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"content": "\u003cp>On the 10th day, after creating the mountain goat, elephants, pelicans, a rhinoceros and a gorilla, among other animals, Banksy rested.\u003c/p>\n\u003cp>The elusive street artist’s menagerie that appeared around London over nine consecutive days apparently came to a conclusion after a final mural surprised staff who arrived early to feed the animals Tuesday at the London Zoo.\u003c/p>\n\u003cp>[aside postid='arts_13925194']There was nothing new posted Wednesday on the artist’s website or his Instagram page, where his avid fans typically learn of his recent work. Those who live close enough often rush out to view it and snap photos — sometimes before it can be snapped up.\u003c/p>\n\u003cp>The zoo mural depicting a gorilla lifting up the entrance gate as birds took flight, a sea lion waddled away and three sets of eyes peered out from the darkness inside, was the last in the series, the BBC reported. A spokesperson for Banksy did not return multiple messages by The Associated Press.\u003c/p>\n\u003cp>Fans of the artist, whose real identity is not known, continued to debate the meanings of the paintings online. Some suggested the animals represented people and that the murals spoke to the Israel-Palestinian war. Others said they referred to the recent riots in Britain blamed on the far-right.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/WUTangKids/status/1821885856325472442\u003c/p>\n\u003cp>Banksy, who has been known to advocate for human and animal rights, could have been suggesting the creatures needed to be liberated from incarceration, some said. Others suggested more innocent whimsy: the final painting was the big reveal of where all those other animals came from.\u003c/p>\n\u003cp>Jasper Tordoff, the Banksy expert at MyArtBroker, said there had been a theory as the number of animals multiplied successively from one to two to three in the first works that the artist was creating a Noah’s Ark theme that mirrored his previous religious satire. But that theory seemed shot when the fourth work was a lone wolf that “came out of nowhere,” he said.\u003c/p>\n\u003cp>[aside postid='arts_13887999']Banksy’s art is often pointedly political and Tordoff said these recent murals, created using stencils and spray paint, are clever but simple works that are meant to be fun. The artist’s company told the Observer that the series was meant to bring some joy during a period of dark news.\u003c/p>\n\u003cp>But Tordoff said Banksy may be making a commentary on human nature and the desire for possessions as at least one of the works has been stolen and others moved to preserve them.\u003c/p>\n\u003cp>“We’re in this pantomime of Banksy. We’re part of this installation in a way,” Tordoff said. “Banksy undoubtedly knew that all of this would be covered with photographs and CCTV about what the public reaction is, and that might be part of it, because that’s been just as entertaining in my view.”\u003c/p>\n\u003cp>Here’s a look at the nine works that were mostly painted as silhouettes:\u003c/p>\n\u003cp>— Aug. 5: A mountain goat perched on a narrow building buttress and looking down as crumbling rocks appear to fall in west London.\u003c/p>\n\u003cp>— Aug. 6: Two elephants painted on boarded-up windows on the side of a rowhouse in Chelsea face each other and reach out with their trunks. Followers on Instagram suggest they are the proverbial “elephants in the room” — that can’t be missed but no one wants to discuss them.\u003c/p>\n\u003cp>— Aug. 7: Three monkeys swing and hang on the side of a railway bridge in east London. Some fans say they represent the “see no, hear no, speak no evil” wise monkeys from ancient Japan.\u003c/p>\n\u003cp>https://twitter.com/mark_samuels/status/1821220436337730012\u003c/p>\n\u003cp>— Aug. 8: A lone howling wolf on a satellite dish breaks up what had appeared to be an ascending sequence of animals. The dish art had a short shelf life as masked men showed up with a ladder and climbed up on the roof above a storefront in south London, removed it and ran away.\u003c/p>\n\u003cp>— Aug. 9: Two pelicans were painted perched on the sign for a fish and chip shop in northeast London. One of the birds has its beak pointed upward and is catching a fish in its big mouth while the second one appears to be snapping up a fish that is part of the sign. The owners of the shop, which is closed until September, said on Instagram that it was “over the moon” Banksy decorated their shop. “Contrary to some beliefs, we didn’t ask him to do this, but are very grateful he did!” Bonners Fish Bar wrote.\u003c/p>\n\u003cp>— Aug. 10: A big cat stretches out on a dilapidated plywood billboard in north London. Crowds that had gathered to see it booed as contractors arrived to remove it for security reasons.\u003c/p>\n\u003cp>https://twitter.com/MyKindofLondon/status/1822663568807923715\u003c/p>\n\u003cp>— Aug. 11: The windows of a small police guard post were painted with a circling school of piranhas so that it appeared to look like a fish tank. This is the only work in the series painted in color. The sentry box near the Old Bailey criminal courthouse was taken to City of London corporate offices to protect it, a spokesperson said. 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"content": "\u003cp>Even while she dreamed of numbers at her job in corporate tech, Nadia Elgan would fawn over elegant hand-poured ceramics. On her honeymoon in Cuba, she made her husband take her to all the local pottery studios they passed. And after her daughter was born, something in her succumbed to that desire to make something with her hands. Her first time at the wheel while on a ceramics studio date night sealed the deal: It was love at first touch.\u003c/p>\n\u003cfigure id=\"attachment_13962376\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13962376\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-1020x1530.jpg\" alt=\"A ceramicist in a pink jumpsuit poses for a portrait while looking down at a large pink bowl.\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-scaled.jpg 1707w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Palestinian Filipina ceramicist Nadia Elgan left a career in corporate tech to start her own ceramics studio. \u003ccite>(Céline Steen, courtesy of Habibi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now throwing at her own studio, \u003ca href=\"https://habibiceramics.com/\">Habibi Ceramics\u003c/a>, the Campbell-based Palestinian Filipina ceramicist — “Pali-Pina” as she describes herself — has designed cups and plates for popular Bay Area restaurants and cafes like \u003ca href=\"https://www.instagram.com/reemscalifornia/\">Reem’s\u003c/a> and \u003ca href=\"https://www.thecaffeoak.com/\">the Caffè by Mr. Espresso\u003c/a>.\u003c/p>\n\u003cp>Lately, Elgan’s art has turned toward Gaza.\u003c/p>\n\u003cp>In June, she released her \u003ca href=\"https://www.instagram.com/p/C78ongDuU6o/\">Falastin series\u003c/a> at West Coast Craft’s summer crafts market. The \u003ca href=\"https://habibiceramics.com/products/keffiyeh-cup\">cups\u003c/a> and plates are polka-dotted in a black-and-white pattern reminiscent of a keffiyeh scarf, one of the most visible displays of Palestinian resistance. In an era dominated by mass production, she throws each piece by hand, imbuing it with a sense of place and purpose.\u003c/p>\n\u003cp>The keffiyeh-inspired Falastin collection is now available for purchase via \u003ca href=\"https://habibiceramics.com/products/keffiyeh-cup\">Habibi Ceramics’ website\u003c/a> and at superstar chef Reem Assil’s \u003ca href=\"https://www.reemscalifornia.com/\">two San Francisco restaurants\u003c/a>, on Mission Street and in the Ferry Building, with proceeds going toward the \u003ca href=\"https://www.mecaforpeace.org/\">Middle East Children’s Alliance\u003c/a>’s Gaza relief fund. In addition, Elgan will soon kick off a new series of Palestine-focused collaborations with Arab American chefs and artists, who will sell those pieces exclusively through their own storefronts. The initial set of cups for Assil, for instance, will display a \u003ca href=\"https://www.metmuseum.org/perspectives/articles/2024/07/tatreez-in-time\">Tatreez pattern\u003c/a>, a kind of Palestinian embroidery. That collection will be available later this fall at both Reem’s outposts. It will also include plates and a mezze bowl for zeit and zataar — a smaller version of a prior Habibi dish that \u003ca href=\"https://nymag.com/strategist/article/reem-assil-favorite-things.html\">caught Assil’s eye\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elgan’s fall collection — which she’s calling the Habibi Passion Drops — will be co-curated by Antonio Diaz, the editor of \u003ca href=\"https://lifeandthyme.com/\">Life & Thyme magazine\u003c/a>, who helped connect the ceramicist with interested chefs. She’s also planning to include collaborations with coffee wizard \u003ca href=\"https://www.kqed.org/forum/2010101863628/dave-eggers-explores-the-american-dream-through-the-intricacies-of-coffee\">Mokhtar Alkhanshali\u003c/a> (of \u003ca href=\"https://www.instagram.com/portofmokha/?hl=en\">Port of Mokha\u003c/a>) and chef Fadi Kattan, who wrote \u003ci>Bethlehem: A Celebration of Palestinian Food\u003c/i>.\u003c/p>\n\u003cp>Since its June 8 release, the Falastin collection has already \u003ca href=\"https://www.instagram.com/p/C9gfnUfpJTb/?hl=en&img_index=1\">raised $29,000\u003c/a>, via the fundraising platform \u003ca href=\"https://www.instagram.com/_stillwerise/?hl=en\">Still We Rise\u003c/a>, to benefit organizations directly helping families in Palestine. Beyond that, Elgan’s biggest hope is for the Palestinian-inspired ceramics to inspire solidarity in joy, resistance in color, and celebration. “That’s really the heart of the collection,” she says. “To celebrate those traditions and create those connections.”\u003c/p>\n\u003cfigure id=\"attachment_13962379\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13962379\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-1020x1360.jpg\" alt=\"Coffee cups with a black-and-white checked pattern, placed on top of a keffiyeh scarf with a similar design.\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Elgan drew inspiration from the keffiyeh scarf, a visible symbol of Palestinian resistance. \u003ccite>(Céline Steen, courtesy of Habibi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The timing of these releases is not lost on anyone who has watched the ongoing crisis in Palestine unfold. As the Israeli military offensive in the region continues, spreading into Lebanon and Jordan, the Palestinian death toll has reached nearly 40,000 with at least 15,000 children dead, according to \u003ca href=\"https://www.aljazeera.com/news/longform/2023/10/9/israel-hamas-war-in-maps-and-charts-live-tracker\">Gazan health officials\u003c/a>. That impact has been felt hard by the Bay’s diasporic Arabic communities.\u003c/p>\n\u003cp>Elgan herself grew up in Amman, Jordan; her family is from Jenin, in the West Bank. For her, these ceramics have been the way she’s found to express her sense of solidarity — and to share a side of Palestinian culture that’s too often overlooked.\u003c/p>\n\u003cp>“My art is my highest form of expression,” Elgan says. “I really want to highlight the joy Palestinians have when they host family and friends and connect around food.”\u003c/p>\n\u003cp>She understands that joy and has built a life around sharing it. Born in Southern California, she moved back to Los Angeles from Jordan when she was 13 years old. Eventually, she got a degree in international development from UC Berkeley before working at nonprofits and tech companies. In 2018, she took that first ceramics class and, shortly after, made a deal with Los Gatos’s \u003ca href=\"https://blossomhillcrafts.com/index.html#/\">Blossom Hill Crafts\u003c/a> to do side work in exchange for free studio time. It would be two or three in the morning when she’d finally leave the ceramics studio each night, losing track of time as she learned about glazing, throwing and the intricacies of wabi-sabi — the Japanese philosophy celebrating the beauty of imperfections.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13931303,arts_13954260,arts_13952460']\u003c/span>Then, during the pandemic, her restaurant collabs went major. The team at Campbell’s upscale \u003ca href=\"https://www.orchardcitykitchen.com/\">Orchard City Kitchen\u003c/a> had gorgeous cocktails that inspired Elgan; she pitched the team on cups that would represent the cocktails themselves. Their love of her designs gave her a surge of energy and inspiration. She’s since placed work at Berkeley’s \u003ca href=\"https://www.elaichico.com/\">Elaichi Co.\u003c/a>, Oaxaca’s \u003ca href=\"https://www.instagram.com/el_parian_atelier/\">El Parian Atelier\u003c/a> and many more, with North Beach’s \u003ca href=\"https://www.cassavasf.com/\">Cassava\u003c/a> soon to join the ranks. Even Madewell and Anthropologie are customers.\u003c/p>\n\u003cp>Mokhtar’s Alkhanshali says there’s no one like Elgan in the scene. “Nadia’s work not only honors the past but also pushes the boundaries of traditional pottery, making her a standout in her field,” he says.\u003c/p>\n\u003cp>The ongoing hardships for her community haven’t daunted Elgan’s success, nor her optimism. When she was growing up in Jordan, her sitti (grandmother) would look out the window and call for her home in Palestine. This vivid memory of her family looking so happy, so at peace, continues to guide her work.\u003c/p>\n\u003cp>“To be Palestinian means to be in a constant state of grief,” Elgan says. “It’s not just about property and land. Palestine is a part of our soul. The events since October 7 have been shattering. There’s a responsibility to preserve our culture and share our story.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Customers can order pieces from the Falastin collection \u003c/i>\u003ci>directly through the\u003c/i> \u003ci>Habibi\u003c/i>\u003ci> Ceramics \u003ca href=\"https://habibiceramics.com/\">website\u003c/a> or at participating restaurants.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even while she dreamed of numbers at her job in corporate tech, Nadia Elgan would fawn over elegant hand-poured ceramics. On her honeymoon in Cuba, she made her husband take her to all the local pottery studios they passed. And after her daughter was born, something in her succumbed to that desire to make something with her hands. Her first time at the wheel while on a ceramics studio date night sealed the deal: It was love at first touch.\u003c/p>\n\u003cfigure id=\"attachment_13962376\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13962376\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-1020x1530.jpg\" alt=\"A ceramicist in a pink jumpsuit poses for a portrait while looking down at a large pink bowl.\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-scaled.jpg 1707w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Palestinian Filipina ceramicist Nadia Elgan left a career in corporate tech to start her own ceramics studio. \u003ccite>(Céline Steen, courtesy of Habibi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now throwing at her own studio, \u003ca href=\"https://habibiceramics.com/\">Habibi Ceramics\u003c/a>, the Campbell-based Palestinian Filipina ceramicist — “Pali-Pina” as she describes herself — has designed cups and plates for popular Bay Area restaurants and cafes like \u003ca href=\"https://www.instagram.com/reemscalifornia/\">Reem’s\u003c/a> and \u003ca href=\"https://www.thecaffeoak.com/\">the Caffè by Mr. Espresso\u003c/a>.\u003c/p>\n\u003cp>Lately, Elgan’s art has turned toward Gaza.