window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_10023439": {
"type": "attachments",
"id": "arts_10023439",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023439",
"found": true
},
"parent": 23439,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/young-jerks-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/young-jerks-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/young-jerks-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/young-jerks-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/young-jerks-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/young-jerks-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1222376475,
"modified": 1222376475,
"caption": null,
"description": null,
"title": "The Young Jerks-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023424": {
"type": "attachments",
"id": "arts_10023424",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023424",
"found": true
},
"parent": 23424,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/darger-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/darger-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/darger-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/darger-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/darger-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/darger-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1222131830,
"modified": 1222131830,
"caption": null,
"description": null,
"title": "Vocabularies of Metaphor: More Stories-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10303069": {
"type": "attachments",
"id": "arts_10303069",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10303069",
"found": true
},
"parent": 10303068,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/heffernan-800x576.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/heffernan-400x335.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 335
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/heffernan-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/heffernan.jpg",
"width": 800,
"height": 670
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/heffernan-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/heffernan-716x600.jpg",
"width": 716,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/heffernan-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/heffernan-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/heffernan-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/heffernan-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1421273898,
"modified": 1421273898,
"caption": null,
"description": null,
"title": "heffernan",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023331": {
"type": "attachments",
"id": "arts_10023331",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023331",
"found": true
},
"parent": 23331,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/on-the-wall-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/on-the-wall-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/on-the-wall-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/on-the-wall-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/on-the-wall-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/on-the-wall-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1221007290,
"modified": 1221007290,
"caption": null,
"description": null,
"title": "On The Wall-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023325": {
"type": "attachments",
"id": "arts_10023325",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023325",
"found": true
},
"parent": 23325,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/jon-stitch-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/jon-stitch-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/jon-stitch-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/jon-stitch-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/jon-stitch-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/09/jon-stitch-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1220648844,
"modified": 1220648844,
"caption": null,
"description": null,
"title": "Jon Stich at the Mixing Bowl-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023258": {
"type": "attachments",
"id": "arts_10023258",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023258",
"found": true
},
"parent": 23258,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/small-glass-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/small-glass-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/small-glass-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/small-glass-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/small-glass-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/small-glass-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1219698133,
"modified": 1219698133,
"caption": null,
"description": null,
"title": "Contemporary Glass at Stanford-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023253": {
"type": "attachments",
"id": "arts_10023253",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023253",
"found": true
},
"parent": 23253,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/eureka-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/eureka-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/eureka-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/eureka-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/eureka-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/eureka-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1219361457,
"modified": 1219361457,
"caption": null,
"description": null,
"title": "Eureka!-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023246": {
"type": "attachments",
"id": "arts_10023246",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023246",
"found": true
},
"parent": 23246,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/888-248x140.jpg",
"width": 392,
"height": 221
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/888-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/888-248x140-300x169.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 169
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/888-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/888-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/888-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/888-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1219358920,
"modified": 1219358920,
"caption": null,
"description": null,
"title": "888 Pieces of We-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10303074": {
"type": "attachments",
"id": "arts_10303074",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10303074",
"found": true
},
"parent": 10303072,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/dirosa-e1432105148566-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/dirosa-e1432105148566-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/dirosa-e1432105148566.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/dirosa-e1432105148566-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/dirosa-e1432105148566-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/dirosa-e1432105148566-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/dirosa-e1432105148566-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/dirosa-e1432105148566-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/dirosa-e1432105148566-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1421274265,
"modified": 1432084471,
"caption": "An example of art installation at di Rosa (Courtesy of di Rosa)",
"description": "An example of art installation at di Rosa (Courtesy of di Rosa)",
"title": "dirosa",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023132": {
"type": "attachments",
"id": "arts_10023132",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023132",
"found": true
},
"parent": 23132,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/100-journals-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/100-journals-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/100-journals-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/100-journals-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/100-journals-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/08/100-journals-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1217714084,
"modified": 1217714084,
"caption": null,
"description": null,
"title": "1000 Journals-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023110": {
"type": "attachments",
"id": "arts_10023110",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023110",
"found": true
},
"parent": 23110,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/07/inside-outside-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/07/inside-outside-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/07/inside-outside-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/07/inside-outside-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/07/inside-outside-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/07/inside-outside-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1216952269,
"modified": 1216952269,
"caption": null,
"description": null,
"title": "Insider/Outsider-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023062": {
"type": "attachments",
"id": "arts_10023062",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023062",
"found": true
},
"parent": 23062,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/07/chihouly-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/07/chihouly-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/07/chihouly-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/07/chihouly-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/07/chihouly-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/07/chihouly-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1216673404,
"modified": 1216673404,
"caption": null,
"description": null,
"title": "Chihuly at the de Young-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"marktaylor-2": {
"type": "authors",
"id": "8",
"meta": {
"index": "authors_1716337520",
"id": "8",
"found": true
},
"name": "Mark Taylor",
"firstName": "Mark",
"lastName": "Taylor",
"slug": "marktaylor-2",
"email": "mark@emptypictures.net",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Mark Taylor founded KQED Arts in 2005 and served as Senior Interactive Producer for Arts and Culture through 2014. Taylor was the online arts editor of KQED's daily arts blog for nine years and created the station's first web-original podcasts, Gallery Crawl and The Writers' Block.\r\n\r\nTaylor is an experimental filmmaker and visual artist whose work has been collected by the Library of Congress, Stanford University and the New York Museum of Modern Art, among many others. He teaches Media Studies at the University of San Francisco and is exploring the connection between film and food. \u003ca href=\"http://emptypictures.net/\">Visit Mark Taylor's website\u003c/a> at emptypictures.net.",
"avatar": "https://secure.gravatar.com/avatar/3452322b4dec4379500b11b74718f5da?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Administrator",
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "checkplease",
"roles": [
"subscriber"
]
},
{
"site": "food",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Mark Taylor | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/3452322b4dec4379500b11b74718f5da?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3452322b4dec4379500b11b74718f5da?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/marktaylor-2"
},
"kfarr": {
"type": "authors",
"id": "16",
"meta": {
"index": "authors_1716337520",
"id": "16",
"found": true
},
"name": "Kristin Farr",
"firstName": "Kristin",
"lastName": "Farr",
"slug": "kfarr",
"email": "kfarr@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Kristin Farr is the creator and producer of KQED's Emmy Award-winning web video series, Art School, and she is also a contributing editor for Juxtapoz magazine. Her artwork has been exhibited at galleries around the Bay Area including YBCA, Fifty24SF, Anno Domini and The Bedford Gallery. Her FarrOut art app for iOS was released in 2013. She lives in the East Bay and her favorite color is all of them.",
"avatar": "https://secure.gravatar.com/avatar/96aae7842c46004b98e00051e9e0d71f?s=600&d=blank&r=g",
"twitter": "kristinfarr",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kristin Farr | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/96aae7842c46004b98e00051e9e0d71f?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/96aae7842c46004b98e00051e9e0d71f?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kfarr"
},
"mfox": {
"type": "authors",
"id": "22",
"meta": {
"index": "authors_1716337520",
"id": "22",
"found": true
},
"name": "Michael Fox",
"firstName": "Michael",
"lastName": "Fox",
"slug": "mfox",
"email": "foxonfilm@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Michael Fox has written about film for dozens of publications since 1987. He is a founding member of the San Francisco Bay Area Film Critics Circle.",
"avatar": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Michael Fox | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d9849d6c659c41414795c471d907bb97b396e2a32b88e20e6ff66f65fbdd6dcd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mfox"
},
"bmarks": {
"type": "authors",
"id": "26",
"meta": {
"index": "authors_1716337520",
"id": "26",
"found": true
},
"name": "Ben Marks",
"firstName": "Ben",
"lastName": "Marks",
"slug": "bmarks",
"email": "gobenmarks@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Ben Marks is a peninsula-based writer and editor. He has covered theater, visual arts, and restaurants for numerous publications. He has also been a lobster and scallop fisherman in Maine, run a restaurant in Seattle, blown glass for Dale Chihuly, and boasts numerous other so-called accomplishments that have surprisingly little to do with the arts in the South Bay, which is his focus at KQED.org.",
"avatar": "https://secure.gravatar.com/avatar/ac0075b66fea4e8075d298dafc66d269?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
}
],
"headData": {
"title": "Ben Marks | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/ac0075b66fea4e8075d298dafc66d269?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ac0075b66fea4e8075d298dafc66d269?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/bmarks"
},
"vgannon": {
"type": "authors",
"id": "34",
"meta": {
"index": "authors_1716337520",
"id": "34",
"found": true
},
"name": "Victoria Gannon",
"firstName": "Victoria",
"lastName": "Gannon",
"slug": "vgannon",
