California over the greater part of the last decade. Each contributing artist has a special insert or several pages in the zine, which is better read than read about. But #1 is sold out, and my investment in the 6th out of 150 copies was well worth it. I’ll be poring over the plentiful pages for days. A small selection of my favorite pages so far is pictured below.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hot-and-cold-2.jpg\">\u003cbr>\u003ci>artist: Heidi Anderson\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hot-and-cold-3.jpg\">\u003cbr>\u003ci>artist: Edie Fake\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hot-and-cold-4.jpg\">\u003cbr>\u003ci>artist: Monica Canilao\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hot-and-cold-5.jpg\">\u003cbr>\u003ci>artist: Jay Nelson\u003c/i>\u003c/p>\n\u003cp>The exhibit at Baer Ridgeway Exhibitions was by no means an afterthought. Cream of the crop pieces surrounded a crowd of art stars at the opening, many of whom have achieved enormous success in the last few years. According to this extensive \u003ca href=\"http://www.fecalface.com/SF/index.php?option=com_content&task=view&id=1685/\" target=\"offsite\" rel=\"noopener\">Fecal Face Dot Com interview\u003c/a> (with more photos and a full list of participating artists), \u003cb>Hot & Cold\u003c/b> began after some convincing from Duncan who wanted creative motivation in his post-art school years. He and McPartland set out to make their first edition with the help of 1984 Press, and their countering personalities and drawing styles led them to the title. They created editions counting down from ten simply because “10” looked better on the first cover design than “01.” I wonder if either artist expected that by the time they got down to the last, most substantial edition, that they’d both have become dads and would have their artwork included in The Museum of Modern Art’s collection. A photo of the kids they created is appropriately included in the zine alongside their artistic creations.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hot-and-cold-6.jpg\"> \u003c/p>\n\u003cp>For lucky \u003cb>Hot & Cold\u003c/b> #1 collectors, a secret fort was built in the Richmond Hills by artist David Wilson, and the zine included a hand-drawn map leading to the location where a party took place and an even bigger secret (\u003cb>Hot & Cold\u003c/b> #0) was distributed to golden ticket holders. Just when I thought the \u003cb>Hot & Cold\u003c/b> experience couldn’t get any cooler (or hotter), it did.\u003c/p>\n\u003cp>McPartland, Duncan, et al., might have chosen the tag line, “The End is Near,” but it is obvious that this group of artists is far from slowing their roll.\u003c/p>\n\u003cp>The \u003cb>Hot & Cold\u003c/b> exhibit at \u003ca href=\"http://www.baerridgway.com/\" target=\"offsite\" rel=\"noopener\">Baer Ridgeway Exhibitions\u003c/a> is on view through October 10, 2009.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[dailymotion id=xakdf3]\u003c/p>\n\n",
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"content": "\u003cp>The tables have turned: instead of telling you what we think about art shows, we’re heading out to gallery openings to get \u003cb>In Your Face\u003c/b> and find out what the beautiful people think. Armed with one camera and a microphone, \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=8281\" target=\"offsite\" rel=\"noopener\">Kristin\u003c/a> and I headed to Marx and Zavattero, a gallery near Union Square. \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=15188\" target=\"offsite\" rel=\"noopener\">David Hevel\u003c/a>‘s quirky mash-up of faux flowers, taxidermy, and celebrity tributes brought out the eccentrics. As a Bernie Madoff-inspired rhino head with snot oozing out of its nostrils looked on, we asked some gallery goers about which animal they would like to be represented by, and which celebrity they think Hevel should pay tribute to next.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dirty-dirty-1.jpg\">\u003ci>The Ascension of Saint Angelina\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dirty-dirty-3.jpg\">\u003ci>Bernie Madoff\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dirty-dirty-2.jpg\">\u003ci>Heaven Can’t Wait (Michael Jackson & Farrah Fawcett)\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mike-arcega.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Michael Arcega\u003c/b>\u003cbr>“If David were to make a sculpture of me, I’d want it to be some kind of tiger or a lion of sorts, but it would probably actually be a monkey.