\u003c/p>\n\u003cp>In June, she released her \u003ca href=\"https://www.instagram.com/p/C78ongDuU6o/\">Falastin series\u003c/a> at West Coast Craft’s summer crafts market. The \u003ca href=\"https://habibiceramics.com/products/keffiyeh-cup\">cups\u003c/a> and plates are polka-dotted in a black-and-white pattern reminiscent of a keffiyeh scarf, one of the most visible displays of Palestinian resistance. In an era dominated by mass production, she throws each piece by hand, imbuing it with a sense of place and purpose.\u003c/p>\n\u003cp>The keffiyeh-inspired Falastin collection is now available for purchase via \u003ca href=\"https://habibiceramics.com/products/keffiyeh-cup\">Habibi Ceramics’ website\u003c/a> and at superstar chef Reem Assil’s \u003ca href=\"https://www.reemscalifornia.com/\">two San Francisco restaurants\u003c/a>, on Mission Street and in the Ferry Building, with proceeds going toward the \u003ca href=\"https://www.mecaforpeace.org/\">Middle East Children’s Alliance\u003c/a>’s Gaza relief fund. In addition, Elgan will soon kick off a new series of Palestine-focused collaborations with Arab American chefs and artists, who will sell those pieces exclusively through their own storefronts. The initial set of cups for Assil, for instance, will display a \u003ca href=\"https://www.metmuseum.org/perspectives/articles/2024/07/tatreez-in-time\">Tatreez pattern\u003c/a>, a kind of Palestinian embroidery. That collection will be available later this fall at both Reem’s outposts. It will also include plates and a mezze bowl for zeit and zataar — a smaller version of a prior Habibi dish that \u003ca href=\"https://nymag.com/strategist/article/reem-assil-favorite-things.html\">caught Assil’s eye\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elgan’s fall collection — which she’s calling the Habibi Passion Drops — will be co-curated by Antonio Diaz, the editor of \u003ca href=\"https://lifeandthyme.com/\">Life & Thyme magazine\u003c/a>, who helped connect the ceramicist with interested chefs. She’s also planning to include collaborations with coffee wizard \u003ca href=\"https://www.kqed.org/forum/2010101863628/dave-eggers-explores-the-american-dream-through-the-intricacies-of-coffee\">Mokhtar Alkhanshali\u003c/a> (of \u003ca href=\"https://www.instagram.com/portofmokha/?hl=en\">Port of Mokha\u003c/a>) and chef Fadi Kattan, who wrote \u003ci>Bethlehem: A Celebration of Palestinian Food\u003c/i>.\u003c/p>\n\u003cp>Since its June 8 release, the Falastin collection has already \u003ca href=\"https://www.instagram.com/p/C9gfnUfpJTb/?hl=en&img_index=1\">raised $29,000\u003c/a>, via the fundraising platform \u003ca href=\"https://www.instagram.com/_stillwerise/?hl=en\">Still We Rise\u003c/a>, to benefit organizations directly helping families in Palestine. Beyond that, Elgan’s biggest hope is for the Palestinian-inspired ceramics to inspire solidarity in joy, resistance in color, and celebration. “That’s really the heart of the collection,” she says. “To celebrate those traditions and create those connections.”\u003c/p>\n\u003cfigure id=\"attachment_13962379\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13962379\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-1020x1360.jpg\" alt=\"Coffee cups with a black-and-white checked pattern, placed on top of a keffiyeh scarf with a similar design.\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Elgan drew inspiration from the keffiyeh scarf, a visible symbol of Palestinian resistance. \u003ccite>(Céline Steen, courtesy of Habibi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The timing of these releases is not lost on anyone who has watched the ongoing crisis in Palestine unfold. As the Israeli military offensive in the region continues, spreading into Lebanon and Jordan, the Palestinian death toll has reached nearly 40,000 with at least 15,000 children dead, according to \u003ca href=\"https://www.aljazeera.com/news/longform/2023/10/9/israel-hamas-war-in-maps-and-charts-live-tracker\">Gazan health officials\u003c/a>. That impact has been felt hard by the Bay’s diasporic Arabic communities.\u003c/p>\n\u003cp>Elgan herself grew up in Amman, Jordan; her family is from Jenin, in the West Bank. For her, these ceramics have been the way she’s found to express her sense of solidarity — and to share a side of Palestinian culture that’s too often overlooked.\u003c/p>\n\u003cp>“My art is my highest form of expression,” Elgan says. “I really want to highlight the joy Palestinians have when they host family and friends and connect around food.”\u003c/p>\n\u003cp>She understands that joy and has built a life around sharing it. Born in Southern California, she moved back to Los Angeles from Jordan when she was 13 years old. Eventually, she got a degree in international development from UC Berkeley before working at nonprofits and tech companies. In 2018, she took that first ceramics class and, shortly after, made a deal with Los Gatos’s \u003ca href=\"https://blossomhillcrafts.com/index.html#/\">Blossom Hill Crafts\u003c/a> to do side work in exchange for free studio time. It would be two or three in the morning when she’d finally leave the ceramics studio each night, losing track of time as she learned about glazing, throwing and the intricacies of wabi-sabi — the Japanese philosophy celebrating the beauty of imperfections.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Then, during the pandemic, her restaurant collabs went major. The team at Campbell’s upscale \u003ca href=\"https://www.orchardcitykitchen.com/\">Orchard City Kitchen\u003c/a> had gorgeous cocktails that inspired Elgan; she pitched the team on cups that would represent the cocktails themselves. Their love of her designs gave her a surge of energy and inspiration. She’s since placed work at Berkeley’s \u003ca href=\"https://www.elaichico.com/\">Elaichi Co.\u003c/a>, Oaxaca’s \u003ca href=\"https://www.instagram.com/el_parian_atelier/\">El Parian Atelier\u003c/a> and many more, with North Beach’s \u003ca href=\"https://www.cassavasf.com/\">Cassava\u003c/a> soon to join the ranks. Even Madewell and Anthropologie are customers.\u003c/p>\n\u003cp>Mokhtar’s Alkhanshali says there’s no one like Elgan in the scene. “Nadia’s work not only honors the past but also pushes the boundaries of traditional pottery, making her a standout in her field,” he says.\u003c/p>\n\u003cp>The ongoing hardships for her community haven’t daunted Elgan’s success, nor her optimism. When she was growing up in Jordan, her sitti (grandmother) would look out the window and call for her home in Palestine. This vivid memory of her family looking so happy, so at peace, continues to guide her work.\u003c/p>\n\u003cp>“To be Palestinian means to be in a constant state of grief,” Elgan says. “It’s not just about property and land. Palestine is a part of our soul. The events since October 7 have been shattering. There’s a responsibility to preserve our culture and share our story.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Customers can order pieces from the Falastin collection \u003c/i>\u003ci>directly through the\u003c/i> \u003ci>Habibi\u003c/i>\u003ci> Ceramics \u003ca href=\"https://habibiceramics.com/\">website\u003c/a> or at participating restaurants.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A ‘Foul Odor’ Worth Sniffing Out",
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"content": "\u003cp>It’s good to be honest about what it takes to live and make art in a place like San Francisco. The sights, sounds and, yes, smells of this city are not always pleasant, but a certain amount of grime is preferable to the alternative: an overly slick and sanitized scene of easily digestible, easily marketable work.\u003c/p>\n\u003cp>\u003cem>Foul Odor\u003c/em>, an exhibition of painting, sculpture and video work by six Bay Area artists, revels in energizing imperfections, Dada-ist urban acts and gritty textures. With the subtitle “An Exhibition on Survival,” the show says: \u003cem>We are alive, and life is messy, so don’t sand those edges down\u003c/em>.\u003c/p>\n\u003cp>San Francisco’s Upper Market Gallery is the perfect venue for this gathering. Clearly a space with previous, unknown uses, it’s full of strange architectural remnants. As a result, \u003ci>Foul Odor\u003c/i> puts art in odd places: one painting hangs off a box that drops down from the ceiling, \u003ca href=\"https://www.instagram.com/haleysummerfield/\">Haley Summerfield\u003c/a> and Tuesday Iverson’s ceramic wall work is mounted low, and a video projects behind a curtain in a shallow back room.\u003c/p>\n\u003cp>The show’s largest element comes from \u003ca href=\"https://www.instagram.com/quinnlucasgirard/\">Quinn Girard\u003c/a> in the form of a metal, papier mâché, enamel and foam sculpture. It’s a shopping cart turned into a monstrous contraption — part roller-coaster tracks, part battle bot — that resembles a Tim Burton set piece. One gets the distinct sense that it rolled here, spikily, on its own. \u003c/p>\n\u003cfigure id=\"attachment_13962322\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_002_2000.jpg\" alt=\"Small sculpture of a car, large painting and small ceramic of crate in gallery\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13962322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_002_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_002_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_002_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_002_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_002_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_002_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_002_2000-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view, from L to R of Tuesday Iverson’s ‘Portrait of Phoebe,’ Quinn Girard’s ‘Town Square,’ and Iverson’s ‘Heaven’s Gate’ in ‘Foul Odor.’ \u003ccite>(Shao-Feng Hsu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Girard harnesses other cartoonish gestures in \u003ci>Town Square\u003c/i>, a painting that prominently features the Muppet \u003ca href=\"https://muppet.fandom.com/wiki/Count_von_Count\">Count von Count\u003c/a>, and \u003ci>Camera\u003c/i>, a sculpture perfectly positioned to look down at gallery visitors with googly, blood-shot eyes. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many of the sculptures in \u003ci>Foul Odor\u003c/i> exhibit a lumpy handmade-ness, in keeping with the show’s stated interest in the so-called Funk movement. \u003ca href=\"https://www.instagram.com/nomorewhitewomen2/\">Victor Saucedo\u003c/a>’s \u003ci>Vamos Al Norte\u003c/i>, glazed earthenware on a piece of found wood, looks like it actually could be from the ’70s. But Saucedo’s other contribution to the show, a grotesque tangle of ceramic letters spelling out “No Mex,” is distinctly of the present moment. Racist language and exclusionary practices are presented as a dark, twisted mass, completed by a wig that looks like it was pulled out of a bathtub drain. \u003c/p>\n\u003cp>Found objects take another form in \u003ca href=\"https://www.instagram.com/juliocrodriguez__/\">Julio Rodriguez\u003c/a>’s work, where the focus is on bits of urban residue like traffic cones and a-frame barricades. In Rodriguez’s two paintings, jumbled piles of the stuff become rosy-hued near-abstractions. And in the looping video \u003ci>Hush\u003c/i>, he cosplays as a city employee erratically painting walls white, appearing official with just the addition of a hi-vis vest. \u003c/p>\n\u003cp>\u003ci>Hush\u003c/i> tosses a bit of absurdism into the city’s workings, emblematic of the show’s overall wrench-throwing sensibility. Our urban environments may shape our movements and habits, but the artists in \u003ci>Foul Odor\u003c/i> resist passivity, absorbing some of that energy and tossing it back as art. \u003c/p>\n\u003cfigure id=\"attachment_13962320\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_007_2000.jpg\" alt=\"two images of paintings and sculptures in a white-wall gallery\" width=\"2000\" height=\"1485\" class=\"size-full wp-image-13962320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_007_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_007_2000-800x594.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_007_2000-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_007_2000-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_007_2000-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_007_2000-1536x1140.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_007_2000-1920x1426.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation views of ‘Foul Odor’ at Upper Market Gallery. \u003ccite>(Shao-Feng Hsu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet some of my favorite works in the show are more sedate, bringing the outside into the gallery through materials rather than imagery. \u003ca href=\"https://www.instagram.com/tajomcburnie/\">Tajo McBurnie\u003c/a>’s four paintings are oil on plaster, giving the surfaces a deeply satisfying sandiness. Made in muted hues with repeated, enigmatic iconography — egg shapes, coiled springs and apple cores — they’re inheritors of \u003ca href=\"https://www.kqed.org/arts/13906899/rip-tales-book-jay-defeo-jordan-stein-bay-area-art\">a distinctly Bay Area slipperiness\u003c/a> when it comes to categorization.\u003c/p>\n\u003cp>The ’70s are now half a century ago. Funk art and those who bucked against the term have been thoroughly examined, memorialized and rediscovered. And yet its weird, slightly off-putting scent lingers.\u003c/p>\n\u003cp>The curators of \u003ci>Foul Odor\u003c/i>, the collective \u003ca href=\"https://www.instagram.com/offhours_sf/\">Off Hours\u003c/a> (Katherine Jemima Hamilton, Shaelyn Hanes and Ebti), are mindful of the traps of declaring this show, or any show, zeitgeisty. Once you gather and define something as “counter” to the mainstream, have you institutionalized it?\u003c/p>\n\u003cp>I would argue, in this instance, no. Putting together a coherent group show that eloquently speaks to the present moment in an out-of-the-way gallery space is clearly in the spirit of underground, DIY culture. But to be extra sure nothing is set in stone, Off Hours have invited the Oakland collective \u003ca href=\"https://www.instagram.com/thisisahousegallery/\">This is A House Gallery\u003c/a> to intervene in \u003ci>Foul Odor\u003c/i> starting next week; they’re free to do whatever they want with the show so long as they don’t damage the space or the art. \u003c/p>\n\u003cp>Make sure you visit \u003ci>Foul Odor\u003c/i> during the last day of its current incarnation, Friday, Aug. 9, 6–9 p.m. for a whiff of this sublime show.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Foul Odor’ is on view at Upper Market Gallery (4690 18th St, San Francisco) through Aug. 31, 2024. After Aug. 9, check with \u003ca href=\"https://www.instagram.com/thisisahousegallery/\">This Is A House Gallery\u003c/a> for their open hours.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s good to be honest about what it takes to live and make art in a place like San Francisco. The sights, sounds and, yes, smells of this city are not always pleasant, but a certain amount of grime is preferable to the alternative: an overly slick and sanitized scene of easily digestible, easily marketable work.\u003c/p>\n\u003cp>\u003cem>Foul Odor\u003c/em>, an exhibition of painting, sculpture and video work by six Bay Area artists, revels in energizing imperfections, Dada-ist urban acts and gritty textures. With the subtitle “An Exhibition on Survival,” the show says: \u003cem>We are alive, and life is messy, so don’t sand those edges down\u003c/em>.\u003c/p>\n\u003cp>San Francisco’s Upper Market Gallery is the perfect venue for this gathering. Clearly a space with previous, unknown uses, it’s full of strange architectural remnants. As a result, \u003ci>Foul Odor\u003c/i> puts art in odd places: one painting hangs off a box that drops down from the ceiling, \u003ca href=\"https://www.instagram.com/haleysummerfield/\">Haley Summerfield\u003c/a> and Tuesday Iverson’s ceramic wall work is mounted low, and a video projects behind a curtain in a shallow back room.