"email": "FAKE_vgannon@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Victoria Gannon goes by \"Vicky.\" She only uses \"Victoria\" for her byline. She has spent much of her adult life attempting to translate the things she sees into words. This pursuit has led her to write about many subjects, including flea market vendors in Maine, informal day laborer hiring sites in northern California, and art exhibitions of all sorts. Vicky is a recent graduate of the Visual and Critical Studies program at California College of the Arts; her time there stimulated, informed, and challenged her writing on sights.Gannon is a Bay Area native, and after several years on the East Coast and one in the Midwest, she finds herself unexpectedly thrilled to be back home. Her travels and relocations have given her a new fascination with personal and cultural geographies, landscapes of childhood, and memory's effect on place. She has a slowly evolving blog, which is more archive than running commentary, at \u003ca href=\"http://85wpm.wordpress.com\">85wpm.wordpress.com\u003c/a>. As you will see there, she also has a thing for basset hounds.",
"avatar": "https://secure.gravatar.com/avatar/d37a137a17108d8ac43b57fdf4c4aed8?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
}
],
"headData": {
"title": "Victoria Gannon | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/d37a137a17108d8ac43b57fdf4c4aed8?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d37a137a17108d8ac43b57fdf4c4aed8?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/vgannon"
}
},
"pagesReducer": {
"arts_category_visualarts": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"score": 14.40303
},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"title": "Visual Arts",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 198
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=visualarts",
"seeMore": false,
"paginated": true,
"page": 198
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_23439": {
"type": "posts",
"id": "arts_23439",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23439",
"score": null,
"sort": [
1222376475000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1222376475,
"format": "standard",
"title": "The Young Jerks",
"headTitle": "The Young Jerks | KQED",
"content": "\u003cp>Following the success of their debut duo show \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=20021\" target=\"offsite\">Flawless Victory\u003c/a>, Hamburger Eyes Photo Epicenter interns Oscar Mendoza and Alexander Martinez recently organized a group exhibition of emerging photographers and called it \u003cb>The Young Jerks\u003c/b>, inspired by Rod Stewart’s music video, \u003ca href=\"http://www.youtube.com/watch?v=WBEAfr1lvBE\" target=\"offsite\">Young Turks\u003c/a>. According to YouTube, a Young Turk is British slang for “a rebellious kind of teenager who goes against the grain.”\u003c/p>\n\u003cp>Networking through web sites like Flickr and Fjord, Martinez and Mendoza gathered a group of artists whose work touches on subjects that those of us who are old enough to rent a car may not understand, but can still appreciate — MySpace identity theft, B.F.F. betrayal, and the freedom of youth.\u003c/p>\n\u003cp>Rather than write up their exhibition, I decided to let The Young Jerks speak for themselves in this audio slideshow, which can best be summed up in the epic lyrics of Rod Stewart: “Young hearts, be free tonight. Time is on your side.”\u003c/p>\n\u003cp>\u003cb>The Young Jerks\u003c/b> is on view at Hamburger Eyes Photo Epicenter through October 2nd, 2008.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 181,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705052979,
"excerpt": "I decided to let The Young Jerks speak for themselves in this audio slideshow, which can best be summed up in the epic lyrics of Rod Stewart: \"Young hearts, be free tonight. Time is on your side.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "I decided to let The Young Jerks speak for themselves in this audio slideshow, which can best be summed up in the epic lyrics of Rod Stewart: "Young hearts, be free tonight. Time is on your side."",
"title": "The Young Jerks | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Young Jerks",
"datePublished": "2008-09-25T14:01:15-07:00",
"dateModified": "2024-01-12T01:49:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the_young_jerks",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/",
"sticky": false,
"path": "/arts/23439/the_young_jerks",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following the success of their debut duo show \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=20021\" target=\"offsite\">Flawless Victory\u003c/a>, Hamburger Eyes Photo Epicenter interns Oscar Mendoza and Alexander Martinez recently organized a group exhibition of emerging photographers and called it \u003cb>The Young Jerks\u003c/b>, inspired by Rod Stewart’s music video, \u003ca href=\"http://www.youtube.com/watch?v=WBEAfr1lvBE\" target=\"offsite\">Young Turks\u003c/a>. According to YouTube, a Young Turk is British slang for “a rebellious kind of teenager who goes against the grain.”\u003c/p>\n\u003cp>Networking through web sites like Flickr and Fjord, Martinez and Mendoza gathered a group of artists whose work touches on subjects that those of us who are old enough to rent a car may not understand, but can still appreciate — MySpace identity theft, B.F.F. betrayal, and the freedom of youth.\u003c/p>\n\u003cp>Rather than write up their exhibition, I decided to let The Young Jerks speak for themselves in this audio slideshow, which can best be summed up in the epic lyrics of Rod Stewart: “Young hearts, be free tonight. Time is on your side.”\u003c/p>\n\u003cp>\u003cb>The Young Jerks\u003c/b> is on view at Hamburger Eyes Photo Epicenter through October 2nd, 2008.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23439/the_young_jerks",
"authors": [
"16"
],
"categories": [
"arts_70"
],
"featImg": "arts_10023439",
"label": "arts"
},
"arts_23424": {
"type": "posts",
"id": "arts_23424",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23424",
"score": null,
"sort": [
1222131830000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1222131830,
"format": "standard",
"title": "Vocabularies of Metaphor: More Stories",
"headTitle": "Vocabularies of Metaphor: More Stories | KQED",
"content": "\u003cp>Joan Didion said it so well: “We tell ourselves stories in order to live.” We take our messy lives and we insert opening scenes and arcing plots and eventual morals. We organize facts and occurrences and impressions into narratives, which we tell and retell, amend, edit, and tell again.\u003c/p>\n\u003cp>All of the artists included in the Hosfelt Gallery’s \u003cb>Vocabularies of Metaphor: More Stories\u003c/b> tell narratives, tales both sweeping and intimate, through images. The fifteen artists in the show are predominantly female and contemporary. Henry Darger, male and deceased, is one of the few exceptions. His two panoramic drawings on display, \u003cb>Untitled (At Jennie Richee, Vivian Girls Carrying Guns)\u003c/b>, and \u003cb>Untitled (Abbieannian Flamingo Girl Scouts)\u003c/b>, serve as an aesthetic and conceptual precedent for many of the other artists’ styles and techniques.\u003c/p>\n\u003cp>Darger (b. 1892, d. 1973) was a reclusive janitor whose drawings of a detailed imaginary epic were discovered upon his death. His characters are based on the periodicals of his day, the simple figures of funny pages and newspaper advertisements. He multiplies the stereotypical bobbed schoolgirl to create an army he calls the Vivian Girls. Stripping them of clothes and giving them penises, Darger depicts the crowds of cherubic girls at play and also at war. Some skip and hold hands; others wear artillery belts and carry bayonets. Sagging cartoon-style palm trees and leafy elms mix in the background. It is an impossible place, yet one that is still recognizable.\u003c/p>\n\u003cp>Like Darger, artists Ruth Marten and Amy Cutler take familiar imagery and alter its context and meaning. Marten uses 18th and 19th-century etchings and lithographs as her starting point. She augments the dated didactic illustrations with whimsical details and colors. Jewel-colored eggs fall from a bird into a large sack in \u003cb>Abundance\u003c/b>. An ornithological illustration becomes a fairy tale in \u003cb>Salon des Chics\u003c/b>, as birds receive bottle cap bridal veils and bows and garlic cloves for hats. The tension comes from the relationship between the original sources’ scientific certainty and Marten’s playfulness. A lesson becomes a daydream before our eyes.\u003c/p>\n\u003cp>Amy Cutler creates a realm of female domesticity, one filled with printed housedresses, signature hairstyles and the dissatisfied faces of housewives. In \u003cb>Sugar Foot\u003c/b>, women eat chocolate cake amidst a scene of stacked sugar sacks and a table and chairs. The grim expressions of those who sit upright tell us that the home-cooked is not always a salve for frayed nerves. The domestic can make you sick. As Darger did with schoolgirls, Cutler does with stock images of feminine domesticity, updating and individualizing the women (primarily through their clothes) to incorporate them into her own ongoing story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But some artists in the show have nothing in common with Darger. Rather than a decades-long war fought by hundreds, Yuka Yamaguchi’s illustrations chronicle intimate individual tragedies. In \u003cb>3am\u003c/b>, animated breasts sit on a woman’s head holding fishing poles. The hooks catch her ear lobe and nose. It is a private moment of self-torture, the circular argument that keeps you up at night. \u003cb>My First Time\u003c/b> gives us the crossed legs of a schoolgirl wearing a short skirt and red stained underwear. Her top half has been replaced by an exposed human heart and a pair of blood-tinged scissors sits by her side. We don’t need to ask to know what happened.\u003c/p>\n\u003cp>The exhibit only includes images done by hand — painting, illustration, collage. There is a pleasing tactility to nearly everything in the show. This is especially true in Marten’s mixed-media pieces, in which we can see the spots where she has cut away one layer of paper to insert her own additions underneath. The visible accumulation of colors and details and paper tells a story in itself. Like a patina, it can only be achieved over time — there is nothing instantaneous here. And time is necessary for any story to develop. We are able to make sense of things only after the fact.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Vocabularies of Metaphor: More Stories\u003c/b> is on display at the Hosfelt Gallery, 430 Clementina, San Francisco, through October 18. A reading series is scheduled to accompany the show. Remaining events include Daniel Alarcon, 6:30 p.m. Sept. 24; Eric Puchner, 6:30 p.m., Oct. 15; and Barry Gifford, 6:30 p.m. Oct. 29. For \u003ca href=\"http://www.hosfeltgallery.com\" target=\"offsite\" rel=\"noopener\">more information\u003c/a>, visit hosfeltgallery.com or call the gallery at 495-5454.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 748,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705052983,
"excerpt": "Joan Didion said it so well: \"We tell ourselves stories in order to live.\" We take our messy lives and we insert opening scenes and arcing plots and eventual morals. We organize facts and occurrences and impressions into narratives, which we tell and retell, amend, edit, and tell again.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Joan Didion said it so well: "We tell ourselves stories in order to live." We take our messy lives and we insert opening scenes and arcing plots and eventual morals. We organize facts and occurrences and impressions into narratives, which we tell and retell, amend, edit, and tell again.",
"title": "Vocabularies of Metaphor: More Stories | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Vocabularies of Metaphor: More Stories",
"datePublished": "2008-09-22T18:03:50-07:00",
"dateModified": "2024-01-12T01:49:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "vocabularies_of_metaphor_more_stories",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/visualarts-review/",
"sticky": false,
"path": "/arts/23424/vocabularies_of_metaphor_more_stories",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joan Didion said it so well: “We tell ourselves stories in order to live.” We take our messy lives and we insert opening scenes and arcing plots and eventual morals. We organize facts and occurrences and impressions into narratives, which we tell and retell, amend, edit, and tell again.\u003c/p>\n\u003cp>All of the artists included in the Hosfelt Gallery’s \u003cb>Vocabularies of Metaphor: More Stories\u003c/b> tell narratives, tales both sweeping and intimate, through images. The fifteen artists in the show are predominantly female and contemporary. Henry Darger, male and deceased, is one of the few exceptions. His two panoramic drawings on display, \u003cb>Untitled (At Jennie Richee, Vivian Girls Carrying Guns)\u003c/b>, and \u003cb>Untitled (Abbieannian Flamingo Girl Scouts)\u003c/b>, serve as an aesthetic and conceptual precedent for many of the other artists’ styles and techniques.\u003c/p>\n\u003cp>Darger (b. 1892, d. 1973) was a reclusive janitor whose drawings of a detailed imaginary epic were discovered upon his death. His characters are based on the periodicals of his day, the simple figures of funny pages and newspaper advertisements. He multiplies the stereotypical bobbed schoolgirl to create an army he calls the Vivian Girls. Stripping them of clothes and giving them penises, Darger depicts the crowds of cherubic girls at play and also at war. Some skip and hold hands; others wear artillery belts and carry bayonets. Sagging cartoon-style palm trees and leafy elms mix in the background. It is an impossible place, yet one that is still recognizable.\u003c/p>\n\u003cp>Like Darger, artists Ruth Marten and Amy Cutler take familiar imagery and alter its context and meaning. Marten uses 18th and 19th-century etchings and lithographs as her starting point. She augments the dated didactic illustrations with whimsical details and colors. Jewel-colored eggs fall from a bird into a large sack in \u003cb>Abundance\u003c/b>. An ornithological illustration becomes a fairy tale in \u003cb>Salon des Chics\u003c/b>, as birds receive bottle cap bridal veils and bows and garlic cloves for hats. The tension comes from the relationship between the original sources’ scientific certainty and Marten’s playfulness. A lesson becomes a daydream before our eyes.