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jake-lindsay.jpg\">\u003c/p>\n\u003cp>\u003cb>Jake Lindsay-Ceniceros\u003c/b>\u003cbr>“Ducks. I have an affinity for wooden ducks, specifically. I know a wooden duck isn’t an animal, but it’s the archetypical duck emblem that for some reason resonates with me. I like the greyhound sculptures but I would like to see more poultry, I think he could do well with poultry. I work at \u003ca href=\"http://www.scrap-sf.org/\" target=\"offsite\" rel=\"noopener\">SCRAP\u003c/a> and I’d like to see what he’d do with our materials. David’s work is a glamorous ultra fabulous goulash of imagery and items.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chelsea-staub.jpg\">\u003c/p>\n\u003cp>\u003cb>Chelsea Staub [center] with her roommates\u003c/b>\u003cbr>“I like the rhino with the snot. It’s really obscure. I haven’t seen anything like it before, and it’s really gross which I find oddly fascinating. If David were to make a sculpture of me, it’d probably be a cat. I like to nap.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/steph-syjuco.jpg\">\u003c/p>\n\u003cp>\u003cb>Stephanie Syjuco\u003c/b>\u003cbr>“An antelope because I’m always in a rush.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sung-choi.jpg\">\u003c/p>\n\u003cp>\u003cb>Sung Choi-Hevel\u003c/b>\u003cbr>“If David were to make a sculpture of me I would say it would be a doe because they’re large animals and they’re very powerful yet they have that outside appearance of being innocent and sweet. And they’re elegant and have long necks.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/kathy-sinus.jpg\">\u003c/p>\n\u003cp>\u003cb>Kathy Stinus\u003c/b>\u003cbr>“An animal to represent me? Hopefully not a baboon because I know that’s one of his favorites. Not something cute like a bunny rabbit…it wouldn’t be a cheetah or a rhinoceros head. Maybe a pit bull.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/son-le.jpg\">\u003c/p>\n\u003cp>\u003cb>Son Le [left] with a friend\u003c/b>\u003cbr>“David should pay tribute to Britney Spears. The DJ just played “Hit Me Baby One More Time” and we were just talking about how that video represented a cultural turning point. Before that, there wasn’t as much targeting of people 18 and under and now tweens are the cultural force which people spend money through. Nobody else besides Miley Cyrus made money the last three years. [Britney Spears’s] life has become a mode of conception. Everyone was sucking up her insanity like free booze at a gallery opening.”\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/\" target=\"offsite\" rel=\"noopener\">KQED Arts’ In Your Face Flickr group\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Michael Arcega\u003c/b>\u003cbr>“If David were to make a sculpture of me, I’d want it to be some kind of tiger or a lion of sorts, but it would probably actually be a monkey.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jake-lindsay.jpg\">\u003c/p>\n\u003cp>\u003cb>Jake Lindsay-Ceniceros\u003c/b>\u003cbr>“Ducks. I have an affinity for wooden ducks, specifically. I know a wooden duck isn’t an animal, but it’s the archetypical duck emblem that for some reason resonates with me. I like the greyhound sculptures but I would like to see more poultry, I think he could do well with poultry. I work at \u003ca href=\"http://www.scrap-sf.org/\" target=\"offsite\" rel=\"noopener\">SCRAP\u003c/a> and I’d like to see what he’d do with our materials. David’s work is a glamorous ultra fabulous goulash of imagery and items.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chelsea-staub.jpg\">\u003c/p>\n\u003cp>\u003cb>Chelsea Staub [center] with her roommates\u003c/b>\u003cbr>“I like the rhino with the snot. It’s really obscure. I haven’t seen anything like it before, and it’s really gross which I find oddly fascinating. If David were to make a sculpture of me, it’d probably be a cat. I like to nap.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/steph-syjuco.jpg\">\u003c/p>\n\u003cp>\u003cb>Stephanie Syjuco\u003c/b>\u003cbr>“An antelope because I’m always in a rush.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sung-choi.jpg\">\u003c/p>\n\u003cp>\u003cb>Sung Choi-Hevel\u003c/b>\u003cbr>“If David were to make a sculpture of me I would say it would be a doe because they’re large animals and they’re very powerful yet they have that outside appearance of being innocent and sweet. And they’re elegant and have long necks.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/kathy-sinus.jpg\">\u003c/p>\n\u003cp>\u003cb>Kathy Stinus\u003c/b>\u003cbr>“An animal to represent me? Hopefully not a baboon because I know that’s one of his favorites. Not something cute like a bunny rabbit…it wouldn’t be a cheetah or a rhinoceros head. Maybe a pit bull.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/son-le.jpg\">\u003c/p>\n\u003cp>\u003cb>Son Le [left] with a friend\u003c/b>\u003cbr>“David should pay tribute to Britney Spears. The DJ just played “Hit Me Baby One More Time” and we were just talking about how that video represented a cultural turning point. Before that, there wasn’t as much targeting of people 18 and under and now tweens are the cultural force which people spend money through. Nobody else besides Miley Cyrus made money the last three years. [Britney Spears’s] life has become a mode of conception. Everyone was sucking up her insanity like free booze at a gallery opening.”