\u003c/p>\n\u003cp>The show’s largest element comes from \u003ca href=\"https://www.instagram.com/quinnlucasgirard/\">Quinn Girard\u003c/a> in the form of a metal, papier mâché, enamel and foam sculpture. It’s a shopping cart turned into a monstrous contraption — part roller-coaster tracks, part battle bot — that resembles a Tim Burton set piece. One gets the distinct sense that it rolled here, spikily, on its own. \u003c/p>\n\u003cfigure id=\"attachment_13962322\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_002_2000.jpg\" alt=\"Small sculpture of a car, large painting and small ceramic of crate in gallery\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13962322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_002_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_002_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_002_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_002_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_002_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_002_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_002_2000-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view, from L to R of Tuesday Iverson’s ‘Portrait of Phoebe,’ Quinn Girard’s ‘Town Square,’ and Iverson’s ‘Heaven’s Gate’ in ‘Foul Odor.’ \u003ccite>(Shao-Feng Hsu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Girard harnesses other cartoonish gestures in \u003ci>Town Square\u003c/i>, a painting that prominently features the Muppet \u003ca href=\"https://muppet.fandom.com/wiki/Count_von_Count\">Count von Count\u003c/a>, and \u003ci>Camera\u003c/i>, a sculpture perfectly positioned to look down at gallery visitors with googly, blood-shot eyes. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the sculptures in \u003ci>Foul Odor\u003c/i> exhibit a lumpy handmade-ness, in keeping with the show’s stated interest in the so-called Funk movement. \u003ca href=\"https://www.instagram.com/nomorewhitewomen2/\">Victor Saucedo\u003c/a>’s \u003ci>Vamos Al Norte\u003c/i>, glazed earthenware on a piece of found wood, looks like it actually could be from the ’70s. But Saucedo’s other contribution to the show, a grotesque tangle of ceramic letters spelling out “No Mex,” is distinctly of the present moment. Racist language and exclusionary practices are presented as a dark, twisted mass, completed by a wig that looks like it was pulled out of a bathtub drain. \u003c/p>\n\u003cp>Found objects take another form in \u003ca href=\"https://www.instagram.com/juliocrodriguez__/\">Julio Rodriguez\u003c/a>’s work, where the focus is on bits of urban residue like traffic cones and a-frame barricades. In Rodriguez’s two paintings, jumbled piles of the stuff become rosy-hued near-abstractions. And in the looping video \u003ci>Hush\u003c/i>, he cosplays as a city employee erratically painting walls white, appearing official with just the addition of a hi-vis vest. \u003c/p>\n\u003cp>\u003ci>Hush\u003c/i> tosses a bit of absurdism into the city’s workings, emblematic of the show’s overall wrench-throwing sensibility. Our urban environments may shape our movements and habits, but the artists in \u003ci>Foul Odor\u003c/i> resist passivity, absorbing some of that energy and tossing it back as art. \u003c/p>\n\u003cfigure id=\"attachment_13962320\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_007_2000.jpg\" alt=\"two images of paintings and sculptures in a white-wall gallery\" width=\"2000\" height=\"1485\" class=\"size-full wp-image-13962320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_007_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_007_2000-800x594.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_007_2000-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_007_2000-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_007_2000-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_007_2000-1536x1140.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240729_OffHr_UMG_007_2000-1920x1426.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation views of ‘Foul Odor’ at Upper Market Gallery. \u003ccite>(Shao-Feng Hsu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet some of my favorite works in the show are more sedate, bringing the outside into the gallery through materials rather than imagery. \u003ca href=\"https://www.instagram.com/tajomcburnie/\">Tajo McBurnie\u003c/a>’s four paintings are oil on plaster, giving the surfaces a deeply satisfying sandiness. Made in muted hues with repeated, enigmatic iconography — egg shapes, coiled springs and apple cores — they’re inheritors of \u003ca href=\"https://www.kqed.org/arts/13906899/rip-tales-book-jay-defeo-jordan-stein-bay-area-art\">a distinctly Bay Area slipperiness\u003c/a> when it comes to categorization.\u003c/p>\n\u003cp>The ’70s are now half a century ago. Funk art and those who bucked against the term have been thoroughly examined, memorialized and rediscovered. And yet its weird, slightly off-putting scent lingers.\u003c/p>\n\u003cp>The curators of \u003ci>Foul Odor\u003c/i>, the collective \u003ca href=\"https://www.instagram.com/offhours_sf/\">Off Hours\u003c/a> (Katherine Jemima Hamilton, Shaelyn Hanes and Ebti), are mindful of the traps of declaring this show, or any show, zeitgeisty. Once you gather and define something as “counter” to the mainstream, have you institutionalized it?\u003c/p>\n\u003cp>I would argue, in this instance, no. Putting together a coherent group show that eloquently speaks to the present moment in an out-of-the-way gallery space is clearly in the spirit of underground, DIY culture. But to be extra sure nothing is set in stone, Off Hours have invited the Oakland collective \u003ca href=\"https://www.instagram.com/thisisahousegallery/\">This is A House Gallery\u003c/a> to intervene in \u003ci>Foul Odor\u003c/i> starting next week; they’re free to do whatever they want with the show so long as they don’t damage the space or the art. \u003c/p>\n\u003cp>Make sure you visit \u003ci>Foul Odor\u003c/i> during the last day of its current incarnation, Friday, Aug. 9, 6–9 p.m. for a whiff of this sublime show.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Foul Odor’ is on view at Upper Market Gallery (4690 18th St, San Francisco) through Aug. 31, 2024. After Aug. 9, check with \u003ca href=\"https://www.instagram.com/thisisahousegallery/\">This Is A House Gallery\u003c/a> for their open hours.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "alexis-floyd-jettison-creative-photography",
"title": "For This San Ramon Photographer, There's Metamorphosis in Everything",
"publishDate": 1723147560,
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"headTitle": "For This San Ramon Photographer, There’s Metamorphosis in Everything | KQED",
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"content": "\u003cp>Growing into a new and improved form of oneself is both an intimate experience and a universal concept. Photographer \u003ca href=\"https://www.instagram.com/aleexisflyd/\" target=\"_blank\" rel=\"noopener\">Alexis Floyd\u003c/a> has gone through her own metamorphosis of late, and now it’s time for the final stage: spreading her wings and showing her growth to the world.\u003c/p>\n\u003cp>Floyd’s first solo show, \u003ca href=\"https://www.alexisfloyd.net/rhythm-of-the-butterfly\" target=\"_blank\" rel=\"noopener\">\u003cem>Rhythm Of The Butterfly\u003c/em>\u003c/a>, showcases her stylish portrait photography on Saturday at Jettison Creative in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13962288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962288\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31%E2%80%AFAM-800x1096.png\" alt=\"A woman sits backwards on a folding chair while wearing pink boxing gloves and posing for the camera.\" width=\"800\" height=\"1096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-800x1096.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-1020x1398.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-160x219.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-768x1052.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM.png 1086w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Isabel poses for a knockout portrait. \u003ccite>(Alexis Floyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Floyd, a 29-year-old artist from San Ramon, admits she’s a bit nervous about her show. But even those nerves serve a purpose in the transformation process.\u003c/p>\n\u003cp>“I’ve always kind of lived my life in fear, and I was always scared of trying new things,” says Floyd during a recent phone call. But lately she’s been putting herself out there, which has helped her overcome her fears and brought about some life-changing results — including becoming an artist-in-residence at Jettison Creative.\u003c/p>\n\u003cfigure id=\"attachment_13962290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962290\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24%E2%80%AFAM-800x1185.png\" alt=\"A shirtless man sits on a park bench with his right leg folded in his lap, looking off into the distance. \" width=\"800\" height=\"1185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-800x1185.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-1020x1510.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-160x237.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-768x1137.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-1037x1536.png 1037w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM.png 1090w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Brown poses for a candid shot in the park. \u003ccite>(Alexis Floyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Me even applying for the artist-in-residence was a leap of faith and a testament to my evolution,” says Floyd. “And you can see the growth in my work. It’s different than anything I’ve posted on social media or on my website.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Saturday, in addition to her vibrant photography, Floyd is debuting other creative endeavors: collages made from plants, and jewelry made of cowrie shells. A nod to both African American and African culture, the pieces are representative of her identity as a Black young woman.\u003c/p>\n\u003cp>“My work is very intimate,” attests Floyd, noting that her art is about rebirth, transformation and perseverance, as well as spirituality. “My hope for everything I do,” says Floyd, “is for my work to be representative of God’s love and light.”\u003c/p>\n\u003cfigure id=\"attachment_13962291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962291\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-800x1200.jpg\" alt=\"A woman in a bedazzled grey hat strikes a pose that allows you to see her gold teeth and dark red assemble.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meka Jannali showing how to properly wear a bedazzled hat and a gold grill. \u003ccite>(Alexis Floyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, Floyd wants her work to be a mirror for attendees, so they can see themselves in her work, and recognize the progress that \u003cem>they’ve\u003c/em> made.\u003c/p>\n\u003cp>“I want this to be an immersive experience,” says Floyd, “and a place for healing.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Alexis Floyd’s ‘Rhythm Of The Butterfly’ is a free exhibition on Saturday, Aug. 10, at Jettison Creative in San Francisco from 5 p.m. to 9 p.m. \u003ca href=\"https://www.alexisfloyd.net/rhythm-of-the-butterfly\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing into a new and improved form of oneself is both an intimate experience and a universal concept. Photographer \u003ca href=\"https://www.instagram.com/aleexisflyd/\" target=\"_blank\" rel=\"noopener\">Alexis Floyd\u003c/a> has gone through her own metamorphosis of late, and now it’s time for the final stage: spreading her wings and showing her growth to the world.\u003c/p>\n\u003cp>Floyd’s first solo show, \u003ca href=\"https://www.alexisfloyd.net/rhythm-of-the-butterfly\" target=\"_blank\" rel=\"noopener\">\u003cem>Rhythm Of The Butterfly\u003c/em>\u003c/a>, showcases her stylish portrait photography on Saturday at Jettison Creative in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13962288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962288\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31%E2%80%AFAM-800x1096.png\" alt=\"A woman sits backwards on a folding chair while wearing pink boxing gloves and posing for the camera.\" width=\"800\" height=\"1096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-800x1096.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-1020x1398.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-160x219.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM-768x1052.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.45.31 AM.png 1086w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Isabel poses for a knockout portrait. \u003ccite>(Alexis Floyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Floyd, a 29-year-old artist from San Ramon, admits she’s a bit nervous about her show. But even those nerves serve a purpose in the transformation process.\u003c/p>\n\u003cp>“I’ve always kind of lived my life in fear, and I was always scared of trying new things,” says Floyd during a recent phone call. But lately she’s been putting herself out there, which has helped her overcome her fears and brought about some life-changing results — including becoming an artist-in-residence at Jettison Creative.\u003c/p>\n\u003cfigure id=\"attachment_13962290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962290\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24%E2%80%AFAM-800x1185.png\" alt=\"A shirtless man sits on a park bench with his right leg folded in his lap, looking off into the distance. \" width=\"800\" height=\"1185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-800x1185.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-1020x1510.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-160x237.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-768x1137.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM-1037x1536.png 1037w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-08-at-10.46.24 AM.png 1090w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Brown poses for a candid shot in the park. \u003ccite>(Alexis Floyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Me even applying for the artist-in-residence was a leap of faith and a testament to my evolution,” says Floyd. “And you can see the growth in my work. It’s different than anything I’ve posted on social media or on my website.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Saturday, in addition to her vibrant photography, Floyd is debuting other creative endeavors: collages made from plants, and jewelry made of cowrie shells. A nod to both African American and African culture, the pieces are representative of her identity as a Black young woman.\u003c/p>\n\u003cp>“My work is very intimate,” attests Floyd, noting that her art is about rebirth, transformation and perseverance, as well as spirituality. “My hope for everything I do,” says Floyd, “is for my work to be representative of God’s love and light.”\u003c/p>\n\u003cfigure id=\"attachment_13962291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13962291\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-800x1200.jpg\" alt=\"A woman in a bedazzled grey hat strikes a pose that allows you to see her gold teeth and dark red assemble.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/5-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meka Jannali showing how to properly wear a bedazzled hat and a gold grill. \u003ccite>(Alexis Floyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, Floyd wants her work to be a mirror for attendees, so they can see themselves in her work, and recognize the progress that \u003cem>they’ve\u003c/em> made.\u003c/p>\n\u003cp>“I want this to be an immersive experience,” says Floyd, “and a place for healing.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Alexis Floyd’s ‘Rhythm Of The Butterfly’ is a free exhibition on Saturday, Aug. 10, at Jettison Creative in San Francisco from 5 p.m. to 9 p.m. \u003ca href=\"https://www.alexisfloyd.net/rhythm-of-the-butterfly\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "peanuts-charles-schulz-snoopy-corn-mazes",