\u003c/p>\n\u003cp>Amy Cutler creates a realm of female domesticity, one filled with printed housedresses, signature hairstyles and the dissatisfied faces of housewives. In \u003cb>Sugar Foot\u003c/b>, women eat chocolate cake amidst a scene of stacked sugar sacks and a table and chairs. The grim expressions of those who sit upright tell us that the home-cooked is not always a salve for frayed nerves. The domestic can make you sick. As Darger did with schoolgirls, Cutler does with stock images of feminine domesticity, updating and individualizing the women (primarily through their clothes) to incorporate them into her own ongoing story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But some artists in the show have nothing in common with Darger. Rather than a decades-long war fought by hundreds, Yuka Yamaguchi’s illustrations chronicle intimate individual tragedies. In \u003cb>3am\u003c/b>, animated breasts sit on a woman’s head holding fishing poles. The hooks catch her ear lobe and nose. It is a private moment of self-torture, the circular argument that keeps you up at night. \u003cb>My First Time\u003c/b> gives us the crossed legs of a schoolgirl wearing a short skirt and red stained underwear. Her top half has been replaced by an exposed human heart and a pair of blood-tinged scissors sits by her side. We don’t need to ask to know what happened.\u003c/p>\n\u003cp>The exhibit only includes images done by hand — painting, illustration, collage. There is a pleasing tactility to nearly everything in the show. This is especially true in Marten’s mixed-media pieces, in which we can see the spots where she has cut away one layer of paper to insert her own additions underneath. The visible accumulation of colors and details and paper tells a story in itself. Like a patina, it can only be achieved over time — there is nothing instantaneous here. And time is necessary for any story to develop. We are able to make sense of things only after the fact.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Vocabularies of Metaphor: More Stories\u003c/b> is on display at the Hosfelt Gallery, 430 Clementina, San Francisco, through October 18. A reading series is scheduled to accompany the show. Remaining events include Daniel Alarcon, 6:30 p.m. Sept. 24; Eric Puchner, 6:30 p.m., Oct. 15; and Barry Gifford, 6:30 p.m. Oct. 29. For \u003ca href=\"http://www.hosfeltgallery.com\" target=\"offsite\" rel=\"noopener\">more information\u003c/a>, visit hosfeltgallery.com or call the gallery at 495-5454.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23424/vocabularies_of_metaphor_more_stories",
"authors": [
"34"
],
"categories": [
"arts_70"
],
"featImg": "arts_10023424",
"label": "arts"
},
"arts_10303068": {
"type": "posts",
"id": "arts_10303068",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10303068",
"score": null,
"sort": [
1221686183000
]
},
"guestAuthors": [],
"slug": "new-digs",
"title": "New Digs",
"publishDate": 1221686183,
"format": "video",
"headTitle": "New Digs | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>In September 2008, \u003ci>Gallery Crawl\u003c/i> checks out Patricia Sweetow and Catharine Clark’s new digs, exploring a wide range of portraiture, from Jonathan Burstein’s collages to Julie Heffernan’s self-portraits.\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/sweetow-clark-edguide.pdf\">Download educator guide\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "In September 2008, \u003ci>Gallery Crawl\u003c/i> checks out Patricia Sweetow and Catharine Clark's new digs, exploring a wide range of portraiture, from Jonathan Burstein's collages to Julie Heffernan's self-portraits.",
"status": "publish",
"parent": 0,
"modified": 1726767728,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 3,
"wordCount": 41
},
"headData": {
"title": "New Digs | KQED",
"description": "In September 2008, Gallery Crawl checks out Patricia Sweetow and Catharine Clark's new digs, exploring a wide range of portraiture, from Jonathan Burstein's collages to Julie Heffernan's self-portraits.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New Digs",
"datePublished": "2008-09-17T14:16:23-07:00",
"dateModified": "2024-09-19T10:42:08-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"videoEmbed": "http://youtu.be/_QCEorD07uk",
"sticky": false,
"path": "/arts/10303068/new-digs",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In September 2008, \u003ci>Gallery Crawl\u003c/i> checks out Patricia Sweetow and Catharine Clark’s new digs, exploring a wide range of portraiture, from Jonathan Burstein’s collages to Julie Heffernan’s self-portraits.\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/sweetow-clark-edguide.pdf\">Download educator guide\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10303068/new-digs",
"authors": [
"8"
],
"categories": [
"arts_70"
],
"featImg": "arts_10303069",
"label": "arts"
},
"arts_23331": {
"type": "posts",
"id": "arts_23331",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23331",
"score": null,
"sort": [
1221003690000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1221003690,
"format": "standard",
"title": "On The Wall",
"headTitle": "On The Wall | KQED",
"content": "\u003cp>As I sat on the chair in Galeria de la Raza Saturday afternoon, a young man with an American flag scarf wrapped around his leg sat down on the floor beside me.\u003c/p>\n\u003cp>His questions were short, half in Spanish, half in English. “Where did you?” “Shoes?” He pointed to my sandals. Could he? He touched my sandals’ soft worn straps and took off his sneakers, so hot around his bare feet. Okay, I said, he could try one on. I gave him one of my shoes and he slid his foot into it. Then we sat together, each of us with one bare foot, saying words the other one didn’t understand, smiling to soften our miscomprehension.\u003c/p>\n\u003cp>I was at the gallery to see \u003cb>On the Wall\u003c/b>, an exhibit featuring a large mural and video. The works, created by the Trust Your Struggle artist collective and artists from the Kearny Street Workshop, examine “the current issues of the immigration debate, such as shifting identities, cultural ownership and community building,” according to the gallery’s Web site.\u003c/p>\n\u003cp>The mural, which covers every inch of the gallery’s walls, was created by four artists from the Trust Your Struggle collective over a weeklong period. When the show ends September 26, 2008 it will disappear. It is unique and ephemeral; its residence temporary. The mural’s eventual demise is an obvious metaphor for migration and its attendant disruptions. We lose things when we move, it reminds us. We often do not get them back.\u003c/p>\n\u003cp>The mural itself consists of several scenes, some more intelligible than others. Some walls are a collage of figures and patterns, stenciled words and patches of color. A woman with long braids and a purple face bends over as though performing manual labor. Behind are painted strips of lace, mimicking the tiers of a dress. “They can’t deport us,” it reads in thick black type. Sprays of purple and red paint spread around the words. “1848” is written further up the wall, referencing the end of the U.S.-Mexico War, and the United States’s acquisition of what is now California.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On another wall, a more linear tale is told. A cluster of cardboard houses, brightly painted and stacked upon each other, reside in a corner. A single clothes line reaches out from the village toward a gray and white ocean scene. A large arc floats atop jagged waves. Through the boat’s below-deck windows, we see a crowd of pained faces. On the far side of the ship is another world. A monotone cityscape, also made of cardboard, rises in an indifferent heap. The two sites, one presumably in Latin America, the other in the United States, are drastically different, and the voyage between is an indefinite purgatory. Other visual motifs reference the tentativeness of migration. Hot air balloons float high up on the walls. Men trail behind hanging on ropes, sometimes falling to the ground.\u003c/p>\n\u003cp>I took what messages I could from the mural’s visual storytelling. The line between Mexico and the United States has been drawn and redrawn, moved and hyphenated. The two countries are inseparable despite the border between them, economically and culturally interdependent. And the journey across is treacherous. To be a migrant, either in transit or at your destination, is to be in danger.\u003c/p>\n\u003cp>As I sat in the chair with my notebook in my hand, struggling over what to observe and record, I still felt I had missed something. I could look at the images and try to decode their meanings, but the translation was spotty, incomplete, and garbled. I want to think I understand immigration, that I can relate it to my own experiences of displacement. But my own journeys, from the suburbs to the city, and the West Coast to the East Coast, are drastically different than the one from Latin America to the United States. They are incomparable. And as I sat beside the young man in the too-big tee-shirt, struggling to discuss sandals and drugstores, my miscomprehension was too great to ignore.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>On the Wall\u003c/b> is at Galeria de la Raza, 2857 24th St., San Francisco, until September 26.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 718,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705052999,
"excerpt": "The mural, which covers every inch of the gallery's walls, was created by four artists from the Trust Your Struggle collective over a weeklong period. When the show ends September 26, 2008 it will disappear.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The mural, which covers every inch of the gallery's walls, was created by four artists from the Trust Your Struggle collective over a weeklong period. When the show ends September 26, 2008 it will disappear.",
"title": "On The Wall | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "On The Wall",
"datePublished": "2008-09-09T16:41:30-07:00",
"dateModified": "2024-01-12T01:49:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "on_the_wall",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/multimedia/multimedia-review/",
"sticky": false,
"path": "/arts/23331/on_the_wall",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As I sat on the chair in Galeria de la Raza Saturday afternoon, a young man with an American flag scarf wrapped around his leg sat down on the floor beside me.\u003c/p>\n\u003cp>His questions were short, half in Spanish, half in English. “Where did you?” “Shoes?” He pointed to my sandals. Could he? He touched my sandals’ soft worn straps and took off his sneakers, so hot around his bare feet. Okay, I said, he could try one on. I gave him one of my shoes and he slid his foot into it. Then we sat together, each of us with one bare foot, saying words the other one didn’t understand, smiling to soften our miscomprehension.\u003c/p>\n\u003cp>I was at the gallery to see \u003cb>On the Wall\u003c/b>, an exhibit featuring a large mural and video. The works, created by the Trust Your Struggle artist collective and artists from the Kearny Street Workshop, examine “the current issues of the immigration debate, such as shifting identities, cultural ownership and community building,” according to the gallery’s Web site.\u003c/p>\n\u003cp>The mural, which covers every inch of the gallery’s walls, was created by four artists from the Trust Your Struggle collective over a weeklong period. When the show ends September 26, 2008 it will disappear. It is unique and ephemeral; its residence temporary. The mural’s eventual demise is an obvious metaphor for migration and its attendant disruptions. We lose things when we move, it reminds us. We often do not get them back.\u003c/p>\n\u003cp>The mural itself consists of several scenes, some more intelligible than others. Some walls are a collage of figures and patterns, stenciled words and patches of color. A woman with long braids and a purple face bends over as though performing manual labor. Behind are painted strips of lace, mimicking the tiers of a dress. “They can’t deport us,” it reads in thick black type. Sprays of purple and red paint spread around the words. “1848” is written further up the wall, referencing the end of the U.S.-Mexico War, and the United States’s acquisition of what is now California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On another wall, a more linear tale is told. A cluster of cardboard houses, brightly painted and stacked upon each other, reside in a corner. A single clothes line reaches out from the village toward a gray and white ocean scene. A large arc floats atop jagged waves. Through the boat’s below-deck windows, we see a crowd of pained faces. On the far side of the ship is another world. A monotone cityscape, also made of cardboard, rises in an indifferent heap. The two sites, one presumably in Latin America, the other in the United States, are drastically different, and the voyage between is an indefinite purgatory. Other visual motifs reference the tentativeness of migration. Hot air balloons float high up on the walls. Men trail behind hanging on ropes, sometimes falling to the ground.\u003c/p>\n\u003cp>I took what messages I could from the mural’s visual storytelling. The line between Mexico and the United States has been drawn and redrawn, moved and hyphenated. The two countries are inseparable despite the border between them, economically and culturally interdependent. And the journey across is treacherous. To be a migrant, either in transit or at your destination, is to be in danger.\u003c/p>\n\u003cp>As I sat in the chair with my notebook in my hand, struggling over what to observe and record, I still felt I had missed something. I could look at the images and try to decode their meanings, but the translation was spotty, incomplete, and garbled. I want to think I understand immigration, that I can relate it to my own experiences of displacement. But my own journeys, from the suburbs to the city, and the West Coast to the East Coast, are drastically different than the one from Latin America to the United States. They are incomparable. And as I sat beside the young man in the too-big tee-shirt, struggling to discuss sandals and drugstores, my miscomprehension was too great to ignore.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>On the Wall\u003c/b> is at Galeria de la Raza, 2857 24th St., San Francisco, until September 26.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23331/on_the_wall",
"authors": [
"134"
],
"categories": [
"arts_70"
],
"featImg": "arts_10023331",
"label": "arts"
},
"arts_23325": {
"type": "posts",
"id": "arts_23325",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23325",
"score": null,
"sort": [