\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/\" target=\"offsite\" rel=\"noopener\">KQED Arts’ In Your Face Flickr group\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For its 35th anniversary, \u003ca href=\"http://www.sfcamerawork.org\">SF Camerawork\u003c/a> is telling the story of San Francisco through the eyes of more than thirty artists. \u003cb>An Autobiography of the San Francisco Bay Area\u003c/b> is a two-part show. \u003cb>Part One: San Francisco Plays Itself\u003c/b>, which opened September 10, 2009 is a venn diagram of overlapping themes: it begins with photographs of places, switches to portraits, then moves on to people in places. The photographs range from the panoramic to the microcosmic. Shi Guorui took his wall-sized photo of the San Francisco skyline with a pinhole camera aimed from Alcatraz. It’s a familiar view of the city, but it looks alien, unreal. Ari Marcopoulos created grainy close-ups of his sons’ scars, blown up and photocopied to be larger than life. Both capture Bay Area moments.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/shi-guorui.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Photo: Shi Guorui\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>SF Camerawork doesn’t own a permanent collection, so curator Chuck Mobley had to hunt down photographers and photographs that let the Bay Area speak for itself. Larry Sultan’s decadent portrait of San Francisco socialite Denise Hale is just around the corner from Jona Frank’s series of working people in uniforms. Michael Rauner’s illuminated architectural photographs of spiritual places in the Bay Area follows Alex Fradkin’s photos of decrepit World War I and II bunkers along the coast.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/larry-sultan.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Photo: Larry Sultan\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Even non-portraits feel personal. Mobley invited the artists to contribute their own thoughts or experiences to the show. That decision adds another autobiographical element; we read about the photographers’ processes or their intentions, their initial feelings about their work, and how those feelings have changed. Richard Misrach reflects on his initial disappointment with the photographic essay of Telegraph Avenue he created as a young man. “Instead of being an effective political statement,” he writes on the plaque, “I felt like I ended up with a coffee table book…Thirty-five years later, I find that the work in fact effectively captures a historical moment. So, perhaps I was too hard on myself back then.” Michael Jang is frank about his photographs, also taken when he was younger. “In retrospect, I see these images as a humorous look into the life of an Asian family trying to assimilate into the American mainstream of the 1970s.”\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/michael-jang.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Photo: Michael Jang\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>SF Camerwork’s show is about more than catching any one historical moment. It’s a collection of moments and views, landscapes and opinions, as diverse and contradictory, sometimes noisy and sometimes quiet, as the vibrant unpredictable city itself.\u003c/p>\n\u003cp>\u003cb>Part Two: The Future Lasts a Long Time\u003c/b> opens early next year. It will give artists a chance to revisit and revise their own work, and to continue ongoing projects.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>An Autobiography of the Bay Area Part One: San Francisco Plays Itself\u003c/b> runs through October 31, 2009 at SF Camerawork in San Francisco. For \u003ca href=\"http://www.sfcamerawork.org\">more information\u003c/a>, visit sfcamerawork.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For its 35th anniversary, \u003ca href=\"http://www.sfcamerawork.org\">SF Camerawork\u003c/a> is telling the story of San Francisco through the eyes of more than thirty artists. \u003cb>An Autobiography of the San Francisco Bay Area\u003c/b> is a two-part show. \u003cb>Part One: San Francisco Plays Itself\u003c/b>, which opened September 10, 2009 is a venn diagram of overlapping themes: it begins with photographs of places, switches to portraits, then moves on to people in places. The photographs range from the panoramic to the microcosmic. Shi Guorui took his wall-sized photo of the San Francisco skyline with a pinhole camera aimed from Alcatraz. It’s a familiar view of the city, but it looks alien, unreal. Ari Marcopoulos created grainy close-ups of his sons’ scars, blown up and photocopied to be larger than life. Both capture Bay Area moments.