"title": "‘Peanuts’ Creator Charles Schulz Honored With Corn Mazes Across US and Canada",
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"content": "\u003cp>Visitors to corn mazes across the country are finding a familiar and joyous figure in the winding labyrinth of tall stalks. Snoopy.\u003c/p>\n\u003cp>More than 80 farms in the U.S. and Canada have teamed up with Peanuts Worldwide to create \u003cem>Peanuts\u003c/em>-themed mazes to celebrate the beloved strip’s 75th birthday this summer and fall.\u003c/p>\n\u003cp>A massive Snoopy rests on top of his doghouse in a maze at Dull’s Tree Farm in Thorntown, Indiana, and he’s depicted gleefully atop a pumpkin at Downey’s Farm in Caledon, Ontario.\u003c/p>\n\u003cp>“All of these events helps keep my dad’s legacy alive,” says Jill Schulz, an actor and daughter of \u003cem>Peanuts\u003c/em> creator Charles Schulz, who lived and worked in Santa Rosa, Calif. for the majority of his five-decade-long career.\u003c/p>\n\u003cp>“As someone who can’t even keep houseplants alive, the fact that they can do that with a corn maze and get the artwork right and create a fun experience for all ages is pretty incredible,” she adds, laughing.\u003c/p>\n\u003cfigure id=\"attachment_13962194\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1.jpg\" alt=\"An overhead view of a corn maze in the shape of Snoopy\" width=\"1440\" height=\"960\" class=\"size-full wp-image-13962194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1-768x512.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">This July 19, 2024 image released by Downey’s Farm in Caledon, Ontario shows a corn maze honoring the 75th anniversary of the Peanuts comic strip. \u003ccite>(Joanne Strom/Downey's Farm via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The mazes — which span 35 states and provinces, from California to New York, Ontario to Texas — are expected to attract more than 2 million visitors. Farmers are signing up for the free service because the mazes are part of the customer lure, in addition to things like hay rides, fresh produce and pumpkin carvings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Each maze is designed for the size of the farm — from 1.5 acres to 20 acres — and are mostly corn but also sunflowers. They’re custom created by the world’s largest corn maze consulting company, The MAiZE Inc.\u003c/p>\n\u003cp>The Utah-based Brett Herbst, who leads the company and who launched his first corn maze in 1996, says technology has only somewhat changed the way corn mazes are made.\u003c/p>\n\u003cp>[aside postID='arts_13852729']“The first year we did it, we just used a weed whacker with a saw blade on it when the corn was fully grown,” he says. “Now we do it when it’s short and we go in and either mow it or rototill it. We design it all on a computer, but most of it we actually just go draw it out on the ground by hand.”\u003c/p>\n\u003cp>He and his team have over the years designed mazes with everything from the faces of presidential candidates, Oprah Winfrey, zombies, John Wayne and Chris LeDoux. This year marks the first time they’ve committed so fully to Charlie Brown and Co.\u003c/p>\n\u003cp>“It’s very nostalgic and just seemed like a very natural fit from the get-go to embrace that with \u003cem>Peanuts\u003c/em>,” he says. “It’s harvest time. Its kind of become this iconic thing.”\u003c/p>\n\u003cp>There’s an art and a science to maze building, a balance between maintaining the integrity of the image, but also making it a true maze where people can actually get lost in. “That’s definitely a challenge there,” says Herbst. “You want to accomplish both as much as possible.”\u003c/p>\n\u003cfigure id=\"attachment_13962196\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3.jpg\" alt=\"\" width=\"1600\" height=\"768\" class=\"size-full wp-image-13962196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3-800x384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3-1020x490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3-768x369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3-1536x737.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">This July 17, 2024 image released by Dull’s Tree Farm and Pumpkin Harvest shows a corn maze honoring the 75th anniversary of the Peanuts comic strip in Thorntown, Ind. \u003ccite>(Dana Dull via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Peanuts\u003c/em> made its debut Oct. 2, 1950. The travails of the “little round-headed kid” Charlie Brown and his pals eventually ran in more than 2,600 newspapers, reaching millions of readers in 75 countries.\u003c/p>\n\u003cp>The strip offers enduring images of kites in trees, Charlie Brown trying to kick a football, tart-tongued Lucy handing out advice for a nickel and Snoopy taking the occasional flight of fancy to the skies. Phrases from the strip such as “security blanket” and “good grief” are now part of the global vernacular. Schulz died in 2000.\u003c/p>\n\u003cp>There’s something timeless about corn mazes, and that’s what excites Jill Schulz so much. They offer kids a chance to disconnect from their online life and celebrate something their parents did.\u003c/p>\n\u003cp>“It’s great to have an opportunity to just bring kids to events that are old school, because it’s also important for parents and grandparents to introduce something they loved to do as a child,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think we all need a little innocence for our children right now with all the technology out there. We need a little ‘put down your phone and go out and have some good old fashioned, old school family time.’ I think that’s important.”\u003c/p>\n\n",
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"headline": "‘Peanuts’ Creator Charles Schulz Honored With Corn Mazes Across US and Canada",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Visitors to corn mazes across the country are finding a familiar and joyous figure in the winding labyrinth of tall stalks. Snoopy.\u003c/p>\n\u003cp>More than 80 farms in the U.S. and Canada have teamed up with Peanuts Worldwide to create \u003cem>Peanuts\u003c/em>-themed mazes to celebrate the beloved strip’s 75th birthday this summer and fall.\u003c/p>\n\u003cp>A massive Snoopy rests on top of his doghouse in a maze at Dull’s Tree Farm in Thorntown, Indiana, and he’s depicted gleefully atop a pumpkin at Downey’s Farm in Caledon, Ontario.\u003c/p>\n\u003cp>“All of these events helps keep my dad’s legacy alive,” says Jill Schulz, an actor and daughter of \u003cem>Peanuts\u003c/em> creator Charles Schulz, who lived and worked in Santa Rosa, Calif. for the majority of his five-decade-long career.\u003c/p>\n\u003cp>“As someone who can’t even keep houseplants alive, the fact that they can do that with a corn maze and get the artwork right and create a fun experience for all ages is pretty incredible,” she adds, laughing.\u003c/p>\n\u003cfigure id=\"attachment_13962194\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1.jpg\" alt=\"An overhead view of a corn maze in the shape of Snoopy\" width=\"1440\" height=\"960\" class=\"size-full wp-image-13962194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Peanuts.1-768x512.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">This July 19, 2024 image released by Downey’s Farm in Caledon, Ontario shows a corn maze honoring the 75th anniversary of the Peanuts comic strip. \u003ccite>(Joanne Strom/Downey's Farm via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The mazes — which span 35 states and provinces, from California to New York, Ontario to Texas — are expected to attract more than 2 million visitors. Farmers are signing up for the free service because the mazes are part of the customer lure, in addition to things like hay rides, fresh produce and pumpkin carvings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Each maze is designed for the size of the farm — from 1.5 acres to 20 acres — and are mostly corn but also sunflowers. They’re custom created by the world’s largest corn maze consulting company, The MAiZE Inc.\u003c/p>\n\u003cp>The Utah-based Brett Herbst, who leads the company and who launched his first corn maze in 1996, says technology has only somewhat changed the way corn mazes are made.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The first year we did it, we just used a weed whacker with a saw blade on it when the corn was fully grown,” he says. “Now we do it when it’s short and we go in and either mow it or rototill it. We design it all on a computer, but most of it we actually just go draw it out on the ground by hand.”\u003c/p>\n\u003cp>He and his team have over the years designed mazes with everything from the faces of presidential candidates, Oprah Winfrey, zombies, John Wayne and Chris LeDoux. This year marks the first time they’ve committed so fully to Charlie Brown and Co.\u003c/p>\n\u003cp>“It’s very nostalgic and just seemed like a very natural fit from the get-go to embrace that with \u003cem>Peanuts\u003c/em>,” he says. “It’s harvest time. Its kind of become this iconic thing.”\u003c/p>\n\u003cp>There’s an art and a science to maze building, a balance between maintaining the integrity of the image, but also making it a true maze where people can actually get lost in. “That’s definitely a challenge there,” says Herbst. “You want to accomplish both as much as possible.”\u003c/p>\n\u003cfigure id=\"attachment_13962196\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3.jpg\" alt=\"\" width=\"1600\" height=\"768\" class=\"size-full wp-image-13962196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3-800x384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3-1020x490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3-768x369.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/eanuts.3-1536x737.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">This July 17, 2024 image released by Dull’s Tree Farm and Pumpkin Harvest shows a corn maze honoring the 75th anniversary of the Peanuts comic strip in Thorntown, Ind. \u003ccite>(Dana Dull via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Peanuts\u003c/em> made its debut Oct. 2, 1950. The travails of the “little round-headed kid” Charlie Brown and his pals eventually ran in more than 2,600 newspapers, reaching millions of readers in 75 countries.\u003c/p>\n\u003cp>The strip offers enduring images of kites in trees, Charlie Brown trying to kick a football, tart-tongued Lucy handing out advice for a nickel and Snoopy taking the occasional flight of fancy to the skies. Phrases from the strip such as “security blanket” and “good grief” are now part of the global vernacular. Schulz died in 2000.\u003c/p>\n\u003cp>There’s something timeless about corn mazes, and that’s what excites Jill Schulz so much. They offer kids a chance to disconnect from their online life and celebrate something their parents did.\u003c/p>\n\u003cp>“It’s great to have an opportunity to just bring kids to events that are old school, because it’s also important for parents and grandparents to introduce something they loved to do as a child,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think we all need a little innocence for our children right now with all the technology out there. We need a little ‘put down your phone and go out and have some good old fashioned, old school family time.’ I think that’s important.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rose D’Amato Sees the Signs",
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"content": "\u003cp>Rose D’Amato shows me a photograph she took of a \u003ca href=\"https://www.sfchronicle.com/sf/article/old-mural-mission-district-18535614.php\">recently uncovered sign\u003c/a>, hand-painted in the 1930s, advertising six-cylinder Chevrolets on what used to be the Mission Chevrolet Co. building. In the picture, a pool of water in the neighboring construction site doubles the wall, reflecting the painting back upon itself.\u003c/p>\n\u003cp>“I went over the other day and someone had tagged ‘teach more history,’” says D’Amato, who is taking a break from working on her large-scale mural at the Berkeley Art Museum and Pacific Film Archive, aptly titled \u003cem>\u003ca href=\"https://bampfa.org/program/art-wall-rose-damato\">Mission Chevrolet\u003c/a>\u003c/em>. D’Amato’s Art Wall will be on view Aug. 7–Dec. 15, 2024.\u003c/p>\n\u003cp>She directs my attention to a video feed projected over a portion of her stenciled plans to recreate the Chevrolet sign on BAMPFA’s wall. Super 8 footage, shot by the artist, slowly excavates the now-weathered Chevrolet Six sign, layering the present and its jumbled context on her reconstruction of the sign’s past.\u003c/p>\n\u003cp>“This 100-year-old billboard just got exposed, and on the other side of the city kids are burning down Waymos,” D’Amato says. “Getting confronted by this huge image from the past puts this all in perspective.”\u003c/p>\n\u003cp>In her work, D’Amato takes that “history” tag to heart. Her paintings show a reverence for San Francisco’s past by recreating and preserving ephemeral vestiges of place. But she also embraces the live, undulating context of the city’s present. It’s an approach few pull off quite as well: honoring the past without bending to nostalgia.\u003c/p>\n\u003cfigure id=\"attachment_13962155\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962155\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED.jpg\" alt=\"Person stands with back to camera looking up at large mural on wall\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rose D’Amato sees her mural ‘Mission Chevrolet’ for the first time without any scaffolding in front of it at BAMPFA. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The language of landscape\u003c/h2>\n\u003cp>Rose D’Amato (who formerly worked under the name Lauren D’Amato) has called San Francisco home for the past 12 years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since arriving to study art at the San Francisco Art Institute, she’s been involved in many of the city’s art scenes, apprenticing at New Bohemia Signs; running her own small sign business; perfecting her form as a pin-striper; holding Kustom Sunday community nights to adorn friends’ cars, boats and windows with painted roses; and teaching hand-lettering classes at California College of the Arts for the past four years.\u003c/p>\n\u003cp>[aside postID='arts_13890818,arts_13841135']D’Amato is deeply attuned to the particularities of San Francisco’s signage, which lend each part of the city a distinct character. In industrial Bayview, where she lives, large, bold signs meant to be read from the freeway have a certain functionality. Many of her favorites are painted by a friend and neighbor, Bob Dewhurst. Dewhurt’s signs, D’Amato says, “are practical and utilitarian, with sharp forms that reflect that use. They look like they could be Ed Ruscha paintings.”\u003c/p>\n\u003cp>In pedestrian-filled neighborhoods like the Mission, a human-scale style takes precedence. “Script signs show personality in an extreme way,” D’Amato says. Her understanding of San Francisco is of a landscape filled with different visual languages — all in constant flux.