1220648844000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1220648844,
"format": "standard",
"title": "Jon Stich at the Mixing Bowl",
"headTitle": "Jon Stich at the Mixing Bowl | KQED",
"content": "\u003cp>I spent much of August waiting for things to change. For job applications to turn into paychecks, phone calls to turn into faces, and for hot, hot days to mellow into an autumn routine. I was not hoping for gradual change — the incremental shift in perspective that occurs as you hike up a long steep trail — but for a dramatic reversal. Alchemy. I pinned my hopes to the possibility that monotony could give birth to its opposite, the unexpected.\u003c/p>\n\u003cp>I spent quite a bit of time at the Mixing Bowl, a new café and restaurant in Oakland’s Temescal District. They have free refills on coffee and are a downhill bike ride from my apartment. I spent long mornings reading free weeklies and writing in my journal. And sometime mid-month, I looked up. Berkeley artist Jon Stich has eight paintings hanging on the Mixing Bowl’s walls. Many were initially done for editorial clients, such as the \u003ci>San Francisco Chronicle\u003c/i> and \u003ci>Hyphen\u003c/i> magazine. But the works don’t need words to be understood. They have stories of their own.\u003c/p>\n\u003cp>Stich realistically depicts surreal situations: a woman surrounded by swirling fish, a park bench populated by people whose heads have turned into cameras, a barely clothed figure with the body of a man and the head of a lizard. Each work contains internal contradictions and impossibilities. In \u003cb>A Simple Solution\u003c/b>, a Sumo wrestler squats on what looks like a slanted San Francisco street, a row of Victorian homes in the background. Babies crawl and roll in the street beneath him, while fighter jets form a pattern in the distance. A man fishes from a small dinghy in a river — I imagine the back swamps of Louisiana — in \u003cb>The Ubiquitous Van 2\u003c/b>. A repurposed U-Haul truck hovers behind him, graffiti covering its sides, the urban intruding on the backcountry. Stich’s even style prevents such contradictions from becoming discordant or overly playful. Instead, they appear revelatory, possessing the logic and authority of a dream. The rational brain knows it can’t happen, but the gut knows it’s true.\u003c/p>\n\u003cp>In \u003cb>The Day They Do\u003c/b>, a man in a field holds a pig by a leash. Clear dragonfly wings have sprouted from the animal’s back. This pig can finally fly. All has supposedly changed. Still the scene is mundane. The farmer’s hat is dirty, his pants wrinkled and worn. The impossible and the actual merge into one scene. The farfetched and the everyday coexist. Miracles on a dusty hot field.\u003c/p>\n\u003cp>As it often happens, I began to read my own story into the art on the wall. In \u003cb>Still Life With Flowers\u003c/b>, a girl sits with folded legs staring at an altar to the dead, waiting for the ordinary to sprout wings and fly away.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jon Stich’s work will be on display at the Mixing Bowl, 4920 Telegraph Ave., Oakland, until September 20, 2008.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 502,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705053001,
"excerpt": "Stich realistically depicts surreal situations: a woman surrounded by swirling fish, a park bench populated by people whose heads have turned into cameras, a barely clothed figure with the body of a man and the head of a lizard. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Stich realistically depicts surreal situations: a woman surrounded by swirling fish, a park bench populated by people whose heads have turned into cameras, a barely clothed figure with the body of a man and the head of a lizard. ",
"title": "Jon Stich at the Mixing Bowl | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Jon Stich at the Mixing Bowl",
"datePublished": "2008-09-05T14:07:24-07:00",
"dateModified": "2024-01-12T01:50:01-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "jon_stich_at_the_mixing_bowl",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/visualarts-review/",
"sticky": false,
"path": "/arts/23325/jon_stich_at_the_mixing_bowl",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I spent much of August waiting for things to change. For job applications to turn into paychecks, phone calls to turn into faces, and for hot, hot days to mellow into an autumn routine. I was not hoping for gradual change — the incremental shift in perspective that occurs as you hike up a long steep trail — but for a dramatic reversal. Alchemy. I pinned my hopes to the possibility that monotony could give birth to its opposite, the unexpected.\u003c/p>\n\u003cp>I spent quite a bit of time at the Mixing Bowl, a new café and restaurant in Oakland’s Temescal District. They have free refills on coffee and are a downhill bike ride from my apartment. I spent long mornings reading free weeklies and writing in my journal. And sometime mid-month, I looked up. Berkeley artist Jon Stich has eight paintings hanging on the Mixing Bowl’s walls. Many were initially done for editorial clients, such as the \u003ci>San Francisco Chronicle\u003c/i> and \u003ci>Hyphen\u003c/i> magazine. But the works don’t need words to be understood. They have stories of their own.\u003c/p>\n\u003cp>Stich realistically depicts surreal situations: a woman surrounded by swirling fish, a park bench populated by people whose heads have turned into cameras, a barely clothed figure with the body of a man and the head of a lizard. Each work contains internal contradictions and impossibilities. In \u003cb>A Simple Solution\u003c/b>, a Sumo wrestler squats on what looks like a slanted San Francisco street, a row of Victorian homes in the background. Babies crawl and roll in the street beneath him, while fighter jets form a pattern in the distance. A man fishes from a small dinghy in a river — I imagine the back swamps of Louisiana — in \u003cb>The Ubiquitous Van 2\u003c/b>. A repurposed U-Haul truck hovers behind him, graffiti covering its sides, the urban intruding on the backcountry. Stich’s even style prevents such contradictions from becoming discordant or overly playful. Instead, they appear revelatory, possessing the logic and authority of a dream. The rational brain knows it can’t happen, but the gut knows it’s true.\u003c/p>\n\u003cp>In \u003cb>The Day They Do\u003c/b>, a man in a field holds a pig by a leash. Clear dragonfly wings have sprouted from the animal’s back. This pig can finally fly. All has supposedly changed. Still the scene is mundane. The farmer’s hat is dirty, his pants wrinkled and worn. The impossible and the actual merge into one scene. The farfetched and the everyday coexist. Miracles on a dusty hot field.\u003c/p>\n\u003cp>As it often happens, I began to read my own story into the art on the wall. In \u003cb>Still Life With Flowers\u003c/b>, a girl sits with folded legs staring at an altar to the dead, waiting for the ordinary to sprout wings and fly away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jon Stich’s work will be on display at the Mixing Bowl, 4920 Telegraph Ave., Oakland, until September 20, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23325/jon_stich_at_the_mixing_bowl",
"authors": [
"34"
],
"categories": [
"arts_70"
],
"featImg": "arts_10023325",
"label": "arts"
},
"arts_23258": {
"type": "posts",
"id": "arts_23258",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23258",
"score": null,
"sort": [
1219698133000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1219698133,
"format": "standard",
"title": "Contemporary Glass at Stanford",
"headTitle": "Contemporary Glass at Stanford | KQED",
"content": "\u003cp>This summer, with little fanfare, the Cantor Arts Center at Stanford University borrowed fewer than 20 rather superb works of \u003cb>Contemporary Glass\u003c/b> from local collections and put on a show. The reason for this modest endeavor was not to respond to the gargantuan scale of \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=23062\" target=\"offsite\" rel=\"noopener\">Chihuly at the de Young\u003c/a>. Rather, it was to call attention to the connection between Stanford University and the Venetian glass firm of Salviati & Co., whose mosaic murals grace Stanford Memorial Church. Jane Stanford herself gave the Salviati company the commission, for which the Salviati company gave Mrs. Stanford some 200 glass vessels as a thank-you gift.\u003c/p>\n\u003cp>As conceits go, this one’s predictably precious, but Stanford is not the only august institution of higher learning to be somewhat taken with itself, so it’s in good company. More interesting than the self-congratulatory reason for the show is the art and, like it or not, how this exhibition compares to the three-ring circus to the north.\u003c/p>\n\u003cp>The pieces in \u003cb>Contemporary Glass\u003c/b> are displayed in the circular Oshman Family Rotunda (the balcony overlooking the Rodin sculptures) and the long H. L. Kwee Galleria (the second-floor passageway adjacent to the main galleries of contemporary art). The show begins at the nexus of both spaces with a hand-painted, lampworked piece from 1995 by Ginny Ruffner. Like many of Ruffner’s sculptures, this one, called \u003cb>Double Dutch\u003c/b>, is built on an open armature of glass, which, in this case, resembles a six-sided diamond pointing up. Attached wherever it seems convenient and aesthetically sensible is a heart, fish hook, picture frame, flower, and pair of frontward and backward capital Ds, whose voids have been filled in with almost naive copies of the couple in the famous Jan van Eyck painting from 1434 called \u003cb>The Arnolfi Portrait\u003c/b>. Never mind that van Eyck was not Dutch; Ruffner is more interested in poetry than precision. The surface of Ruffner’s work is the thing that continues to get me. I just love the way her colors alternately hide or accentuate the sand-pitted surface of her fragile, occasionally unwieldy, forms.\u003c/p>\n\u003cp>Just down the hall is a lovely piece by Richard Royal, who spent a couple of decades (or maybe it just felt like that) as a gaffer on various Chihuly teams. Part of the \u003cb>Relationship Series\u003c/b>, this 1992 work consists of a pair of bowls, one a soft blue, the other an equally quiet green, whose bases, if you can imagine this, are shaped like snaking tails or tendrils. The tails face each other so that one bowl rests on its rim while the other is open at the top. In the middle, simultaneously being caressed by and holding these two mirror images together, is a traditionally shaped purple vase, suspended in space by the embrace of the green and blue tendrils. Like much of Royal’s work, this deceptively simple piece does not call undue attention to itself. Certainly there are countless more fantastic examples of these sorts of snaking shapes, in a shamelessly varied range of colors, up at the de Young, but Royal is not going for volume here. For him, it’s quite enough, thank you, to do one thing with modest perfection.\u003c/p>\n\u003cp>Toward the end of the hall is one of two works in the show by Richard Marquis. This one is a teapot from 1977, which was selected, no doubt, because of Marquis’s use of murrine, which are slender threads of glass that have been collected and then fused to reveal patterns or designs when they are cut into cross sections (picture sushi, with white glass for the rice, purple glass for the tuna, green for the cucumber, etc.) Marquis’s murrine designs lean to hearts, stars, and checkerboards, which he applies to his vessels when they are still hot. As the vessel expands and is deliberately distorted, the murrine become blurry and irregularly shaped, all of which gives the teapot the look of something you might find in the kitchen cupboard of one of the Freak Brothers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other pieces to spend some time with include \u003cb>Yellow and Ferrari Red Palla\u003c/b> by Benjamin Moore, who has also done his time working for Chihuly, and two untitled forms by Lino Tagliapietra, the Venetian master who taught a number of the artists here more than a few of the most important secrets of the Venetian glass trade. Tagliapietra’s pieces, both from 1997, have a mid-century-modern sensibility that’s unique in this group. The pink and blue colors are deliberately dull while the shapes (the blue one is weirdly tall while the pink lozenge-shaped piece feels vaguely feminine) are just plain odd. The vertical black pinstriping on the surfaces of the pieces completes their retro feel, but it’s the surface beneath the surface of these curious objects that catches you by surprise. Using a technique called battuto, Tagliapietra has carved lines resembling the marks for a woodcut into small sections of his pieces. The rest of the surface below the pinstriping has been painstakingly chipped away to give the objects the look of a pair ancient hammered copper urns.\u003c/p>\n\u003cp>The Chihulys in the Rotunda are handsome enough, although by now we have been well trained by the artist to expect a great deal more, as is the \u003cb>Petroglyph Vessel\u003c/b> from 1990 by William Morris (another Chihuly factory alum). But the objects you are most likely to fall in love with are the bowls from 1995 and 2006 by Mary Ann (Toots) Zynsky. Unlike Ruffner, who paints in a fairly traditional manner on her surfaces, Zynsky’s pieces are all paint, built entirely from the wire-like threads of pure colored glass that Marquis and others use to create murrine. Instead of forming her threads into rods that are meant to be sliced, heated, and then expanded, Zynsky works with the threads themselves, painting in three dimensions with their colors and then slumping and fusing her compositions into organic, bowl- or basket-like shapes. Resembling nests created by a bird with a highly developed sense of color and a serious case of obsessive-compulsive disorder, Zynsky’s work remains singular amid the gloss of much contemporary glass. Her pieces don’t shine, but oh how they glow.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Contemporary Glass\u003c/b> runs indefinitely at Cantor Arts Center, Lomita Drive and Museum Way, Stanford. Admission is free; closed Mondays and Tuesdays. For \u003ca href=\"http://museum.stanford.edu\" target=\"offsite\" rel=\"noopener\">information\u003c/a> visit museum.stanford.edu or call 650-723-4177.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1099,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705053021,