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/shi-guorui.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Photo: Shi Guorui\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>SF Camerawork doesn’t own a permanent collection, so curator Chuck Mobley had to hunt down photographers and photographs that let the Bay Area speak for itself. Larry Sultan’s decadent portrait of San Francisco socialite Denise Hale is just around the corner from Jona Frank’s series of working people in uniforms. Michael Rauner’s illuminated architectural photographs of spiritual places in the Bay Area follows Alex Fradkin’s photos of decrepit World War I and II bunkers along the coast.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/larry-sultan.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Photo: Larry Sultan\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Even non-portraits feel personal. Mobley invited the artists to contribute their own thoughts or experiences to the show. That decision adds another autobiographical element; we read about the photographers’ processes or their intentions, their initial feelings about their work, and how those feelings have changed. Richard Misrach reflects on his initial disappointment with the photographic essay of Telegraph Avenue he created as a young man. “Instead of being an effective political statement,” he writes on the plaque, “I felt like I ended up with a coffee table book…Thirty-five years later, I find that the work in fact effectively captures a historical moment. So, perhaps I was too hard on myself back then.” Michael Jang is frank about his photographs, also taken when he was younger. “In retrospect, I see these images as a humorous look into the life of an Asian family trying to assimilate into the American mainstream of the 1970s.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Adrienne Skye Roberts has a note on her messenger bag that says “Nothing is yours until you pass it to another.” She laughs when I notice it, and mentions in an embarrassed voice that only after she completed the lettering did a friend point out that she was issuing an invitation for someone to steal her stuff. That might be the case, but the mantra describes her creative practice perfectly.\u003c/p>\n\u003cp>Roberts, a former graduate student at the California College of Art, has been working as a writer, curator and educator in the Bay Area for much of the last decade. Born in San Francisco and raised in the North Bay, the first real amount of time she spent away from the Bay was in 2006, when she worked as a volunteer in Katrina-ravished New Orleans. The experience made a lasting impression, and this weekend we all get to benefit from it.\u003c/p>\n\u003cp>Instead of allowing the memory of her time as a volunteer to fade into the background, and with the help of an Alternative Exposure grant from Southern Exposure, Roberts is passing it along in the form of a weekend-long art exhibition and film screening centered around questions about home: how to define it, and how we know when we belong. There are forty Bay Area artists participating from a variety of backgrounds, and the diversity is great to see. Even better is the location — the exhibit takes place in two Mission District houses that have been turned into de-facto galleries, with a film screening at a third location on Friday.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sugartable.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Artist: Hilary Schwartz\u003c/p>\n\u003cp>The show was in installation-mode when I visited with Roberts on Wednesday night, but the depth of her thinking on the subject of home was apparent as I interviewed her, and I’m excited to re-visit the living rooms and bedrooms of 951 Shotwell and 3352 24th this weekend to see the exhibit in the flesh.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the meantime….\u003c/p>\n\u003cp>\u003cb>D:\u003c/b> Where did you get the idea for “home” as a subject for an art show?\u003c/p>\n\u003cp>\u003cb>AR:\u003c/b>It was on my trip to New Orleans that I started thinking a lot about home, and what home is for my generation. A lot of it has been an investigation of my own position as a young white person of a middle class background. In New Orleans, I was volunteering in neighborhoods previously inhabited by people whose families had lived there for generations, many of whom had been forced to leave even as other groups (like the volunteers) were making the choice to come. Here in the Mission District, I’m aware yet again that my presence is a double-edge sword. It’s important to me that I stay accountable to that.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/noe3.