\u003c/p>\n\u003cp>D’Amato is particularly drawn to signs that have transcended their original use. “I like liquor store signs,” she says. “The material they are painted on is acrylic so the actual substrates of the signs crack and fade quickly and they get replaced frequently. I try and pay attention to those because they are rapidly taken down.”\u003c/p>\n\u003cfigure id=\"attachment_13962154\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED.jpg\" alt='Person holding metal tool box with \"SPARKY\" on it' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rose D’Amato shows off her tool boxes at BAMPFA on Aug. 6, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sculpting words with paint\u003c/h2>\n\u003cp>After spending a contemplative year at Headlands Center for the Arts as the \u003ca href=\"https://www.headlands.org/artist/lauren-damato/\">2023–2024 Tournesol Award recipient\u003c/a>, D’Amato is at a stage of her career where she’s ready to translate her many technical skills into a singular expressive style. She’s spent a decade balancing professional sign painting with her work as an artist, and D’Amato has closely considered the nebulous filament that delineates the “decorative arts” from those “fine arts” which don’t need to be qualified. The arbitrary division is troubled by her work, which speaks both languages fluently.\u003c/p>\n\u003cp>This facility is currently on display in D’Amato’s two-person show at Gallery 16, \u003ca href=\"https://gallery16.com/exhibitions/everybody-knows-this-is-someplace\">\u003cem>Everybody Knows This Is Someplace\u003c/em>\u003c/a>, where her works find a fitting conversation partner in the textile canvases of fellow sign painter Jeffrey Sincich.\u003c/p>\n\u003cp>During the show’s opening, early evening light seeping through the gallery’s windows gave the exhibition a disorienting feeling, washing the space in a warm, blinding orange. It was difficult to surmise the perimeter of the gallery space, and this was fitting, as many of Sincich and D’Amato’s works replicate the exterior of buildings. Sincich, especially, leans into trompe l’oeil.\u003c/p>\n\u003cp>[aside postID='arts_13957410']D’Amato’s paintings in \u003cem>Everybody Knows\u003c/em> are mostly made with shades of mauve and brown and thick, black lettering. They abstract signage, doubling or patterning language in a way that sculpts words into forms free of semantic expectations. The beveled edges and layering feel revelatory, like an impressionist painter who suddenly considers cubism.\u003c/p>\n\u003cp>“That’s a big thing I want to do,” D’Amato says, “show signs as something separate from their actual function. Abstraction focuses on form, their beautiful hand-made aspects.” In D’Amato’s paintings, I see the exterior world atomized through her eyes, her unique way of seeing and responding to the signs of San Francisco.\u003c/p>\n\u003cp>Just as the artist is guiding our attention to hand-painted signs, she’s making transparent the physical labor that goes into their construction. At the Gallery 16 show, Sincich and D’Amato invited friends and fellow sign makers to exhibit their own work, underscoring the community necessary to sustaining an art practice.\u003c/p>\n\u003cfigure id=\"attachment_13962156\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rose D’Amato holds her pin-striping brushes at BAMPFA. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Local lineages\u003c/h2>\n\u003cp>When the Chevrolet Six billboard was exposed in December 2023, it drew immediate interest from San Francisco’s greater sign painting community. D’Amato and her friends checked in on it, marking the way its context continually changed through heavy rains and bouts of graffiti bombing. Their interest, D’Amato says, “showed me that they would have enjoyed to paint it.” At BAMPFA, she’s invited friends and fellow sign painters to letter with her, making the act of replication a communal one.\u003c/p>\n\u003cp>[aside postID='news_11975756']This group effort feels like a direct descendent of the work of the Mujeres Muralistas, a collective formed in 1970 by Graciela Carrillo, Consuelo Mendez, Patricia Rodriguez and Irene Perez while they were students at SFAI. They worked to expand ideas of what could constitute street murals in the Mission, insisting that alongside overtly political imagery, their depictions of beauty, both in its cultural manifestations and in portraits of women, played a radical, needed role. One of their first murals was a celebration of Pacos Tacos, now-shuttered, which the Mujeres Muralistas feared would lose business to a newly opened McDonald’s at 24th and Mission.\u003c/p>\n\u003cp>“We had the freedom to paint whatever we wanted,” wrote Patricia Rodriguez in an essay for \u003ci>\u003ca href=\"https://www.foundsf.org/index.php?title=Mujeres_Muralistas\">Ten Years That Shook the City: San Francisco 1968-78\u003c/a>\u003c/i>, “and we chose the beauty of women and their Mexican and Latino cultures.”\u003c/p>\n\u003cp>That group would influence another Mission artist and sign painter I can’t help but associate with D’Amato’s practice: Margaret Kilgallen. Drawing from her immediate environment, Kilgallen’s paintings are somehow both elegiac and invigorating, insisting on the presence of rapidly disappearing traditions like folk art, craft, and the hand made. Her canvases reflect genuine encounters of place, and allow the disjointed forms and juxtapositions characteristic of a city to share space in her kaleidoscopes of language.\u003c/p>\n\u003cfigure id=\"attachment_13962153\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED.jpg\" alt=\"Person smiles sitting on wooden stairs with painted mural behind \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rose D’Amato poses in front of ‘Mission Chevrolet’ at BAMPFA. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I love Margaret’s work,” D’Amato says, “She takes a form that already exists — like slab-style Western letters — that relates to the traditions she’s interested in and uses it to create her own image and identity.”\u003c/p>\n\u003cp>“It wasn’t just about signs, or typography,” D’Amato adds. “She was using them as a meeting point to talk about all the places that inspired her, the people, the subcultures. I feel like I relate to that. I’m a car enthusiast, pin-striper, a sign painter. There are meeting points.”\u003c/p>\n\u003cp>Recently, D’Amato decided to start going by her middle name, Rose. Rather than anything approaching a reinvention, the change holds space for the many lineages that have shaped D’Amato’s perspective, and continue to sustain her practice.\u003c/p>\n\u003ch2>Inventing stillness\u003c/h2>\n\u003cp>When Mission Chevrolet Co. was built, it replaced \u003ca href=\"https://bernalwood.com/2013/11/22/a-history-of-the-former-mctigue-harness-shop-on-mission-street-as-shared-by-his-great-great-grandson/\">McTigue Livery\u003c/a>, one of the city’s last saddle shops. “I wonder,” D’Amato considers, “Did the people on horses going to get saddles have the same gut-wrenching feeling as I do seeing the Waymos on the freeway?”\u003c/p>\n\u003cp>San Francisco is a unique battleground when it comes to technology’s encroachment on our sense of place. The city’s past is constantly circumvented by the present’s demands.\u003c/p>\n\u003cp>It’s human to clamor against life’s impending change — to invent stillness from a world in motion. But to actually locate that relief is rare. In D’Amato’s paintings, which reflect the city back upon itself in tripping lines of recognition, this stillness is found, in deep reserve.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>Rose D’Amato’s work is on view at the Berkeley Art Museum and Pacific Film Archive in ‘\u003ca href=\"https://bampfa.org/program/art-wall-rose-damato\">Mission Chevrolet\u003c/a>’ Aug. 7–Dec. 15, 2024.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Her show with Jeffrey Sincich, ‘\u003ca href=\"https://gallery16.com/exhibitions/everybody-knows-this-is-someplace\">Everybody Knows This Is Someplace\u003c/a>’ is on view at Gallery 16 (501 Third St., San Francisco) through Aug. 31, 2024.\u003c/i>\u003c/p>\n\n",
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"title": "‘Mission Chevrolet’ Honors a Nearly 100-Year-Old SF Sign | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rose D’Amato shows me a photograph she took of a \u003ca href=\"https://www.sfchronicle.com/sf/article/old-mural-mission-district-18535614.php\">recently uncovered sign\u003c/a>, hand-painted in the 1930s, advertising six-cylinder Chevrolets on what used to be the Mission Chevrolet Co. building. In the picture, a pool of water in the neighboring construction site doubles the wall, reflecting the painting back upon itself.\u003c/p>\n\u003cp>“I went over the other day and someone had tagged ‘teach more history,’” says D’Amato, who is taking a break from working on her large-scale mural at the Berkeley Art Museum and Pacific Film Archive, aptly titled \u003cem>\u003ca href=\"https://bampfa.org/program/art-wall-rose-damato\">Mission Chevrolet\u003c/a>\u003c/em>. D’Amato’s Art Wall will be on view Aug. 7–Dec. 15, 2024.\u003c/p>\n\u003cp>She directs my attention to a video feed projected over a portion of her stenciled plans to recreate the Chevrolet sign on BAMPFA’s wall. Super 8 footage, shot by the artist, slowly excavates the now-weathered Chevrolet Six sign, layering the present and its jumbled context on her reconstruction of the sign’s past.\u003c/p>\n\u003cp>“This 100-year-old billboard just got exposed, and on the other side of the city kids are burning down Waymos,” D’Amato says. “Getting confronted by this huge image from the past puts this all in perspective.”\u003c/p>\n\u003cp>In her work, D’Amato takes that “history” tag to heart. Her paintings show a reverence for San Francisco’s past by recreating and preserving ephemeral vestiges of place. But she also embraces the live, undulating context of the city’s present. It’s an approach few pull off quite as well: honoring the past without bending to nostalgia.\u003c/p>\n\u003cfigure id=\"attachment_13962155\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962155\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED.jpg\" alt=\"Person stands with back to camera looking up at large mural on wall\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-10-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rose D’Amato sees her mural ‘Mission Chevrolet’ for the first time without any scaffolding in front of it at BAMPFA. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The language of landscape\u003c/h2>\n\u003cp>Rose D’Amato (who formerly worked under the name Lauren D’Amato) has called San Francisco home for the past 12 years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since arriving to study art at the San Francisco Art Institute, she’s been involved in many of the city’s art scenes, apprenticing at New Bohemia Signs; running her own small sign business; perfecting her form as a pin-striper; holding Kustom Sunday community nights to adorn friends’ cars, boats and windows with painted roses; and teaching hand-lettering classes at California College of the Arts for the past four years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>D’Amato is deeply attuned to the particularities of San Francisco’s signage, which lend each part of the city a distinct character. In industrial Bayview, where she lives, large, bold signs meant to be read from the freeway have a certain functionality. Many of her favorites are painted by a friend and neighbor, Bob Dewhurst. Dewhurt’s signs, D’Amato says, “are practical and utilitarian, with sharp forms that reflect that use. They look like they could be Ed Ruscha paintings.”\u003c/p>\n\u003cp>In pedestrian-filled neighborhoods like the Mission, a human-scale style takes precedence. “Script signs show personality in an extreme way,” D’Amato says. Her understanding of San Francisco is of a landscape filled with different visual languages — all in constant flux.\u003c/p>\n\u003cp>D’Amato is particularly drawn to signs that have transcended their original use. “I like liquor store signs,” she says. “The material they are painted on is acrylic so the actual substrates of the signs crack and fade quickly and they get replaced frequently. I try and pay attention to those because they are rapidly taken down.”\u003c/p>\n\u003cfigure id=\"attachment_13962154\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED.jpg\" alt='Person holding metal tool box with \"SPARKY\" on it' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rose D’Amato shows off her tool boxes at BAMPFA on Aug. 6, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sculpting words with paint\u003c/h2>\n\u003cp>After spending a contemplative year at Headlands Center for the Arts as the \u003ca href=\"https://www.headlands.org/artist/lauren-damato/\">2023–2024 Tournesol Award recipient\u003c/a>, D’Amato is at a stage of her career where she’s ready to translate her many technical skills into a singular expressive style. She’s spent a decade balancing professional sign painting with her work as an artist, and D’Amato has closely considered the nebulous filament that delineates the “decorative arts” from those “fine arts” which don’t need to be qualified. The arbitrary division is troubled by her work, which speaks both languages fluently.\u003c/p>\n\u003cp>This facility is currently on display in D’Amato’s two-person show at Gallery 16, \u003ca href=\"https://gallery16.com/exhibitions/everybody-knows-this-is-someplace\">\u003cem>Everybody Knows This Is Someplace\u003c/em>\u003c/a>, where her works find a fitting conversation partner in the textile canvases of fellow sign painter Jeffrey Sincich.\u003c/p>\n\u003cp>During the show’s opening, early evening light seeping through the gallery’s windows gave the exhibition a disorienting feeling, washing the space in a warm, blinding orange. It was difficult to surmise the perimeter of the gallery space, and this was fitting, as many of Sincich and D’Amato’s works replicate the exterior of buildings. Sincich, especially, leans into trompe l’oeil.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>D’Amato’s paintings in \u003cem>Everybody Knows\u003c/em> are mostly made with shades of mauve and brown and thick, black lettering. They abstract signage, doubling or patterning language in a way that sculpts words into forms free of semantic expectations. The beveled edges and layering feel revelatory, like an impressionist painter who suddenly considers cubism.\u003c/p>\n\u003cp>“That’s a big thing I want to do,” D’Amato says, “show signs as something separate from their actual function. Abstraction focuses on form, their beautiful hand-made aspects.” In D’Amato’s paintings, I see the exterior world atomized through her eyes, her unique way of seeing and responding to the signs of San Francisco.\u003c/p>\n\u003cp>Just as the artist is guiding our attention to hand-painted signs, she’s making transparent the physical labor that goes into their construction. At the Gallery 16 show, Sincich and D’Amato invited friends and fellow sign makers to exhibit their own work, underscoring the community necessary to sustaining an art practice.\u003c/p>\n\u003cfigure id=\"attachment_13962156\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rose D’Amato holds her pin-striping brushes at BAMPFA. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Local lineages\u003c/h2>\n\u003cp>When the Chevrolet Six billboard was exposed in December 2023, it drew immediate interest from San Francisco’s greater sign painting community. D’Amato and her friends checked in on it, marking the way its context continually changed through heavy rains and bouts of graffiti bombing. Their interest, D’Amato says, “showed me that they would have enjoyed to paint it.” At BAMPFA, she’s invited friends and fellow sign painters to letter with her, making the act of replication a communal one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This group effort feels like a direct descendent of the work of the Mujeres Muralistas, a collective formed in 1970 by Graciela Carrillo, Consuelo Mendez, Patricia Rodriguez and Irene Perez while they were students at SFAI. They worked to expand ideas of what could constitute street murals in the Mission, insisting that alongside overtly political imagery, their depictions of beauty, both in its cultural manifestations and in portraits of women, played a radical, needed role. One of their first murals was a celebration of Pacos Tacos, now-shuttered, which the Mujeres Muralistas feared would lose business to a newly opened McDonald’s at 24th and Mission.