"excerpt": "This summer, with little fanfare, the Cantor Arts Center at Stanford University borrowed fewer than 20 rather superb works of \u003cb>Contemporary Glass\u003c/b> from local collections and put on a show.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This summer, with little fanfare, the Cantor Arts Center at Stanford University borrowed fewer than 20 rather superb works of Contemporary Glass from local collections and put on a show.",
"title": "Contemporary Glass at Stanford | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Contemporary Glass at Stanford",
"datePublished": "2008-08-25T14:02:13-07:00",
"dateModified": "2024-01-12T01:50:21-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "contemporary_glass_at_stanford",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/visualarts-review/",
"sticky": false,
"path": "/arts/23258/contemporary_glass_at_stanford",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This summer, with little fanfare, the Cantor Arts Center at Stanford University borrowed fewer than 20 rather superb works of \u003cb>Contemporary Glass\u003c/b> from local collections and put on a show. The reason for this modest endeavor was not to respond to the gargantuan scale of \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=23062\" target=\"offsite\" rel=\"noopener\">Chihuly at the de Young\u003c/a>. Rather, it was to call attention to the connection between Stanford University and the Venetian glass firm of Salviati & Co., whose mosaic murals grace Stanford Memorial Church. Jane Stanford herself gave the Salviati company the commission, for which the Salviati company gave Mrs. Stanford some 200 glass vessels as a thank-you gift.\u003c/p>\n\u003cp>As conceits go, this one’s predictably precious, but Stanford is not the only august institution of higher learning to be somewhat taken with itself, so it’s in good company. More interesting than the self-congratulatory reason for the show is the art and, like it or not, how this exhibition compares to the three-ring circus to the north.\u003c/p>\n\u003cp>The pieces in \u003cb>Contemporary Glass\u003c/b> are displayed in the circular Oshman Family Rotunda (the balcony overlooking the Rodin sculptures) and the long H. L. Kwee Galleria (the second-floor passageway adjacent to the main galleries of contemporary art). The show begins at the nexus of both spaces with a hand-painted, lampworked piece from 1995 by Ginny Ruffner. Like many of Ruffner’s sculptures, this one, called \u003cb>Double Dutch\u003c/b>, is built on an open armature of glass, which, in this case, resembles a six-sided diamond pointing up. Attached wherever it seems convenient and aesthetically sensible is a heart, fish hook, picture frame, flower, and pair of frontward and backward capital Ds, whose voids have been filled in with almost naive copies of the couple in the famous Jan van Eyck painting from 1434 called \u003cb>The Arnolfi Portrait\u003c/b>. Never mind that van Eyck was not Dutch; Ruffner is more interested in poetry than precision. The surface of Ruffner’s work is the thing that continues to get me. I just love the way her colors alternately hide or accentuate the sand-pitted surface of her fragile, occasionally unwieldy, forms.\u003c/p>\n\u003cp>Just down the hall is a lovely piece by Richard Royal, who spent a couple of decades (or maybe it just felt like that) as a gaffer on various Chihuly teams. Part of the \u003cb>Relationship Series\u003c/b>, this 1992 work consists of a pair of bowls, one a soft blue, the other an equally quiet green, whose bases, if you can imagine this, are shaped like snaking tails or tendrils. The tails face each other so that one bowl rests on its rim while the other is open at the top. In the middle, simultaneously being caressed by and holding these two mirror images together, is a traditionally shaped purple vase, suspended in space by the embrace of the green and blue tendrils. Like much of Royal’s work, this deceptively simple piece does not call undue attention to itself. Certainly there are countless more fantastic examples of these sorts of snaking shapes, in a shamelessly varied range of colors, up at the de Young, but Royal is not going for volume here. For him, it’s quite enough, thank you, to do one thing with modest perfection.\u003c/p>\n\u003cp>Toward the end of the hall is one of two works in the show by Richard Marquis. This one is a teapot from 1977, which was selected, no doubt, because of Marquis’s use of murrine, which are slender threads of glass that have been collected and then fused to reveal patterns or designs when they are cut into cross sections (picture sushi, with white glass for the rice, purple glass for the tuna, green for the cucumber, etc.) Marquis’s murrine designs lean to hearts, stars, and checkerboards, which he applies to his vessels when they are still hot. As the vessel expands and is deliberately distorted, the murrine become blurry and irregularly shaped, all of which gives the teapot the look of something you might find in the kitchen cupboard of one of the Freak Brothers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other pieces to spend some time with include \u003cb>Yellow and Ferrari Red Palla\u003c/b> by Benjamin Moore, who has also done his time working for Chihuly, and two untitled forms by Lino Tagliapietra, the Venetian master who taught a number of the artists here more than a few of the most important secrets of the Venetian glass trade. Tagliapietra’s pieces, both from 1997, have a mid-century-modern sensibility that’s unique in this group. The pink and blue colors are deliberately dull while the shapes (the blue one is weirdly tall while the pink lozenge-shaped piece feels vaguely feminine) are just plain odd. The vertical black pinstriping on the surfaces of the pieces completes their retro feel, but it’s the surface beneath the surface of these curious objects that catches you by surprise. Using a technique called battuto, Tagliapietra has carved lines resembling the marks for a woodcut into small sections of his pieces. The rest of the surface below the pinstriping has been painstakingly chipped away to give the objects the look of a pair ancient hammered copper urns.\u003c/p>\n\u003cp>The Chihulys in the Rotunda are handsome enough, although by now we have been well trained by the artist to expect a great deal more, as is the \u003cb>Petroglyph Vessel\u003c/b> from 1990 by William Morris (another Chihuly factory alum). But the objects you are most likely to fall in love with are the bowls from 1995 and 2006 by Mary Ann (Toots) Zynsky. Unlike Ruffner, who paints in a fairly traditional manner on her surfaces, Zynsky’s pieces are all paint, built entirely from the wire-like threads of pure colored glass that Marquis and others use to create murrine. Instead of forming her threads into rods that are meant to be sliced, heated, and then expanded, Zynsky works with the threads themselves, painting in three dimensions with their colors and then slumping and fusing her compositions into organic, bowl- or basket-like shapes. Resembling nests created by a bird with a highly developed sense of color and a serious case of obsessive-compulsive disorder, Zynsky’s work remains singular amid the gloss of much contemporary glass. Her pieces don’t shine, but oh how they glow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Contemporary Glass\u003c/b> runs indefinitely at Cantor Arts Center, Lomita Drive and Museum Way, Stanford. Admission is free; closed Mondays and Tuesdays. For \u003ca href=\"http://museum.stanford.edu\" target=\"offsite\" rel=\"noopener\">information\u003c/a> visit museum.stanford.edu or call 650-723-4177.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23258/contemporary_glass_at_stanford",
"authors": [
"26"
],
"categories": [
"arts_70"
],
"featImg": "arts_10023258",
"label": "arts"
},
"arts_23253": {
"type": "posts",
"id": "arts_23253",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23253",
"score": null,
"sort": [
1219361457000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1219361457,
"format": "standard",
"title": "Eureka!",
"headTitle": "Eureka! | KQED",
"content": "\u003cp>When I was a just a wee seventh-grader, I moved to California from a flatter, less-exciting part of the country. It took about three years for me to stop shrilly exclaiming “Eureka!” every time I passed a highway sign pointing towards that notable city. I now have a great fondness for the word, which was first uttered by Archimedes when he discovered how to calculate the amount of alloy used to water down the gold in a king’s crown. Bet you didn’t know that! I definitely didn’t. Thank you, vast internet of random facts.\u003c/p>\n\u003cp>\u003cb>Eureka!\u003c/b> is the title of the San Jose Institute of Contemporary Art’s current exhibition showcasing a range of talented artists who have all been recipients of the largest cash prize available to artists in the Bay Area. The show’s logo is an apropos series of shiny gold exclamation points. The Eureka Fellowship affords deserving artists the coveted luxury of “uninterrupted creative time” and is awarded to four artists per year by the Fleishacker Foundation, which also supports the SJICA.\u003c/p>\n\u003cp>Like the CliffsNotes for a roster of notable Bay Area artists, the show provides a hint of the artists’ creative capabilities. Envelope-pusher Paul Kos contributed two abstract paintings brought to life through the magic of LCD projectors — a static image of a snowy forest that surprises viewers when a cross-country skier suddenly trudges across the scene.\u003c/p>\n\u003cp>Rigo 23, an artist who frequently changes the number after his name and is known for his \u003ca href=\"http://www.sfmoma.org/education/studio_youth_site/photos/freeMenPh2.jpg\" target=\"offsite\">public art\u003c/a> in San Francisco, offers a large-scale sketch of a 1991 scene in which war protestors caused city officials to shut down the Bay Bridge for two days. This was the first time bridge traffic was stopped due to “unnatural” causes, and Rigo aims to diligently remind us of that historic moment by displaying a book of photocopied newspaper articles alongside the piece.\u003c/p>\n\u003cp>I was most looking forward to seeing new work by Mads Lynnerup, an artist I mentioned last year when I saw his video of a car driving itself at an exhibition called \u003cb>Curious Wonder\u003c/b>. Disappointingly, Lynnerup was showing the exact same video again at the \u003cb>Eureka!\u003c/b> show, but at least I learned that the piece was inspired by the artist’s low-riding neighbors in Oakland. Lynnerup was also showing a collection of framed marker sketches called \u003cb>Drawings of Cars – Looking for a New Vehicle for My Work\u003c/b>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of George Kucher’s no-budget reality films was on view, starring a box of Trader Joe’s chocolates and a blueberry bar from Starbuck’s, which Kucher discusses with disgust as he sips his “diuretic.” The film documents Kucher’s presentation of a screening for a group of friends, whom he addresses sweetly, “Thanks for coming to see our picture. Bless your hearts…all four of them.” Another video artist, Chris Sollars, was showing his film \u003cb>C Red Blue J\u003c/b>, but only the title screen is on view unless it’s Thursday, when viewers can see the entire film. Sollars comes from a politically diverse family who likely inspired his other contribution to \u003cb>Eureka!\u003c/b>, a series of pencil drawings of presidential hopefuls — McCain posing as a shirtless, tattooed rock star and Obama holding an empty cup labeled “Change.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eureka is a well-rounded survey of Bay Area art. Though most of the work isn’t brand new, it is still a nice sample platter of the vivacity that is our local arts scene. See this show before your artsy friend’s next dinner party. \u003cb>Eureka!\u003c/b> is at the San Jose Institute of Contemporary Art through September 20, 2008. For \u003ca href=\"http://www.sjica.org/index.htm\" target=\"offsite\" rel=\"noopener\">more information\u003c/a> visit sjiica.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 646,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705053022,
"excerpt": "When I was a just a wee seventh-grader, I moved to California from a flatter, less-exciting part of the country.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "When I was a just a wee seventh-grader, I moved to California from a flatter, less-exciting part of the country.",
"title": "Eureka! | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Eureka!",
"datePublished": "2008-08-21T16:30:57-07:00",
"dateModified": "2024-01-12T01:50:22-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "eureka",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/visualarts-review/",
"sticky": false,