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Artist: Claire Kessler-Bradner\u003c/p>\n\u003cp>\u003cb>D:\u003c/b> Was there a sense of conflict between volunteers and locals while you were in New Orleans?\u003c/p>\n\u003cp>\u003cb>AR:\u003c/b>It was below the surface, for the most part, but I definitely saw some outbursts that I think were related. For the most part, the volunteers and activists were of an entirely different demographic, many of whom appeared — all of a sudden — to be living comfortably in somebody else’s space. There wasn’t really enough of a conversation about how we got there, and that we had the choice and mobility to be able to do so.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cornercarts.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>D:\u003c/b> What do you think you gain by having the show in a house, instead of a gallery?\u003c/p>\n\u003cp>\u003cb>AR:\u003c/b>First of all, there’s the act of having to enter a private space. I like that it blurs some of the ideas we have about the boundaries between public and private. I also think about it in relation to the law of eminent domain, and the idea that the government can repossess land for “the public good.” The definition of public good is so vague. It can mean building firehouses and police stations, but at the same time it’s loose enough that it incorporates things like widening the streets for cars. It’s the reason that the Fillmore district looks the way it does. I wanted to focus on what renters can do on their own to assign value to a property, or what people in the neighborhood consider “the public good.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/homies1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Artist: Cindy DeLosa\u003c/p>\n\u003cp>\u003cb>D:\u003c/b> I like the diversity of artists represented. It feels like a living room conversation between neighbors, and a group of neighbors that don’t necessarily share the same background. How did you go about curating the show?\u003c/p>\n\u003cp>\u003cb>AR:\u003c/b>First of all, the artists had to be local to the Bay Area. I also knew that I wanted as wide a spectrum as possible, on all levels — meaning medium, age, and professional background. I tried to be really conscious about who I sent the call to. For instance, I made sure to contact places like the Mission Cultural Center and Precita Eyes. I’m excited about the range.\u003c/p>\n\u003cp>I think home is a fascinating theme for a show because it’s able to travel so universally. It’s inherently very personal, and at the same time, political. It functions on so many realms — I think that’s why it’s held my attention for so long.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Home is something I carry with me\u003c/b> will last through Labor Day weekend only. Opening: Friday, September 4, 4-8 p.m., 3352 24th Street and 951 Shotwell Street. Film screening: Friday, September 4, 9 p.m., 348 Shotwell Street. For \u003ca href=\"http://missionmission.wordpress.com/2009/09/03/home-is-something-i-carry-with-me/\">more information\u003c/a> visit Mission Mission.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Adrienne Skye Roberts has a note on her messenger bag that says “Nothing is yours until you pass it to another.” She laughs when I notice it, and mentions in an embarrassed voice that only after she completed the lettering did a friend point out that she was issuing an invitation for someone to steal her stuff. That might be the case, but the mantra describes her creative practice perfectly.\u003c/p>\n\u003cp>Roberts, a former graduate student at the California College of Art, has been working as a writer, curator and educator in the Bay Area for much of the last decade. Born in San Francisco and raised in the North Bay, the first real amount of time she spent away from the Bay was in 2006, when she worked as a volunteer in Katrina-ravished New Orleans. The experience made a lasting impression, and this weekend we all get to benefit from it.\u003c/p>\n\u003cp>Instead of allowing the memory of her time as a volunteer to fade into the background, and with the help of an Alternative Exposure grant from Southern Exposure, Roberts is passing it along in the form of a weekend-long art exhibition and film screening centered around questions about home: how to define it, and how we know when we belong. There are forty Bay Area artists participating from a variety of backgrounds, and the diversity is great to see. Even better is the location — the exhibit takes place in two Mission District houses that have been turned into de-facto galleries, with a film screening at a third location on Friday.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sugartable.