\u003c/p>\n\u003cp>“We had the freedom to paint whatever we wanted,” wrote Patricia Rodriguez in an essay for \u003ci>\u003ca href=\"https://www.foundsf.org/index.php?title=Mujeres_Muralistas\">Ten Years That Shook the City: San Francisco 1968-78\u003c/a>\u003c/i>, “and we chose the beauty of women and their Mexican and Latino cultures.”\u003c/p>\n\u003cp>That group would influence another Mission artist and sign painter I can’t help but associate with D’Amato’s practice: Margaret Kilgallen. Drawing from her immediate environment, Kilgallen’s paintings are somehow both elegiac and invigorating, insisting on the presence of rapidly disappearing traditions like folk art, craft, and the hand made. Her canvases reflect genuine encounters of place, and allow the disjointed forms and juxtapositions characteristic of a city to share space in her kaleidoscopes of language.\u003c/p>\n\u003cfigure id=\"attachment_13962153\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED.jpg\" alt=\"Person smiles sitting on wooden stairs with painted mural behind \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240806-ROSE-DAMATO-MD-04-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rose D’Amato poses in front of ‘Mission Chevrolet’ at BAMPFA. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I love Margaret’s work,” D’Amato says, “She takes a form that already exists — like slab-style Western letters — that relates to the traditions she’s interested in and uses it to create her own image and identity.”\u003c/p>\n\u003cp>“It wasn’t just about signs, or typography,” D’Amato adds. “She was using them as a meeting point to talk about all the places that inspired her, the people, the subcultures. I feel like I relate to that. I’m a car enthusiast, pin-striper, a sign painter. There are meeting points.”\u003c/p>\n\u003cp>Recently, D’Amato decided to start going by her middle name, Rose. Rather than anything approaching a reinvention, the change holds space for the many lineages that have shaped D’Amato’s perspective, and continue to sustain her practice.\u003c/p>\n\u003ch2>Inventing stillness\u003c/h2>\n\u003cp>When Mission Chevrolet Co. was built, it replaced \u003ca href=\"https://bernalwood.com/2013/11/22/a-history-of-the-former-mctigue-harness-shop-on-mission-street-as-shared-by-his-great-great-grandson/\">McTigue Livery\u003c/a>, one of the city’s last saddle shops. “I wonder,” D’Amato considers, “Did the people on horses going to get saddles have the same gut-wrenching feeling as I do seeing the Waymos on the freeway?”\u003c/p>\n\u003cp>San Francisco is a unique battleground when it comes to technology’s encroachment on our sense of place. The city’s past is constantly circumvented by the present’s demands.\u003c/p>\n\u003cp>It’s human to clamor against life’s impending change — to invent stillness from a world in motion. But to actually locate that relief is rare. In D’Amato’s paintings, which reflect the city back upon itself in tripping lines of recognition, this stillness is found, in deep reserve.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>Rose D’Amato’s work is on view at the Berkeley Art Museum and Pacific Film Archive in ‘\u003ca href=\"https://bampfa.org/program/art-wall-rose-damato\">Mission Chevrolet\u003c/a>’ Aug. 7–Dec. 15, 2024.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Her show with Jeffrey Sincich, ‘\u003ca href=\"https://gallery16.com/exhibitions/everybody-knows-this-is-someplace\">Everybody Knows This Is Someplace\u003c/a>’ is on view at Gallery 16 (501 Third St., San Francisco) through Aug. 31, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At MoAD, ‘The Meeting Place’ Vibrates With In-Progress Energy",
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"content": "\u003cp>The Museum of the African Diaspora’s \u003ca href=\"https://www.moadsf.org/programs-residencies-awards/emerging-artists-2024-2025\">Emerging Artists Program\u003c/a>, a staple of the institution’s programming since 2015, is a rare thing in the world of Bay Area museums. It’s a generous open call that results not in massive group shows — or even group shows at all — but three-month solo shows for local artists, plus stipends. These shows remain sure-fire ways of catching talented Bay Area artists early in their ascendency. \u003c/p>\n\u003cp>[aside postID='news_11990594']Enter Oakland artist \u003ca href=\"https://zekarias.co/\">Zekarias Musele Thompson\u003c/a>, whose solo show \u003ci>The Meeting Place\u003c/i> is on view through Sept. 1 on the museum’s second floor. This is not an overly polished, sterile exhibition, but an installation of art and music that gives the sense of being in progress, or possibly just finished. Wrapping around the gallery’s walls are oil-painted photographic prints of people in landscapes, scenes of vast spaces and repeated patterns. \u003c/p>\n\u003cp>Between these mounted works on paper, Thompson has placed lavender strips of painter’s tape used to mask off portions of the photographs. Like confetti or accent marks, the bits of tape dangle, twist and bend, implying that these works were made here, in MoAD’s gallery, and only recently achieved their finished state. In actuality, they’re props — tools used in the artist’s studio that have entered the gallery as a demonstration. Bringing the residue along to the big show is Thompson’s way of offering a glimpse into their process; it gives \u003ci>The Meeting Place\u003c/i> a festooned feeling, an unexpected and off-kilter zing.\u003c/p>\n\u003cfigure id=\"attachment_13961914\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-FirstTimeForEverything_2000.jpg\" alt=\"Two color photographs with painted abstract elements on white wall, bits of purple tape around them\" width=\"2000\" height=\"1501\" class=\"size-full wp-image-13961914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-FirstTimeForEverything_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-FirstTimeForEverything_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-FirstTimeForEverything_2000-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-FirstTimeForEverything_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-FirstTimeForEverything_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-FirstTimeForEverything_2000-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-FirstTimeForEverything_2000-1920x1441.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zekarias Musele Thompson, ‘first time for everything (Diptych),’ 2024. \u003ccite>(Courtesy of the artist and MoAD; photos by Josef Jacques)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Complementing this tactic is the show’s sound element, which plays pleasantly over gallery speakers in a continuous loop. While scores of various lengths are meant to correspond to particular diptychs and triptychs within the gallery, the visitor experience is less defined — you hear things as you hear them, while looking where you’re looking. And what you hear (Thompson on alto sax, synthesizers, electric guitar and bass, shruti box and singing) is light and airy, with repetition marked by bright bursts of sound. \u003c/p>\n\u003cp>Circling the gallery and one lavender stand-alone wall, Thompson’s painted photographs range in density. Some bear the lightest of interventions, like a thin horizon line and an extra-purplish cloud. Others overflow with colorful emphasis, drawing the eye to a specific part of a landscape, or illustrating the things a photograph can’t capture: thoughts, implied emissions, invisible compositional elements. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thompson’s approach here is freeform and improvisational. The artist responds to each image in a unique way, turning even the most blurry non-photo into a lovely \u003ci>something\u003c/i> with the addition of a rainbow arc and ecstatic lines of emphasis.\u003c/p>\n\u003cfigure id=\"attachment_13961913\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-AdInfinitum_2000.jpg\" alt=\"oil on canvas painting with many colored dots and shapes that suggest a landscape\" width=\"2000\" height=\"1503\" class=\"size-full wp-image-13961913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-AdInfinitum_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-AdInfinitum_2000-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-AdInfinitum_2000-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-AdInfinitum_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-AdInfinitum_2000-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-AdInfinitum_2000-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-AdInfinitum_2000-1920x1443.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zekarias Musele Thompson, ‘ad infinitum (The Meeting Place),’ 2023. \u003ccite>(Courtesy of the artist and MoAD; photos by Josef Jacques)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulling the entire exhibition together like an area rug is \u003ci>ad infinitum (The Meeting Place)\u003c/i>, an unstretched canvas laid flat on a low wooden pedestal at the gallery’s center. Here, all of Thompson’s painterly gestures combine. We get pointilist dots of color that coalesce into hillsides, solid purple and yellow triangles that become mountains, and streams of blue, reds and black extending vertically — water, fire, smoke? It’s a map of somewhere, possibly an imaginary place, with a bit of treasure laid across its bottom edge. A delicate gold necklace dangles over the pedestal’s brim, lightly touching the floor.\u003c/p>\n\u003cp>Thompson, who will graduate next year from UC Berkeley’s MFA program, is clearly onto something. Already established as a musician (they’re also the co-founder of Oakland’s \u003ca href=\"https://www.workingnamestudios.space/\">Working Name Studios\u003c/a>), at MoAD they’ve fluidly brought together what could otherwise be disparate practices. The result, a literal \u003ci>Meeting Place\u003c/i>, is distinctly satisfying to visit, listen to and puzzle through. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Meeting Place’ is on view at the Museum of the African Diaspora (685 Mission St., San Francisco) through Sept. 1, 2024. Zekarias Musele Thompson and an ensemble of collaborators will perform ‘the meeting place,’ followed by a conversation on Saturday, Aug. 10, 2–3:30 p.m. \u003ca href=\"https://www.moadsf.org/event/eap-presents-zekarias-musele-thompson-the-meeting-place\">Find more information about the event here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Museum of the African Diaspora’s \u003ca href=\"https://www.moadsf.org/programs-residencies-awards/emerging-artists-2024-2025\">Emerging Artists Program\u003c/a>, a staple of the institution’s programming since 2015, is a rare thing in the world of Bay Area museums. It’s a generous open call that results not in massive group shows — or even group shows at all — but three-month solo shows for local artists, plus stipends. These shows remain sure-fire ways of catching talented Bay Area artists early in their ascendency. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Enter Oakland artist \u003ca href=\"https://zekarias.co/\">Zekarias Musele Thompson\u003c/a>, whose solo show \u003ci>The Meeting Place\u003c/i> is on view through Sept. 1 on the museum’s second floor. This is not an overly polished, sterile exhibition, but an installation of art and music that gives the sense of being in progress, or possibly just finished. Wrapping around the gallery’s walls are oil-painted photographic prints of people in landscapes, scenes of vast spaces and repeated patterns. \u003c/p>\n\u003cp>Between these mounted works on paper, Thompson has placed lavender strips of painter’s tape used to mask off portions of the photographs. Like confetti or accent marks, the bits of tape dangle, twist and bend, implying that these works were made here, in MoAD’s gallery, and only recently achieved their finished state. In actuality, they’re props — tools used in the artist’s studio that have entered the gallery as a demonstration. Bringing the residue along to the big show is Thompson’s way of offering a glimpse into their process; it gives \u003ci>The Meeting Place\u003c/i> a festooned feeling, an unexpected and off-kilter zing.\u003c/p>\n\u003cfigure id=\"attachment_13961914\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-FirstTimeForEverything_2000.jpg\" alt=\"Two color photographs with painted abstract elements on white wall, bits of purple tape around them\" width=\"2000\" height=\"1501\" class=\"size-full wp-image-13961914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-FirstTimeForEverything_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-FirstTimeForEverything_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-FirstTimeForEverything_2000-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-FirstTimeForEverything_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-FirstTimeForEverything_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-FirstTimeForEverything_2000-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-FirstTimeForEverything_2000-1920x1441.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zekarias Musele Thompson, ‘first time for everything (Diptych),’ 2024. \u003ccite>(Courtesy of the artist and MoAD; photos by Josef Jacques)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Complementing this tactic is the show’s sound element, which plays pleasantly over gallery speakers in a continuous loop. While scores of various lengths are meant to correspond to particular diptychs and triptychs within the gallery, the visitor experience is less defined — you hear things as you hear them, while looking where you’re looking. And what you hear (Thompson on alto sax, synthesizers, electric guitar and bass, shruti box and singing) is light and airy, with repetition marked by bright bursts of sound. \u003c/p>\n\u003cp>Circling the gallery and one lavender stand-alone wall, Thompson’s painted photographs range in density. Some bear the lightest of interventions, like a thin horizon line and an extra-purplish cloud. Others overflow with colorful emphasis, drawing the eye to a specific part of a landscape, or illustrating the things a photograph can’t capture: thoughts, implied emissions, invisible compositional elements. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thompson’s approach here is freeform and improvisational. The artist responds to each image in a unique way, turning even the most blurry non-photo into a lovely \u003ci>something\u003c/i> with the addition of a rainbow arc and ecstatic lines of emphasis.\u003c/p>\n\u003cfigure id=\"attachment_13961913\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-AdInfinitum_2000.jpg\" alt=\"oil on canvas painting with many colored dots and shapes that suggest a landscape\" width=\"2000\" height=\"1503\" class=\"size-full wp-image-13961913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-AdInfinitum_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-AdInfinitum_2000-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-AdInfinitum_2000-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-AdInfinitum_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-AdInfinitum_2000-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-AdInfinitum_2000-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ZMT-TheMeetingPlace-AdInfinitum_2000-1920x1443.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zekarias Musele Thompson, ‘ad infinitum (The Meeting Place),’ 2023. \u003ccite>(Courtesy of the artist and MoAD; photos by Josef Jacques)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulling the entire exhibition together like an area rug is \u003ci>ad infinitum (The Meeting Place)\u003c/i>, an unstretched canvas laid flat on a low wooden pedestal at the gallery’s center. Here, all of Thompson’s painterly gestures combine. We get pointilist dots of color that coalesce into hillsides, solid purple and yellow triangles that become mountains, and streams of blue, reds and black extending vertically — water, fire, smoke? It’s a map of somewhere, possibly an imaginary place, with a bit of treasure laid across its bottom edge. A delicate gold necklace dangles over the pedestal’s brim, lightly touching the floor.\u003c/p>\n\u003cp>Thompson, who will graduate next year from UC Berkeley’s MFA program, is clearly onto something. Already established as a musician (they’re also the co-founder of Oakland’s \u003ca href=\"https://www.workingnamestudios.space/\">Working Name Studios\u003c/a>), at MoAD they’ve fluidly brought together what could otherwise be disparate practices. The result, a literal \u003ci>Meeting Place\u003c/i>, is distinctly satisfying to visit, listen to and puzzle through. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Meeting Place’ is on view at the Museum of the African Diaspora (685 Mission St., San Francisco) through Sept. 1, 2024. Zekarias Musele Thompson and an ensemble of collaborators will perform ‘the meeting place,’ followed by a conversation on Saturday, Aug. 10, 2–3:30 p.m. \u003ca href=\"https://www.moadsf.org/event/eap-presents-zekarias-musele-thompson-the-meeting-place\">Find more information about the event here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "santa-rosa-cruisin-lowrider-museum-sonoma-county-review",