"path": "/arts/23253/eureka",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I was a just a wee seventh-grader, I moved to California from a flatter, less-exciting part of the country. It took about three years for me to stop shrilly exclaiming “Eureka!” every time I passed a highway sign pointing towards that notable city. I now have a great fondness for the word, which was first uttered by Archimedes when he discovered how to calculate the amount of alloy used to water down the gold in a king’s crown. Bet you didn’t know that! I definitely didn’t. Thank you, vast internet of random facts.\u003c/p>\n\u003cp>\u003cb>Eureka!\u003c/b> is the title of the San Jose Institute of Contemporary Art’s current exhibition showcasing a range of talented artists who have all been recipients of the largest cash prize available to artists in the Bay Area. The show’s logo is an apropos series of shiny gold exclamation points. The Eureka Fellowship affords deserving artists the coveted luxury of “uninterrupted creative time” and is awarded to four artists per year by the Fleishacker Foundation, which also supports the SJICA.\u003c/p>\n\u003cp>Like the CliffsNotes for a roster of notable Bay Area artists, the show provides a hint of the artists’ creative capabilities. Envelope-pusher Paul Kos contributed two abstract paintings brought to life through the magic of LCD projectors — a static image of a snowy forest that surprises viewers when a cross-country skier suddenly trudges across the scene.\u003c/p>\n\u003cp>Rigo 23, an artist who frequently changes the number after his name and is known for his \u003ca href=\"http://www.sfmoma.org/education/studio_youth_site/photos/freeMenPh2.jpg\" target=\"offsite\">public art\u003c/a> in San Francisco, offers a large-scale sketch of a 1991 scene in which war protestors caused city officials to shut down the Bay Bridge for two days. This was the first time bridge traffic was stopped due to “unnatural” causes, and Rigo aims to diligently remind us of that historic moment by displaying a book of photocopied newspaper articles alongside the piece.\u003c/p>\n\u003cp>I was most looking forward to seeing new work by Mads Lynnerup, an artist I mentioned last year when I saw his video of a car driving itself at an exhibition called \u003cb>Curious Wonder\u003c/b>. Disappointingly, Lynnerup was showing the exact same video again at the \u003cb>Eureka!\u003c/b> show, but at least I learned that the piece was inspired by the artist’s low-riding neighbors in Oakland. Lynnerup was also showing a collection of framed marker sketches called \u003cb>Drawings of Cars – Looking for a New Vehicle for My Work\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of George Kucher’s no-budget reality films was on view, starring a box of Trader Joe’s chocolates and a blueberry bar from Starbuck’s, which Kucher discusses with disgust as he sips his “diuretic.” The film documents Kucher’s presentation of a screening for a group of friends, whom he addresses sweetly, “Thanks for coming to see our picture. Bless your hearts…all four of them.” Another video artist, Chris Sollars, was showing his film \u003cb>C Red Blue J\u003c/b>, but only the title screen is on view unless it’s Thursday, when viewers can see the entire film. Sollars comes from a politically diverse family who likely inspired his other contribution to \u003cb>Eureka!\u003c/b>, a series of pencil drawings of presidential hopefuls — McCain posing as a shirtless, tattooed rock star and Obama holding an empty cup labeled “Change.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eureka is a well-rounded survey of Bay Area art. Though most of the work isn’t brand new, it is still a nice sample platter of the vivacity that is our local arts scene. See this show before your artsy friend’s next dinner party. \u003cb>Eureka!\u003c/b> is at the San Jose Institute of Contemporary Art through September 20, 2008. For \u003ca href=\"http://www.sjica.org/index.htm\" target=\"offsite\" rel=\"noopener\">more information\u003c/a> visit sjiica.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23253/eureka",
"authors": [
"16"
],
"categories": [
"arts_70"
],
"featImg": "arts_10023253",
"label": "arts"
},
"arts_23246": {
"type": "posts",
"id": "arts_23246",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23246",
"score": null,
"sort": [
1219358920000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1219358920,
"format": "standard",
"title": "888 Pieces of We",
"headTitle": "888 Pieces of We | KQED",
"content": "\u003cp>Artist Keba Konte, whose exhibit \u003cb>888 Pieces of We\u003c/b> is currently up at the Oakland Art Gallery, describes the work on display as an expression of his journey, a reflection of his life. Pure autobiography. After two years in art school, I find this explanation both refreshing and frustrating. Nobody’s talking about Duchamp, thankfully, but I don’t believe any artist’s work can be adequately explained in terms of their own life story. I find it more worthwhile to discuss this exhibit, featuring 888 photographs transferred onto wood, copper, and other surfaces, in terms of the photographic traditions it both upends and upholds.\u003c/p>\n\u003cp>Nearly 1,000 of Konte’s sculptural images are arranged together like a mosaic on the gallery’s purple and brown walls: faded out afros and wide smiles, tight hugs, dignified poses and youthful antics. A recurring image of a tile with double eights references Konte’s birthday, August 8, a symbol of wealth and abundance. Many images reference photography’s role in everyday life. We see Konte’s school picture from 1979. Each student’s individual head shot is reprinted on a white rectangle in a Brady Bunch-like arrangement of separate squares. School pictures measure the passing of time and become the authoritative records of particular grades. No matter how you changed your hair or lost weight later in the semester, your school picture defines who you were that year.\u003c/p>\n\u003cp>Photo-booth strips, a man holding a manual camera, a kitchen scene with a refrigerator covered with family snapshots further reference the central role photography can play in creating identities and relationships. A photograph transferred onto the back of an ironing board suggests the simultaneity of daily chores and picture-taking. We weren’t paying attention, it was a day like any other, and look there’s a picture of it.\u003c/p>\n\u003cp>As contemporary photography becomes increasingly immaterial, consisting of pixels on a screen or data on a memory card, Konte takes it in the opposite direction. By transferring photographic images onto tactile surfaces, he restores the photograph’s physical presence. There’s an implied reverence in this act, similar to the way that, nowadays, we only print our very favorite photographs, leaving the others for a digital slideshow or deleting them altogether. Konte’s process says something. These moments, in their everyday-ness, in the way they seemed to happen so quickly, were important. How personal they were, how overlooked they might have been. Maybe it is about autobiography after all.\u003c/p>\n\u003cp>\u003cb>888 Pieces of We\u003c/b> is on display at the Oakland Art Gallery through September 8, 2008. The gallery is located at 199 Kahn’s Alley in the Oakland City Center. For more information, call 510.637.0395.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 472,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705053024,
"excerpt": "Artist Keba Konte, whose exhibit \u003cb>888 Pieces of We\u003c/b> is currently up at the Oakland Art Gallery, describes the work on display as an expression of his journey, a reflection of his life.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Artist Keba Konte, whose exhibit 888 Pieces of We is currently up at the Oakland Art Gallery, describes the work on display as an expression of his journey, a reflection of his life.",
"title": "888 Pieces of We | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "888 Pieces of We",
"datePublished": "2008-08-21T15:48:40-07:00",
"dateModified": "2024-01-12T01:50:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "888_pieces_of_we",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/visualarts-review/",
"sticky": false,
"path": "/arts/23246/888_pieces_of_we",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artist Keba Konte, whose exhibit \u003cb>888 Pieces of We\u003c/b> is currently up at the Oakland Art Gallery, describes the work on display as an expression of his journey, a reflection of his life. Pure autobiography. After two years in art school, I find this explanation both refreshing and frustrating. Nobody’s talking about Duchamp, thankfully, but I don’t believe any artist’s work can be adequately explained in terms of their own life story. I find it more worthwhile to discuss this exhibit, featuring 888 photographs transferred onto wood, copper, and other surfaces, in terms of the photographic traditions it both upends and upholds.\u003c/p>\n\u003cp>Nearly 1,000 of Konte’s sculptural images are arranged together like a mosaic on the gallery’s purple and brown walls: faded out afros and wide smiles, tight hugs, dignified poses and youthful antics. A recurring image of a tile with double eights references Konte’s birthday, August 8, a symbol of wealth and abundance. Many images reference photography’s role in everyday life. We see Konte’s school picture from 1979. Each student’s individual head shot is reprinted on a white rectangle in a Brady Bunch-like arrangement of separate squares. School pictures measure the passing of time and become the authoritative records of particular grades. No matter how you changed your hair or lost weight later in the semester, your school picture defines who you were that year.\u003c/p>\n\u003cp>Photo-booth strips, a man holding a manual camera, a kitchen scene with a refrigerator covered with family snapshots further reference the central role photography can play in creating identities and relationships. A photograph transferred onto the back of an ironing board suggests the simultaneity of daily chores and picture-taking. We weren’t paying attention, it was a day like any other, and look there’s a picture of it.\u003c/p>\n\u003cp>As contemporary photography becomes increasingly immaterial, consisting of pixels on a screen or data on a memory card, Konte takes it in the opposite direction. By transferring photographic images onto tactile surfaces, he restores the photograph’s physical presence. There’s an implied reverence in this act, similar to the way that, nowadays, we only print our very favorite photographs, leaving the others for a digital slideshow or deleting them altogether. Konte’s process says something. These moments, in their everyday-ness, in the way they seemed to happen so quickly, were important. How personal they were, how overlooked they might have been. Maybe it is about autobiography after all.\u003c/p>\n\u003cp>\u003cb>888 Pieces of We\u003c/b> is on display at the Oakland Art Gallery through September 8, 2008. The gallery is located at 199 Kahn’s Alley in the Oakland City Center. For more information, call 510.637.0395.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23246/888_pieces_of_we",
"authors": [
"34"
],
"categories": [
"arts_70"
],
"featImg": "arts_10023246",
"label": "arts"
},
"arts_10303072": {
"type": "posts",
"id": "arts_10303072",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10303072",
"score": null,
"sort": [
1218921600000
]
},
"guestAuthors": [],
"slug": "there-new-oakland-art-at-the-di-rosa-preserve",
"title": "There! New Oakland Art at the di Rosa Preserve",
"publishDate": 1218921600,
"format": "video",
"headTitle": "There! New Oakland Art at the di Rosa Preserve | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>In August 2008 \u003ci>Gallery Crawl\u003c/i> visits the di Rosa Preserve in Napa Valley, checking out selections from the preserve’s permanent collection of Bay Area art, and highlights from \u003cem>THERE! NEW ART FROM OAKLAND\u003c/em>, the current exhibition at the Gatehouse Gallery. While there, we took a peek at Rene di Rosa’s killer Bay Area art collection. \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/dirosa_edguide.pdf\">Download educator guide\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "In August 2008 \u003ci>Gallery Crawl\u003c/i> visits the di Rosa Preserve in Napa Valley, checking out selections from the preserve's permanent collection of Bay Area art, and highlights from \u003cem>THERE! NEW ART FROM OAKLAND\u003c/em>, the current exhibition at the Gatehouse Gallery. While there, we took a peek at Rene di Rosa's killer Bay Area art collection.",
"status": "publish",
"parent": 0,
"modified": 1742415350,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 3,
"wordCount": 65
},
"headData": {
"title": "There! New Oakland Art at the di Rosa Preserve | KQED",
"description": "In August 2008 Gallery Crawl visits the di Rosa Preserve in Napa Valley, checking out selections from the preserve's permanent collection of Bay Area art, and highlights from THERE! NEW ART FROM OAKLAND, the current exhibition at the Gatehouse Gallery. While there, we took a peek at Rene di Rosa's killer Bay Area art collection.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "There! New Oakland Art at the di Rosa Preserve",
"datePublished": "2008-08-16T14:20:00-07:00",
"dateModified": "2025-03-19T13:15:50-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"videoEmbed": "http://youtu.be/Qd7gpsK7uTU",
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/10303072/there-new-oakland-art-at-the-di-rosa-preserve",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In August 2008 \u003ci>Gallery Crawl\u003c/i> visits the di Rosa Preserve in Napa Valley, checking out selections from the preserve’s permanent collection of Bay Area art, and highlights from \u003cem>THERE! NEW ART FROM OAKLAND\u003c/em>, the current exhibition at the Gatehouse Gallery. While there, we took a peek at Rene di Rosa’s killer Bay Area art collection. \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/dirosa_edguide.pdf\">Download educator guide\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10303072/there-new-oakland-art-at-the-di-rosa-preserve",
"authors": [
"8"
],
"categories": [
"arts_70"
],
"tags": [
"arts_2225"
],
"featImg": "arts_10303074",
"label": "arts"
},
"arts_23132": {
"type": "posts",
"id": "arts_23132",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23132",
"score": null,
"sort": [
1217714084000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1217714084,
"format": "standard",
"title": "1000 Journals",
"headTitle": "1000 Journals | KQED",