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Artist: Hilary Schwartz\u003c/p>\n\u003cp>The show was in installation-mode when I visited with Roberts on Wednesday night, but the depth of her thinking on the subject of home was apparent as I interviewed her, and I’m excited to re-visit the living rooms and bedrooms of 951 Shotwell and 3352 24th this weekend to see the exhibit in the flesh.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the meantime….\u003c/p>\n\u003cp>\u003cb>D:\u003c/b> Where did you get the idea for “home” as a subject for an art show?\u003c/p>\n\u003cp>\u003cb>AR:\u003c/b>It was on my trip to New Orleans that I started thinking a lot about home, and what home is for my generation. A lot of it has been an investigation of my own position as a young white person of a middle class background. In New Orleans, I was volunteering in neighborhoods previously inhabited by people whose families had lived there for generations, many of whom had been forced to leave even as other groups (like the volunteers) were making the choice to come. Here in the Mission District, I’m aware yet again that my presence is a double-edge sword. It’s important to me that I stay accountable to that.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/noe3.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Artist: Claire Kessler-Bradner\u003c/p>\n\u003cp>\u003cb>D:\u003c/b> Was there a sense of conflict between volunteers and locals while you were in New Orleans?\u003c/p>\n\u003cp>\u003cb>AR:\u003c/b>It was below the surface, for the most part, but I definitely saw some outbursts that I think were related. For the most part, the volunteers and activists were of an entirely different demographic, many of whom appeared — all of a sudden — to be living comfortably in somebody else’s space. There wasn’t really enough of a conversation about how we got there, and that we had the choice and mobility to be able to do so.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cornercarts.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cb>D:\u003c/b> What do you think you gain by having the show in a house, instead of a gallery?\u003c/p>\n\u003cp>\u003cb>AR:\u003c/b>First of all, there’s the act of having to enter a private space. I like that it blurs some of the ideas we have about the boundaries between public and private. I also think about it in relation to the law of eminent domain, and the idea that the government can repossess land for “the public good.” The definition of public good is so vague. It can mean building firehouses and police stations, but at the same time it’s loose enough that it incorporates things like widening the streets for cars. It’s the reason that the Fillmore district looks the way it does. I wanted to focus on what renters can do on their own to assign value to a property, or what people in the neighborhood consider “the public good.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/homies1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Artist: Cindy DeLosa\u003c/p>\n\u003cp>\u003cb>D:\u003c/b> I like the diversity of artists represented. It feels like a living room conversation between neighbors, and a group of neighbors that don’t necessarily share the same background. How did you go about curating the show?\u003c/p>\n\u003cp>\u003cb>AR:\u003c/b>First of all, the artists had to be local to the Bay Area. I also knew that I wanted as wide a spectrum as possible, on all levels — meaning medium, age, and professional background. I tried to be really conscious about who I sent the call to. For instance, I made sure to contact places like the Mission Cultural Center and Precita Eyes. I’m excited about the range.\u003c/p>\n\u003cp>I think home is a fascinating theme for a show because it’s able to travel so universally. It’s inherently very personal, and at the same time, political. It functions on so many realms — I think that’s why it’s held my attention for so long.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Home is something I carry with me\u003c/b> will last through Labor Day weekend only. Opening: Friday, September 4, 4-8 p.m., 3352 24th Street and 951 Shotwell Street. Film screening: Friday, September 4, 9 p.m., 348 Shotwell Street. For \u003ca href=\"http://missionmission.wordpress.com/2009/09/03/home-is-something-i-carry-with-me/\">more information\u003c/a> visit Mission Mission.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What happened to pen pals? Emailing doesn’t hold a candle to the tactile feeling and wonderful anticipation of handmade, postal service-enabled correspondence. Perhaps the decline of pen pal culture was the motivation behind Albert Reyes, Aiyana Udesen, and Matt Furie’s current show at Giant Robot Gallery, \u003cb>Future Colors of America\u003c/b>. Passing their drawings through the mail with the intent that each would add to the pieces, Udesen and Furie (in S.F.), and Reyes (in L.A.) created a substantial collection of collaborative works, mixing them together with solo pieces for the exhibit. Displayed in a continuous band around the gallery and mounted with endless pushpins, the artwork represents the collective consciousness of three perfectly matched artists. Influenced by pop subcultures, their work harmonizes incredibly well, and it’s difficult to discern who drew what, though it doesn’t matter much at all because the show is meant to be viewed as a cumulative dialogue.