"title": "In Santa Rosa, ‘Cruisin’’ Celebrates a Vibrant Lowrider Culture",
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"headTitle": "In Santa Rosa, ‘Cruisin’’ Celebrates a Vibrant Lowrider Culture | KQED",
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"content": "\u003cp>Ask any longtime Santa Rosan about the cruising scene in town, and they’re likely to reminisce about the bustling weekend-night cruise strip of their teen years. For old-timers, it might have been Fourth Street between Courthouse Square and the Eat ‘n’ Run drive-in, or Mendocino Avenue between Long’s Drugs and downtown. \u003c/p>\n\u003cp>As it happened, my younger years coincided with \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CC-Ordinance-2519.pdf\">Santa Rosa’s first anti-cruising ordinance (PDF)\u003c/a>, which was enacted after Chicano lowrider culture became prominent along the city’s cruise strip. On Saturday nights, my friends and I would skateboard on the sidewalk while custom Cadillacs and mini-trucks with hydraulics and subwoofers showed out in the street, and I regularly witnessed cops pulling over the drivers, most of them Black or Latino. \u003c/p>\n\u003cp>Change came slowly. After 37 years on the books, \u003ca href=\"https://www.pressdemocrat.com/article/news/repeal-of-santa-rosas-decades-old-cruising-ban-seen-as-step-toward-greater/\">Santa Rosa’s cruising ban was finally repealed in 2023\u003c/a>, thanks in part to the city’s \u003ca href=\"https://www.kqed.org/news/11845882/roseland-santa-rosas-largely-latino-neighborhood-elects-first-ever-city-council-member\">first-ever council member from the largely Latino Roseland neighborhood\u003c/a>, who knew his constituents’ frustration and decided to do something about it. \u003c/p>\n\u003cfigure id=\"attachment_13961682\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques.jpg\" alt=\"\" width=\"2000\" height=\"1108\" class=\"size-full wp-image-13961682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-800x443.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-1020x565.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-768x425.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-1536x851.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-1920x1064.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) A custom upholstery panel by Jose “Pepe” Lombera and a display of plaques from car clubs around Sonoma County. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even at age 11, my skater friends and I could sense that laws like Santa Rosa’s cruising ordinance were discriminatory and unjust. \u003cem>Cruisin’\u003c/em>, an exhibition at the Museum of Sonoma County on display through Nov. 24, is a giant step toward understanding rather than persecuting lowrider culture.\u003c/p>\n\u003cp>Filled with the artwork and custom designs of Sonoma County car clubs, \u003cem>Cruisin’\u003c/em> shows the familial bonds forged in the lowrider community, and the unceasing dedication and creativity of the scene. With the cooperation of local riders, artists and archivists, along with members from the \u003ca href=\"https://www.srcity.org/Blog.aspx?IID=104\">Sonoma County Lowrider Council\u003c/a>, the exhibition gathers all the material evidence of lowrider life: meticulously painted car hoods. A reimagined upholstery panel. Airbrushed T-shirts. Sixteen different jackets and 19 custom car plaques. A large chassis with hydraulics. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two vintage cars form the centerpiece of the show. Neto Longoria’s 1938 Plymouth was first lowered in the 1960s; it’s said to be the longest running lowrider in Sonoma County. And Bill Llamas’ 1940 Chevrolet Business Coupe reveals new incredible details with each close inspection. \u003c/p>\n\u003cfigure id=\"attachment_13961685\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet.jpg\" alt=\"\" width=\"2000\" height=\"1389\" class=\"size-full wp-image-13961685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-1920x1333.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bill Llamas’ 1940 Chevrolet Business Coupe, on display at ‘Cruisin’,’ a lowrider exhibit at the Museum of Sonoma County. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re members of a car club, not a gang,” says one interviewee in a looping video that’s worth watching in full. Filmed in the early 1980s through a community access-style county program, it includes footage of cruises along Santa Rosa Avenue near City Hall and Juilliard Park, and interviews about the issues lowriders face: prejudice, selective enforcement and unlawful searches of their cars. \u003c/p>\n\u003cp>“A lowrider has dignity, self-respect, self-esteem,” says another interview subject. “They don’t have to show anybody how bad they are. They’re proud of who they are when they get dressed in the morning, they’re dressed clean and neat. They take pride in their car, themselves, their family, their friends. That’s what it means to me.” \u003c/p>\n\u003cp>Alfonso Dominguez’s \u003cem>Twisted Obsession\u003c/em> lowrider bike, which won \u003cem>Lowrider\u003c/em> magazine’s 1995 Bike of the Year, is on display, as is Jose Fausto’s customized 2001 Harley-Davidson, \u003cem>Aztlán\u003c/em>, combining Native American and Chicano aesthetics. There’s even a full-size piñata rendition of a 1964 Impala by mixed-media artist Justin Favela. \u003c/p>\n\u003cfigure id=\"attachment_13961684\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela.jpg\" alt=\"\" width=\"2000\" height=\"1308\" class=\"size-full wp-image-13961684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-1536x1005.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-1920x1256.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Justin Favela’s ‘Santa Rosa piñata lowrider,’ on display at ‘Cruisin’,’ a lowrider exhibit at the Museum of Sonoma County. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the exhibit, it’s made clear that this is a street-level culture. Vintage photos prove that the lowrider footprint in Sonoma County stretched as far as Duncans Mills, out near the coast. Sonja Vasquez’s incredible portraits capture lowriders’ determination and pride. And a wall of hand-drawn artwork depicts fantastical dreams alongside daily life, such as a red pencil illustration from Anthony “Chuko” Garduño that includes a paleta cart and a Dollar Tree.\u003c/p>\n\u003cp>No single museum exhibit can thoroughly capture Sonoma County’s entire lowrider scene, which includes hundreds of families — sometimes stretching back generations — and 21 different car clubs. But because of the museum’s decision to work directly with the community for this exhibit, \u003cem>Cruisin’\u003c/em> is undoubtedly what every lowrider aspires to be: authentic.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cruisin’’ is on view at the Museum of Sonoma County in Santa Rosa through Sunday, Nov. 24, 2024. \u003ca href=\"https://museumsc.org/cruisin/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask any longtime Santa Rosan about the cruising scene in town, and they’re likely to reminisce about the bustling weekend-night cruise strip of their teen years. For old-timers, it might have been Fourth Street between Courthouse Square and the Eat ‘n’ Run drive-in, or Mendocino Avenue between Long’s Drugs and downtown. \u003c/p>\n\u003cp>As it happened, my younger years coincided with \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CC-Ordinance-2519.pdf\">Santa Rosa’s first anti-cruising ordinance (PDF)\u003c/a>, which was enacted after Chicano lowrider culture became prominent along the city’s cruise strip. On Saturday nights, my friends and I would skateboard on the sidewalk while custom Cadillacs and mini-trucks with hydraulics and subwoofers showed out in the street, and I regularly witnessed cops pulling over the drivers, most of them Black or Latino. \u003c/p>\n\u003cp>Change came slowly. After 37 years on the books, \u003ca href=\"https://www.pressdemocrat.com/article/news/repeal-of-santa-rosas-decades-old-cruising-ban-seen-as-step-toward-greater/\">Santa Rosa’s cruising ban was finally repealed in 2023\u003c/a>, thanks in part to the city’s \u003ca href=\"https://www.kqed.org/news/11845882/roseland-santa-rosas-largely-latino-neighborhood-elects-first-ever-city-council-member\">first-ever council member from the largely Latino Roseland neighborhood\u003c/a>, who knew his constituents’ frustration and decided to do something about it. \u003c/p>\n\u003cfigure id=\"attachment_13961682\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques.jpg\" alt=\"\" width=\"2000\" height=\"1108\" class=\"size-full wp-image-13961682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-800x443.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-1020x565.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-768x425.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-1536x851.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-1920x1064.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) A custom upholstery panel by Jose “Pepe” Lombera and a display of plaques from car clubs around Sonoma County. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even at age 11, my skater friends and I could sense that laws like Santa Rosa’s cruising ordinance were discriminatory and unjust. \u003cem>Cruisin’\u003c/em>, an exhibition at the Museum of Sonoma County on display through Nov. 24, is a giant step toward understanding rather than persecuting lowrider culture.\u003c/p>\n\u003cp>Filled with the artwork and custom designs of Sonoma County car clubs, \u003cem>Cruisin’\u003c/em> shows the familial bonds forged in the lowrider community, and the unceasing dedication and creativity of the scene. With the cooperation of local riders, artists and archivists, along with members from the \u003ca href=\"https://www.srcity.org/Blog.aspx?IID=104\">Sonoma County Lowrider Council\u003c/a>, the exhibition gathers all the material evidence of lowrider life: meticulously painted car hoods. A reimagined upholstery panel. Airbrushed T-shirts. Sixteen different jackets and 19 custom car plaques. A large chassis with hydraulics. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two vintage cars form the centerpiece of the show. Neto Longoria’s 1938 Plymouth was first lowered in the 1960s; it’s said to be the longest running lowrider in Sonoma County. And Bill Llamas’ 1940 Chevrolet Business Coupe reveals new incredible details with each close inspection. \u003c/p>\n\u003cfigure id=\"attachment_13961685\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet.jpg\" alt=\"\" width=\"2000\" height=\"1389\" class=\"size-full wp-image-13961685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-1920x1333.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bill Llamas’ 1940 Chevrolet Business Coupe, on display at ‘Cruisin’,’ a lowrider exhibit at the Museum of Sonoma County. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re members of a car club, not a gang,” says one interviewee in a looping video that’s worth watching in full. Filmed in the early 1980s through a community access-style county program, it includes footage of cruises along Santa Rosa Avenue near City Hall and Juilliard Park, and interviews about the issues lowriders face: prejudice, selective enforcement and unlawful searches of their cars. \u003c/p>\n\u003cp>“A lowrider has dignity, self-respect, self-esteem,” says another interview subject. “They don’t have to show anybody how bad they are. They’re proud of who they are when they get dressed in the morning, they’re dressed clean and neat. They take pride in their car, themselves, their family, their friends. That’s what it means to me.” \u003c/p>\n\u003cp>Alfonso Dominguez’s \u003cem>Twisted Obsession\u003c/em> lowrider bike, which won \u003cem>Lowrider\u003c/em> magazine’s 1995 Bike of the Year, is on display, as is Jose Fausto’s customized 2001 Harley-Davidson, \u003cem>Aztlán\u003c/em>, combining Native American and Chicano aesthetics. There’s even a full-size piñata rendition of a 1964 Impala by mixed-media artist Justin Favela. \u003c/p>\n\u003cfigure id=\"attachment_13961684\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela.jpg\" alt=\"\" width=\"2000\" height=\"1308\" class=\"size-full wp-image-13961684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-1536x1005.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-1920x1256.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Justin Favela’s ‘Santa Rosa piñata lowrider,’ on display at ‘Cruisin’,’ a lowrider exhibit at the Museum of Sonoma County. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the exhibit, it’s made clear that this is a street-level culture. Vintage photos prove that the lowrider footprint in Sonoma County stretched as far as Duncans Mills, out near the coast. Sonja Vasquez’s incredible portraits capture lowriders’ determination and pride. And a wall of hand-drawn artwork depicts fantastical dreams alongside daily life, such as a red pencil illustration from Anthony “Chuko” Garduño that includes a paleta cart and a Dollar Tree.\u003c/p>\n\u003cp>No single museum exhibit can thoroughly capture Sonoma County’s entire lowrider scene, which includes hundreds of families — sometimes stretching back generations — and 21 different car clubs. But because of the museum’s decision to work directly with the community for this exhibit, \u003cem>Cruisin’\u003c/em> is undoubtedly what every lowrider aspires to be: authentic.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cruisin’’ is on view at the Museum of Sonoma County in Santa Rosa through Sunday, Nov. 24, 2024. \u003ca href=\"https://museumsc.org/cruisin/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sf-art-book-fair-zines-underground-small-press-review",
"title": "8 of the Coolest Things We Saw at the SF Art Book Fair",
"publishDate": 1721414023,