"content": "\u003cp>\u003cb>1000 Journals\u003c/b>, unlike most films about art and artists, has little interest in probing the mysterious process of creation. Beginning in San Francisco and spiraling outward, this globetrotting documentary is rather an investigation into the nature of community in the digital, globalized age.\u003c/p>\n\u003cp>If that sounds like an impossible topic to get one’s arms around in 88 minutes, you’d be right. Wisely, filmmaker Andrea Kreuzhage eschews overarching generalizations, grandiose platitudes and trendy hipness in favor of a handful of thought-provoking kernels. The downside, though, is those flashes of insight may speak more directly to artists than to the rest of us. That niche audience will certainly have more patience for the obsessive and self-indulgent artistes who pop up in the film with some regularity.\u003c/p>\n\u003cp>\u003cb>1000 Journals\u003c/b>, which had its local premiere at the S.F. International Film Festival, was inspired by \u003cb>The 1000 Journals Project\u003c/b>. A local graphic artist with the pseudonym Someguy conceived and executed the idea of spreading a thousand blank journals around the world. His intention was that they be passed from hand to hand with people contributing text, drawings, collage, and detritus (to name just the most obvious forms of expression). Someguy created a Web site to display scanned pages from the journals still out in the wild (so to speak); as word spread, the site allowed people who wished to participate in the project to sign up for a book.\u003c/p>\n\u003cp>Someguy instructed that the completed journals be sent to his San Francisco abode but — here’s the rub — only one made its way back to him in three years. Kreuzhage, a German expatriate who’d been working in L.A. for the last several years, set out to locate at least a few of the vanished 999.\u003c/p>\n\u003cp>The beautifully photographed documentary has the air of an existential thriller at the outset, and early on Kreuzhage unearths some unexpected emotional territory. In Toronto, a few contributors acknowledge the heavy responsibility that ascribes to anyone in possession of a journal. A key obligation, they assert, is passing the book on to the next person in a timely fashion. A splash of guilt washes briefly over the film; that guilt is amusingly channeled during the end credits to the reprobates in the viewing audience who are Bogarting a journal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another responsibility that some contributors take very seriously and others disdain is leaving previous entries intact. Two cocky girls in Adelaide, Australia, have no compunction about “improving” the chronic bad taste that mars the journal that comes into their possession. Are they merely expressing their own artistic impulses, or stomping on the concept of collaboration and dumping on the idea of community? I wonder if the artists in the crowd will answer differently than the “civilians.”\u003c/p>\n\u003cp>To me, a journal evokes diary, confession and sidewalk philosophy. No doubt because I’m a writer, and not an artist, I’m disappointed that \u003cb>1000 Journals\u003c/b> minimizes text entries in favor of an array of flamboyant artwork culled from the pages of the journals. Movies are a visual medium, of course, so it makes a certain sense. But I find the anonymous confidings of an anonymous individual, alive on the planet at the same instant as I but far, far away, more touching and direct than a lush bricolage.\u003c/p>\n\u003cp>That said, the film addresses the randomness of \u003cb>The 1000 Journals Project\u003c/b> from a couple of different angles, notably through the impact that one person’s art has on a subsequent recipient/contributor of the journal. (These cases qualify for adjudication under the Law of Unintended Consequences.) The first time I saw the documentary, I experienced the magic and charm of random acts of journal-ism. But when I revisited the film a second time, some three months later, it felt shallower and more disjointed, with the variety of interviewees and experiences reflecting individual personalities rather than representing entry points to an invisible global community.\u003c/p>\n\u003cp>And yet, even if \u003cb>1000 Journals\u003c/b> is not as profound as it would like to be, it suggests that the human impulse to imagine — if not create — a utopia is still alive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>1000 Journals\u003c/b> is now playing at the Roxie Theater in San Francisco.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 717,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705053045,
"excerpt": "\u003cb>1000 Journals\u003c/b>, unlike most films about art and artists, has little interest in probing the mysterious process of creation.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "1000 Journals, unlike most films about art and artists, has little interest in probing the mysterious process of creation.",
"title": "1000 Journals | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "1000 Journals",
"datePublished": "2008-08-02T14:54:44-07:00",
"dateModified": "2024-01-12T01:50:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "1000_journals",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/23132/1000_journals",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>1000 Journals\u003c/b>, unlike most films about art and artists, has little interest in probing the mysterious process of creation. Beginning in San Francisco and spiraling outward, this globetrotting documentary is rather an investigation into the nature of community in the digital, globalized age.\u003c/p>\n\u003cp>If that sounds like an impossible topic to get one’s arms around in 88 minutes, you’d be right. Wisely, filmmaker Andrea Kreuzhage eschews overarching generalizations, grandiose platitudes and trendy hipness in favor of a handful of thought-provoking kernels. The downside, though, is those flashes of insight may speak more directly to artists than to the rest of us. That niche audience will certainly have more patience for the obsessive and self-indulgent artistes who pop up in the film with some regularity.\u003c/p>\n\u003cp>\u003cb>1000 Journals\u003c/b>, which had its local premiere at the S.F. International Film Festival, was inspired by \u003cb>The 1000 Journals Project\u003c/b>. A local graphic artist with the pseudonym Someguy conceived and executed the idea of spreading a thousand blank journals around the world. His intention was that they be passed from hand to hand with people contributing text, drawings, collage, and detritus (to name just the most obvious forms of expression). Someguy created a Web site to display scanned pages from the journals still out in the wild (so to speak); as word spread, the site allowed people who wished to participate in the project to sign up for a book.\u003c/p>\n\u003cp>Someguy instructed that the completed journals be sent to his San Francisco abode but — here’s the rub — only one made its way back to him in three years. Kreuzhage, a German expatriate who’d been working in L.A. for the last several years, set out to locate at least a few of the vanished 999.\u003c/p>\n\u003cp>The beautifully photographed documentary has the air of an existential thriller at the outset, and early on Kreuzhage unearths some unexpected emotional territory. In Toronto, a few contributors acknowledge the heavy responsibility that ascribes to anyone in possession of a journal. A key obligation, they assert, is passing the book on to the next person in a timely fashion. A splash of guilt washes briefly over the film; that guilt is amusingly channeled during the end credits to the reprobates in the viewing audience who are Bogarting a journal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another responsibility that some contributors take very seriously and others disdain is leaving previous entries intact. Two cocky girls in Adelaide, Australia, have no compunction about “improving” the chronic bad taste that mars the journal that comes into their possession. Are they merely expressing their own artistic impulses, or stomping on the concept of collaboration and dumping on the idea of community? I wonder if the artists in the crowd will answer differently than the “civilians.”\u003c/p>\n\u003cp>To me, a journal evokes diary, confession and sidewalk philosophy. No doubt because I’m a writer, and not an artist, I’m disappointed that \u003cb>1000 Journals\u003c/b> minimizes text entries in favor of an array of flamboyant artwork culled from the pages of the journals. Movies are a visual medium, of course, so it makes a certain sense. But I find the anonymous confidings of an anonymous individual, alive on the planet at the same instant as I but far, far away, more touching and direct than a lush bricolage.\u003c/p>\n\u003cp>That said, the film addresses the randomness of \u003cb>The 1000 Journals Project\u003c/b> from a couple of different angles, notably through the impact that one person’s art has on a subsequent recipient/contributor of the journal. (These cases qualify for adjudication under the Law of Unintended Consequences.) The first time I saw the documentary, I experienced the magic and charm of random acts of journal-ism. But when I revisited the film a second time, some three months later, it felt shallower and more disjointed, with the variety of interviewees and experiences reflecting individual personalities rather than representing entry points to an invisible global community.\u003c/p>\n\u003cp>And yet, even if \u003cb>1000 Journals\u003c/b> is not as profound as it would like to be, it suggests that the human impulse to imagine — if not create — a utopia is still alive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>1000 Journals\u003c/b> is now playing at the Roxie Theater in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23132/1000_journals",
"authors": [
"22"
],
"categories": [
"arts_70"
],
"featImg": "arts_10023132",
"label": "arts"
},
"arts_23110": {
"type": "posts",
"id": "arts_23110",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23110",
"score": null,
"sort": [
1216952269000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1216952269,
"format": "standard",
"title": "Insider/Outsider",
"headTitle": "Insider/Outsider | KQED",
"content": "\u003cp>My friend can’t figure out where he belongs — there or here. He grew up on the East Coast, but now lives on the west one. Sometimes he asks me, “Which is home?” Sometimes he sounds desperate, scared that if he doesn’t belong in one place he must not belong anywhere. But I’ve thought about it, and I think he’s wrong. I think we carry the places we’ve been to the places we go, and that we are never merely in one place at a time; we are in many. Geography never contains us.\u003c/p>\n\u003cp>I’ve given him advice on his dilemma, but it doesn’t work. Still, in one last attempt, I told him to visit the current exhibit at Root Division. \u003cb>Insider/Outsider\u003c/b> consists of work by sixteen artists who are first- or second-generation immigrants to the United States. Their paintings, illustrations, videos, and sculptures depict their experience of displacement as well as their search for an ever-elusive “home.” Proceeding from a place of fractured citizenship, the artists give definition to the ambiguous territory that exists between there and here. The work might give my friend hope; it suggests that “in-between” can be a place in itself.\u003c/p>\n\u003cp>Juan Carlos Quintana’s paintings use American and Cuban iconography to produce a sense of “ambivalent nostalgia.” Rendering pop-culture images in faded carnival hues — cowboys and clown shoes, Pinnochio, the Tin Woodsman, and Mickey Mouse — Quintana emphasizes the supposedly wholesome icons’ menacing qualities. Mickey’s head is on the woodsman’s body; noses and eyes are erased. The line between monster and cartoon character blurs. \u003cb>Adventures of an Island Boy\u003c/b> depicts a classic cartoon desert island, hammock strung between two palm trees. An oversized figure dwarfs the scene, out of proportion with the pile of sand on which he stands. A Cuban-American, Quintana uses imagery to point to the absurdity of this caricature, revealing the racist and imperialist currents running through American depictions of island locales.\u003c/p>\n\u003cp>Dianna Guerrero’s mixed-media installation, \u003cb>What Niven’s Left Behind\u003c/b>, exposes the compromised conditions in which many immigrants to the United States live and work. The title refers to Niven Nursery, a garden center in Marin County where the artist’s father was employed. A migrant worker, he was exposed to pesticides on the job and died of stomach cancer. Rows and rows of plant markers, three- by one-inch tags that often detail a plant’s optimal conditions, are pressed into a wall of plastic. But the white tags look like hospital bracelets. Intentional or not, the visual allusion references the way workers’ health is routinely sacrificed for plants’ well-being.\u003c/p>\n\u003cp>Born and raised in suburban California, I couldn’t help but identify with David Yun’s \u003cb>A Taste of Home\u003c/b>. The seven-minute video chronicles the artist’s return to his childhood home of Livonia, Michigan, made after his mother becomes terminally ill. Yun’s voice narrates his return to this small, overwhelmingly white, suburban town. When his mother says, “Welcome home,” he replies, “This hasn’t been home in years.” In college on the East Coast, he told people he was from Detroit, even though Livonia is nothing like Detroit. Livonia is just so unpleasant to say, he explains.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His monologue plays over images of a Midwestern nowhere — American flags blowing beside busy streets, leaves in a parking lot, an open sky gridded with power lines, cars passing on a night highway. Supposed place-markers, the store signs and municipal buildings provide no orientation. We could be anywhere; we could be nowhere. The film ends with a realization of sorts, as Yun speaks to his mother’s memory. “My home is you, me, Michelle, Chris, Dad,” he says. “Now you are gone, I’m homeless.”\u003c/p>\n\u003cp>Yun’s work provides the show’s closest thing to a resolution: home is not composed of geographic coordinates, but of memories and relationships. I would tell this to my friend, the one who lives in San Francisco and searches for jobs in New York, if I thought it would help. He’s already home, I would say, he just doesn’t know it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Insider/Outsider\u003c/b> is on display at Root Division, located at 3175 17th St., San Francisco, through Tuesday, July 29, 2008. For more information, call 415-863-7668.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 774,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705053050,
"excerpt": "My friend can't figure out where he belongs -- there or here. He grew up on the East Coast, but now lives on the west one. Sometimes he asks me, \"Which is home?\" ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "My friend can't figure out where he belongs -- there or here. He grew up on the East Coast, but now lives on the west one. Sometimes he asks me, "Which is home?" ",
"title": "Insider/Outsider | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Insider/Outsider",
"datePublished": "2008-07-24T19:17:49-07:00",
"dateModified": "2024-01-12T01:50:50-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "insideroutsider",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/visualarts-review/",
"sticky": false,