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fur-1.jpg\">\u003c/center>\n\u003cp>Matt Furie is known for his colorful, subversive characters and \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=24070\" target=\"offsite\" rel=\"noopener\">Boy’s Club ‘zines.\u003c/a> His girl, Aiyana Udesen, is equally brilliant, and savvy with neon colors and pop culture references. Looking at their art (and his heartfelt testimonial on her Web site), it’s easy to see why they dig each other. He draws monsters, she draws celebrities, they both draw animals, and together their work becomes doubly compelling, and their sharp wit cuts like a rainbow knife.\u003c/p>\n\u003cp>I met Albert Reyes at the opening of a group show at White Walls Gallery a few years ago where his installation of drawings on book covers crawled up the wall to the ceiling. A pile of beer bottles punctuated the display, and Reyes explained they were the remnants of the libations he and his fellow artists had consumed while installing the show. Yes, it was a pile of recycling displayed as art, but it was conceptual. The bottles were part of the process. Originally from San Mateo and known for his street art and killer illustrative style, Reyes seems to thrive when working as part of a community, which is why \u003cb>Future Colors of America\u003c/b> is a fresh opportunity to check out his latest work.\u003c/p>\n\u003cp> \u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fur-2.jpg\">\u003c/center>\n\u003cp>The artists are prolific and the exhibit turned out chaotic but tight, with a hundred or more drawings that come across as inside jokes you’re being let in on. Displayed like a new school, D.I.Y. salon, you could spend an hour in the small gallery and still miss a few pieces because they’re so densely packed together.\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/fur-3.jpg\">\u003c/center> \n\u003cp>The art reminded me of the \u003ca href=\"http://en.wikipedia.org/wiki/Exquisite_corpse\" target=\"offsite\" rel=\"noopener\">Exquisite corpse\u003c/a> collaboration method. Most everyone is in need of an artistic outlet and more interesting mail, so why not send a friend an incomplete artwork to finish? Or, send it to me. I’m taking submissions, and I promise to return the creativity. Mail to K. Farr, KQED, 2601 Mariposa Street, SF, 94110. Pen pals forever!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Future Colors of America\u003c/b> is on view through September 16, 2009.\u003c/p>\n\n",
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"id": "commonwealth-club",
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"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.",
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"order": 9
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"airtime": "SUN 7:30pm-8pm",
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"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. ",
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"order": 15
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"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",
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"order": 18
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"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",
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"source": "American Public Media"
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"masters-of-scale": {
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"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)",
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},
"mindshift": {
"id": "mindshift",
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"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>",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"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.",
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"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?",
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"order": 11
},
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"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",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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},
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"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",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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