"path": "/arts/23110/insideroutsider",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My friend can’t figure out where he belongs — there or here. He grew up on the East Coast, but now lives on the west one. Sometimes he asks me, “Which is home?” Sometimes he sounds desperate, scared that if he doesn’t belong in one place he must not belong anywhere. But I’ve thought about it, and I think he’s wrong. I think we carry the places we’ve been to the places we go, and that we are never merely in one place at a time; we are in many. Geography never contains us.\u003c/p>\n\u003cp>I’ve given him advice on his dilemma, but it doesn’t work. Still, in one last attempt, I told him to visit the current exhibit at Root Division. \u003cb>Insider/Outsider\u003c/b> consists of work by sixteen artists who are first- or second-generation immigrants to the United States. Their paintings, illustrations, videos, and sculptures depict their experience of displacement as well as their search for an ever-elusive “home.” Proceeding from a place of fractured citizenship, the artists give definition to the ambiguous territory that exists between there and here. The work might give my friend hope; it suggests that “in-between” can be a place in itself.\u003c/p>\n\u003cp>Juan Carlos Quintana’s paintings use American and Cuban iconography to produce a sense of “ambivalent nostalgia.” Rendering pop-culture images in faded carnival hues — cowboys and clown shoes, Pinnochio, the Tin Woodsman, and Mickey Mouse — Quintana emphasizes the supposedly wholesome icons’ menacing qualities. Mickey’s head is on the woodsman’s body; noses and eyes are erased. The line between monster and cartoon character blurs. \u003cb>Adventures of an Island Boy\u003c/b> depicts a classic cartoon desert island, hammock strung between two palm trees. An oversized figure dwarfs the scene, out of proportion with the pile of sand on which he stands. A Cuban-American, Quintana uses imagery to point to the absurdity of this caricature, revealing the racist and imperialist currents running through American depictions of island locales.\u003c/p>\n\u003cp>Dianna Guerrero’s mixed-media installation, \u003cb>What Niven’s Left Behind\u003c/b>, exposes the compromised conditions in which many immigrants to the United States live and work. The title refers to Niven Nursery, a garden center in Marin County where the artist’s father was employed. A migrant worker, he was exposed to pesticides on the job and died of stomach cancer. Rows and rows of plant markers, three- by one-inch tags that often detail a plant’s optimal conditions, are pressed into a wall of plastic. But the white tags look like hospital bracelets. Intentional or not, the visual allusion references the way workers’ health is routinely sacrificed for plants’ well-being.\u003c/p>\n\u003cp>Born and raised in suburban California, I couldn’t help but identify with David Yun’s \u003cb>A Taste of Home\u003c/b>. The seven-minute video chronicles the artist’s return to his childhood home of Livonia, Michigan, made after his mother becomes terminally ill. Yun’s voice narrates his return to this small, overwhelmingly white, suburban town. When his mother says, “Welcome home,” he replies, “This hasn’t been home in years.” In college on the East Coast, he told people he was from Detroit, even though Livonia is nothing like Detroit. Livonia is just so unpleasant to say, he explains.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His monologue plays over images of a Midwestern nowhere — American flags blowing beside busy streets, leaves in a parking lot, an open sky gridded with power lines, cars passing on a night highway. Supposed place-markers, the store signs and municipal buildings provide no orientation. We could be anywhere; we could be nowhere. The film ends with a realization of sorts, as Yun speaks to his mother’s memory. “My home is you, me, Michelle, Chris, Dad,” he says. “Now you are gone, I’m homeless.”\u003c/p>\n\u003cp>Yun’s work provides the show’s closest thing to a resolution: home is not composed of geographic coordinates, but of memories and relationships. I would tell this to my friend, the one who lives in San Francisco and searches for jobs in New York, if I thought it would help. He’s already home, I would say, he just doesn’t know it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Insider/Outsider\u003c/b> is on display at Root Division, located at 3175 17th St., San Francisco, through Tuesday, July 29, 2008. For more information, call 415-863-7668.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23110/insideroutsider",
"authors": [
"34"
],
"categories": [
"arts_70"
],
"featImg": "arts_10023110",
"label": "arts"
},
"arts_23062": {
"type": "posts",
"id": "arts_23062",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23062",
"score": null,
"sort": [
1216673404000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1216673404,
"format": "standard",
"title": "Chihuly at the de Young",
"headTitle": "Chihuly at the de Young | KQED",
"content": "\u003cp>In the darkened exhibition galleries deep within the de Young Museum, Dale Chihuly has installed an enchanted candy forest. With the help of other glass art masters, the Chihuly factory filled eleven galleries with an incredibly showy collection of sculptures and installations spanning more than thirty years. If you like color and candy, the art might make you salivate.\u003c/p>\n\u003cp>The sculptures are lit with neon and other luminescent elements. Many hold the shape of the usual glass suspects — vessels and flowers — while others are more unusually shaped like sea anemones and speckled balls but are still similar to things you might find in a garden décor catalogue. More breathtaking are the less utilitarian displays. Viewing an installation of tall violet glass stems piercing perfect, horizontal tree trunks felt like standing near a cool river in a petrified futuristic forest. Old rowboats overflowing with deluxe glass candy were like a child’s sugar shock fantasy come true. It would be surprising if the de Young has not yet seen a kid try to lick one of these objets d’art.\u003c/p>\n\u003cp>Speaking of art objects, \u003ca href=\"http://www.sfgate.com/cgibin/article.cgi?f=/c/a/2008/07/05/DD9811I6MN.DTL&type=art\" target=\"offsite\">The Chronicle’s\u003c/a>Kenneth Baker says that is not what Chihuly makes, calling the work “decoration” with a lack of “intellectual content.” Despite the sculptures’ brilliant, glorified rainbow beauty, he says they have no place in a museum. But if a person wakes up one morning and decides he’ll use all three hundred colors in his studio and meticulously does so without repeating the same combination of hues to create a collection of otherworldly bowls, he’s an artist in my mind — not just in his technique but in his undying obsession with color and his persistence in production. Yes, the fact that Chihuly has a team that produces these objects makes me question his artistic integrity. But Richard Serra doesn’t single-handedly shape ten-ton hunks of steel, and Christo and Jean Claude didn’t hang each of the orange fabric flags of \u003ca href=\"http://en.wikipedia.org/wiki/The_Gates\" target=\"offsite\" rel=\"noopener\">The Gates\u003c/a> by themselves either. Sol Lewitt passed away last year, but a team of professional artists is drawing his retrospective right now. Jeff Koons has ninety employees producing his sculptures and paintings, but just like any other profession, the top banana always gets to slap his own label on other people’s efforts.\u003c/p>\n\u003cp>The final installation of \u003cb>Chihuly at the de Young\u003c/b> was just like the grand finale of a fireworks display — every color, shape, and wow-factor is employed, and your mind gets blown. It’s loud, it’s bright, it’s glorious, it’s the end of the show. Now go buy some souvenirs. Though my jury is still out on Chihuly’s place in the art world, this exhibition did make me think. It made my mind race with questions: How much bubble wrap is needed to ship an enormous vase holding a glass Venus flytrap? Is Chihuly a pirate? His eye-patch may be due to a car accident, but his boatloads of glimmering treasure have to make you wonder. It’s actually more likely that Chihuly is a cousin of Willy Wonka and borrows the Oompa Loompas. What would a lickable Chihuly sculpture taste like? How many flavors would his art come in? I was disappointed to find that the gift shop was not selling swirly snozzberry Chihuly lollipops.\u003c/p>\n\u003cp>If you plan to skip this exhibition or wish to ruin the surprise, \u003ca href=\"http://www.flickr.com/photos/8837740@N04/sets/72157606268966079/\" target=\"offsite\" rel=\"noopener\">check out my photos\u003c/a> on Flickr, including one of the outdoor \u003cb>Saffron Tower\u003c/b> of glowing glass spaghetti in the museum’s garden as seen from far away on the \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2686253166/\" target=\"offsite\" rel=\"noopener\">viewpoint\u003c/a> above Sunset Heights.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Chihuly at the de Young\u003c/b> and other site-specific installations at the Legion of Honor are on view through September 28, 2008. The documentary \u003cb>Chihuly in the Hotshop\u003c/b> will air on KQED HD August 11, 2008 at 9pm and August 17 at noon, and on KQED LIFE (Comcast cable channel 189) August 17 at 7pm.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 682,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705053061,
"excerpt": "In the darkened exhibition galleries deep within the de Young Museum, Dale Chihuly has installed an enchanted candy forest. If you like color and candy, the art might make you salivate.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In the darkened exhibition galleries deep within the de Young Museum, Dale Chihuly has installed an enchanted candy forest. If you like color and candy, the art might make you salivate.",
"title": "Chihuly at the de Young | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Chihuly at the de Young",
"datePublished": "2008-07-21T13:50:04-07:00",
"dateModified": "2024-01-12T01:51:01-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "chihuly_at_the_de_young",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/visualarts-review/",
"sticky": false,
"path": "/arts/23062/chihuly_at_the_de_young",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the darkened exhibition galleries deep within the de Young Museum, Dale Chihuly has installed an enchanted candy forest. With the help of other glass art masters, the Chihuly factory filled eleven galleries with an incredibly showy collection of sculptures and installations spanning more than thirty years. If you like color and candy, the art might make you salivate.\u003c/p>\n\u003cp>The sculptures are lit with neon and other luminescent elements. Many hold the shape of the usual glass suspects — vessels and flowers — while others are more unusually shaped like sea anemones and speckled balls but are still similar to things you might find in a garden décor catalogue. More breathtaking are the less utilitarian displays. Viewing an installation of tall violet glass stems piercing perfect, horizontal tree trunks felt like standing near a cool river in a petrified futuristic forest. Old rowboats overflowing with deluxe glass candy were like a child’s sugar shock fantasy come true. It would be surprising if the de Young has not yet seen a kid try to lick one of these objets d’art.\u003c/p>\n\u003cp>Speaking of art objects, \u003ca href=\"http://www.sfgate.com/cgibin/article.cgi?f=/c/a/2008/07/05/DD9811I6MN.DTL&type=art\" target=\"offsite\">The Chronicle’s\u003c/a>Kenneth Baker says that is not what Chihuly makes, calling the work “decoration” with a lack of “intellectual content.” Despite the sculptures’ brilliant, glorified rainbow beauty, he says they have no place in a museum. But if a person wakes up one morning and decides he’ll use all three hundred colors in his studio and meticulously does so without repeating the same combination of hues to create a collection of otherworldly bowls, he’s an artist in my mind — not just in his technique but in his undying obsession with color and his persistence in production. Yes, the fact that Chihuly has a team that produces these objects makes me question his artistic integrity. But Richard Serra doesn’t single-handedly shape ten-ton hunks of steel, and Christo and Jean Claude didn’t hang each of the orange fabric flags of \u003ca href=\"http://en.wikipedia.org/wiki/The_Gates\" target=\"offsite\" rel=\"noopener\">The Gates\u003c/a> by themselves either. Sol Lewitt passed away last year, but a team of professional artists is drawing his retrospective right now. Jeff Koons has ninety employees producing his sculptures and paintings, but just like any other profession, the top banana always gets to slap his own label on other people’s efforts.\u003c/p>\n\u003cp>The final installation of \u003cb>Chihuly at the de Young\u003c/b> was just like the grand finale of a fireworks display — every color, shape, and wow-factor is employed, and your mind gets blown. It’s loud, it’s bright, it’s glorious, it’s the end of the show. Now go buy some souvenirs. Though my jury is still out on Chihuly’s place in the art world, this exhibition did make me think. It made my mind race with questions: How much bubble wrap is needed to ship an enormous vase holding a glass Venus flytrap? Is Chihuly a pirate? His eye-patch may be due to a car accident, but his boatloads of glimmering treasure have to make you wonder. It’s actually more likely that Chihuly is a cousin of Willy Wonka and borrows the Oompa Loompas. What would a lickable Chihuly sculpture taste like? How many flavors would his art come in? I was disappointed to find that the gift shop was not selling swirly snozzberry Chihuly lollipops.\u003c/p>\n\u003cp>If you plan to skip this exhibition or wish to ruin the surprise, \u003ca href=\"http://www.flickr.com/photos/8837740@N04/sets/72157606268966079/\" target=\"offsite\" rel=\"noopener\">check out my photos\u003c/a> on Flickr, including one of the outdoor \u003cb>Saffron Tower\u003c/b> of glowing glass spaghetti in the museum’s garden as seen from far away on the \u003ca href=\"http://www.flickr.com/photos/8837740@N04/2686253166/\" target=\"offsite\" rel=\"noopener\">viewpoint\u003c/a> above Sunset Heights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Chihuly at the de Young\u003c/b> and other site-specific installations at the Legion of Honor are on view through September 28, 2008. The documentary \u003cb>Chihuly in the Hotshop\u003c/b> will air on KQED HD August 11, 2008 at 9pm and August 17 at noon, and on KQED LIFE (Comcast cable channel 189) August 17 at 7pm.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23062/chihuly_at_the_de_young",
"authors": [
"16"
],
"categories": [
"arts_70"
],
"featImg": "arts_10023062",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=visualarts": {
"isFetching": false,
"latestQuery": {
"from": 2364,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2478,
"relation": "eq"
},
"items": [
"arts_23439",
"arts_23424",
"arts_10303068",
"arts_23331",
"arts_23325",
"arts_23258",
"arts_23253",
"arts_23246",
"arts_10303072",
"arts_23132",
"arts_23110",
"arts_23062"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_visualarts": {
"isLoading": true
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_2225": {
"type": "terms",
"id": "arts_2225",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2225",
"found": true
},
"relationships": {},
"featImg": null,
"name": "di Rosa",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "di Rosa Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2237,
"slug": "di-rosa",
"isLoading": false,
"link": "/arts/tag/di-rosa"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