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"headTitle": "8 of the Coolest Things We Saw at the SF Art Book Fair | KQED",
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"content": "\u003cp>Books! Zines! Hordes of people! Thursday night saw the opening of the \u003ca href=\"https://sfartbookfair.com/\">SF Art Book Fair\u003c/a>, as much a delight to small-press aficionados as a nightmare for claustrophobics. I can confirm: it was shoulder-to-shoulder \u003cem>packed\u003c/em>.\u003c/p>\n\u003cp>In its seventh year, the fair held at the Minnesota Street Art Project in San Francisco’s Dogpatch district is more popular than ever, underscored by the addition of a second exhibition building (the former McEvoy Foundation for the Arts, up the street). The expansion didn’t alleviate the congestion. It did provide for plenty of exhibitors, however — a total of 145, hawking limited-run books, zines and prints of all styles and subject matter to the beanie-and-tight-jean set.\u003c/p>\n\u003cp>I spent a few hours at the fair, looking for the coolest, weirdest, most intriguing printed matter on offer. Here are eight things that caught my eye.\u003c/p>\n\u003cfigure id=\"attachment_13961365\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Mission District,’ published by StreetSalad. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Mission District’\u003c/h2>\n\u003cp>\u003cem>(StreetSalad, $40)\u003c/em>\u003c/p>\n\u003cp>In 1980, out of his shop on 23rd Street in San Francisco, comics legend \u003ca href=\"https://larryrippeeandmollyreaart.blogspot.com/2014/01/gary-arlington.html\">Gary Arlington\u003c/a> began paying neighborhood teenagers to make one-page illustrations. Eventually, he compiled them into a periodical titled \u003cem>The Mission District\u003c/em>, filled with pencil drawings and Chicano-style lettering. Now, StreetSalad’s Tron Martínez has reprinted them, along with the more scrapbook-like \u003cem>Cholo\u003c/em>, out of San José, both perfectly capturing the \u003cem>Teen Angels\u003c/em>-type aesthetic of the cholo and lowrider scenes. As for Gary’s shop, “underground comic book culture really permeated out of there,” said Martínez.\u003c/p>\n\u003cfigure id=\"attachment_13961366\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Emeryville Cool Fun Booklet,’ by Jessalyn Aaland. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Emeryville Cool Fun Booklet’\u003c/h2>\n\u003cp>\u003cem>Jessalyn Aaland (Current Editions, $15)\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2020, four years after moving to Emeryville from Oakland and in the throes of COVID lockdown, Jessalyn Aaland decided to learn more about the history of her new city. Each new rabbit hole resulted in an issue of \u003cem>Emeryville C☺☺L Fun Facts\u003c/em>, a monthly one-page newsletter covering Emeryville’s canneries, labor strikes, 1980s punk scene, public art, streetcar lines and more. With a Risograph printer at home and a pandemic yearning to return to more human ways of connecting, she stapled her insightful, chatty and often hilarious newsletters to poles all around town, adding a phone number at the bottom. \u003cem>Emeryville Cool Fun Booklet\u003c/em> compiles all nine issues, along with responses from readers who called the number. (“An older woman was like, ‘I live alone,’ and told me stories about her landlord,” Aaland said.) I brought it home and devoured it in one sitting.\u003c/p>\n\u003cfigure id=\"attachment_13961364\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Invisible,’ by Barbara Stauffacher Solomon. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Invisible’\u003c/h2>\n\u003cp>\u003cem>Barbara Stauffacher Solomon (Colpa Press, $40)\u003c/em>\u003c/p>\n\u003cp>When Colpa Press’ Luca Antonucci first met \u003ca href=\"https://www.kqed.org/arts/13957530/barbara-stauffacher-solomon-supergraphics-obituary\">supergraphics pioneer\u003c/a> Barbara Stauffacher Solomon, she was making her own books at Kinko’s in San Francisco. Now, two months after \u003ca href=\"https://www.nytimes.com/2024/05/08/arts/design/barbara-stauffacher-solomon-dead.html\">Solomon’s death at age 95\u003c/a>, he’s printed their fifth and final book together, spiral-bound in an edition of 200. Made of collages that Stauffacher Solomon cut and pasted directly to a \u003ca href=\"https://www.peopleofprint.com/exhibition/the-swiss-grid/\">Swiss Grid\u003c/a>, \u003cem>The Invisible\u003c/em> was turned in by Stauffacher Solomon just two weeks before her death in May — along with attached instructional notes, handwritten, which Antonucci opted to include. “Scanning them was super emotional,” he said, “almost as if she was talking to me from beyond the grave.”\u003c/p>\n\u003cfigure id=\"attachment_13961371\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘You’re Gonna Miss Me / For Your Love,’ by the Tymes 5. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘You’re Gonna Miss Me / For Your Love’\u003c/h2>\n\u003cp>\u003cem>(The Tymes 5 feat. Michael Jang, $16)\u003c/em>\u003c/p>\n\u003cp>Visitors to this year’s fair may notice a large wheatpaste nearby at 23rd and Tennessee, the handiwork of the dizzingly prolific \u003ca href=\"https://www.kqed.org/arts/13958762/who-is-michael-jang-documentary-michael-jacobs-sf-docfest\">Michael Jang\u003c/a>. A San Francisco photographer, street artist and subtle prankster, Jang once also… \u003cem>played in a 1960s garage band\u003c/em>?! Here’s the proof: a 7″ of The Tymes 5, for which Jang played guitar, recorded in 1965. Covering songs by the 13th Floor Elevators and the Zombies, the band is out of tune, the vocals are overblown, the tempo-challenged drums sound like cardboard boxes. It’s great! “They’ve been selling like crazy — more than we expected,” said Park Life’s Saffron Munkres. The huge wheatpasted advertisement down the street probably doesn’t hurt.\u003c/p>\n\u003cfigure id=\"attachment_13961362\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Bodega Rider,’ by Martha Naranjo Sandoval. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Bodega Rider’\u003c/h2>\n\u003cp>\u003cem>Martha Naranjo Sandoval (Matarile Ediciones, $14)\u003c/em>\u003c/p>\n\u003cp>Not everything at the SF Art Book Fair is local. Distributed by Brooklyn’s Seaton Street Press, this photo zine contains the artist’s self-portraits on coin-operated sidewalk rides outside bodegas in New York City. What captivated me were the range of emotions on Naranjo Sandoval’s face while revisiting these childhood sources of joy: excitement at seeing them, nostalgia for what they once provided, sadness at their decreasing prominence, frustration at aging out of simple pleasures. “She’s publishing for immigrants, specifically, in the diaspora,” said Seaton Street’s Lindsay Buchman, but anyone who spent 90 seconds and 50¢ on a bucking horse stationed outside a storefront will relate.\u003c/p>\n\u003cfigure id=\"attachment_13961368\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘How to Art Book Fair,’ by Paul Shortt \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘How to Art Book Fair’\u003c/h2>\n\u003cp>\u003cem>Paul Shortt (Shortt Editions, $10)\u003c/em>\u003c/p>\n\u003cp>Talk about meta! This guide to art book fairs was being sold at the art book fair by Paul Shortt, who’d woken up Thursday morning at 3:30 a.m. in Florida before flying to San Francisco. “There’s a lot of books that teach you how to make books,” he said, “and not a lot of books that teach you how to \u003cem>sell\u003c/em> books.” (He should know; he’s been to over 50 art book fairs in the past decade.) I’d assumed this zine would be a snarky troll on art book fairs, but no — it’s a practical guide to their ins and outs, drawn from Shortt’s experiences as a vendor (“I’m very clear in the book about my own failures,” he quipped), and input from other veterans of the scene. Most of the advice is uber-specific, while some is refreshingly simple, like “don’t be a jerk.”\u003c/p>\n\u003cfigure id=\"attachment_13961369\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘If You Listen, Music Will Find You: 35mm Photographs of the Bay Area Underground,’ by Ezra Gonzalez. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘If You Listen, Music Will Find You: 35mm Photographs of the Bay Area Underground’\u003c/h2>\n\u003cp>\u003cem>Ezra Gonzalez (Nematode, $30 each)\u003c/em>\u003c/p>\n\u003cp>It’s a guarantee that your older punk friends have complained that music sucks now, or that the scene is dead. To which I always say: go to more shows! Now, there’s a tangible document to rebut those beardy, complainy denim-vest dudes: under the namesake \u003ca href=\"https://www.instagram.com/nematodeworld/\">Nematode\u003c/a>, Bay Area photographer Ezra Gonzalez has published two volumes documenting the local underground music scene. Spanning 2018–2020 and 2021–2023, the photos contain a few recognizable spots (Eli’s Mile High Club, the Rickshaw Stop), but most come from shows at basements, sidewalks and house parties. “It’s been really fun since we got them,” says Matt Brownell, co-owner of \u003ca href=\"https://coneshapetop.com/\">Cone Shape Top\u003c/a> in Oakland. “People pick up the book and say ‘I was at this show!'” Here’s to more photo books documenting the Bay Area’s rich DIY punk scene. (Please do it, \u003ca href=\"https://www.instagram.com/robcoonsphotography/?hl=en\">Rob Coons\u003c/a>!)\u003c/p>\n\u003cfigure id=\"attachment_13961370\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Advertising Shits in Your Head: Strategies for Resistance,’ by Vyvian Raoul and Matt Bonner. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Advertising Shits in Your Head: Strategies for Resistance’\u003c/h2>\n\u003cp>\u003cem>Vyvian Raoul and Matt Bonner (PM Press, $15.95)\u003c/em>\u003c/p>\n\u003cp>While wandering around the Art Book Fair, it’s easy to be seduced by eye-catching book titles (\u003cem>What Is Post-Branding?\u003c/em>, \u003cem>8-Bit Porn Video Games\u003c/em>, \u003cem>Uncreative Writing\u003c/em> by Taylor Swift). Some of these clever titles deliver on their promises, while many do not. This is, in effect, a microcosm of the advertising world! So I was glad to discover that \u003cem>Advertising Shits in Your Head\u003c/em> is backed up by substance as well as humor. Along with a primer on how advertising intrudes on our daily mental lives, the book focuses on “subvertising” — the art of altering, remixing or defacing billboard and poster ads. “A lot of these things, like bus kiosks, are easy to get into. And if it looks like it belongs there, it’ll stay there for a while,” says Dan from Oakland’s PM Press. “It’s a public space! Use it for your own means!”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The SF Art Book Fair continues daily through Sunday, July 21 at the Minnesota Street Project in San Francisco. Admission is free. \u003ca href=\"https://sfartbookfair.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Books! Zines! Hordes of people! Thursday night saw the opening of the \u003ca href=\"https://sfartbookfair.com/\">SF Art Book Fair\u003c/a>, as much a delight to small-press aficionados as a nightmare for claustrophobics. I can confirm: it was shoulder-to-shoulder \u003cem>packed\u003c/em>.\u003c/p>\n\u003cp>In its seventh year, the fair held at the Minnesota Street Art Project in San Francisco’s Dogpatch district is more popular than ever, underscored by the addition of a second exhibition building (the former McEvoy Foundation for the Arts, up the street). The expansion didn’t alleviate the congestion. It did provide for plenty of exhibitors, however — a total of 145, hawking limited-run books, zines and prints of all styles and subject matter to the beanie-and-tight-jean set.\u003c/p>\n\u003cp>I spent a few hours at the fair, looking for the coolest, weirdest, most intriguing printed matter on offer. Here are eight things that caught my eye.\u003c/p>\n\u003cfigure id=\"attachment_13961365\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Mission District,’ published by StreetSalad. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Mission District’\u003c/h2>\n\u003cp>\u003cem>(StreetSalad, $40)\u003c/em>\u003c/p>\n\u003cp>In 1980, out of his shop on 23rd Street in San Francisco, comics legend \u003ca href=\"https://larryrippeeandmollyreaart.blogspot.com/2014/01/gary-arlington.html\">Gary Arlington\u003c/a> began paying neighborhood teenagers to make one-page illustrations. Eventually, he compiled them into a periodical titled \u003cem>The Mission District\u003c/em>, filled with pencil drawings and Chicano-style lettering. Now, StreetSalad’s Tron Martínez has reprinted them, along with the more scrapbook-like \u003cem>Cholo\u003c/em>, out of San José, both perfectly capturing the \u003cem>Teen Angels\u003c/em>-type aesthetic of the cholo and lowrider scenes. As for Gary’s shop, “underground comic book culture really permeated out of there,” said Martínez.\u003c/p>\n\u003cfigure id=\"attachment_13961366\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Emeryville Cool Fun Booklet,’ by Jessalyn Aaland. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Emeryville Cool Fun Booklet’\u003c/h2>\n\u003cp>\u003cem>Jessalyn Aaland (Current Editions, $15)\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2020, four years after moving to Emeryville from Oakland and in the throes of COVID lockdown, Jessalyn Aaland decided to learn more about the history of her new city. Each new rabbit hole resulted in an issue of \u003cem>Emeryville C☺☺L Fun Facts\u003c/em>, a monthly one-page newsletter covering Emeryville’s canneries, labor strikes, 1980s punk scene, public art, streetcar lines and more. With a Risograph printer at home and a pandemic yearning to return to more human ways of connecting, she stapled her insightful, chatty and often hilarious newsletters to poles all around town, adding a phone number at the bottom. \u003cem>Emeryville Cool Fun Booklet\u003c/em> compiles all nine issues, along with responses from readers who called the number. (“An older woman was like, ‘I live alone,’ and told me stories about her landlord,” Aaland said.) I brought it home and devoured it in one sitting.\u003c/p>\n\u003cfigure id=\"attachment_13961364\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Invisible,’ by Barbara Stauffacher Solomon. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Invisible’\u003c/h2>\n\u003cp>\u003cem>Barbara Stauffacher Solomon (Colpa Press, $40)\u003c/em>\u003c/p>\n\u003cp>When Colpa Press’ Luca Antonucci first met \u003ca href=\"https://www.kqed.org/arts/13957530/barbara-stauffacher-solomon-supergraphics-obituary\">supergraphics pioneer\u003c/a> Barbara Stauffacher Solomon, she was making her own books at Kinko’s in San Francisco. Now, two months after \u003ca href=\"https://www.nytimes.com/2024/05/08/arts/design/barbara-stauffacher-solomon-dead.html\">Solomon’s death at age 95\u003c/a>, he’s printed their fifth and final book together, spiral-bound in an edition of 200. Made of collages that Stauffacher Solomon cut and pasted directly to a \u003ca href=\"https://www.peopleofprint.com/exhibition/the-swiss-grid/\">Swiss Grid\u003c/a>, \u003cem>The Invisible\u003c/em> was turned in by Stauffacher Solomon just two weeks before her death in May — along with attached instructional notes, handwritten, which Antonucci opted to include. “Scanning them was super emotional,” he said, “almost as if she was talking to me from beyond the grave.”\u003c/p>\n\u003cfigure id=\"attachment_13961371\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘You’re Gonna Miss Me / For Your Love,’ by the Tymes 5. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘You’re Gonna Miss Me / For Your Love’\u003c/h2>\n\u003cp>\u003cem>(The Tymes 5 feat. Michael Jang, $16)\u003c/em>\u003c/p>\n\u003cp>Visitors to this year’s fair may notice a large wheatpaste nearby at 23rd and Tennessee, the handiwork of the dizzingly prolific \u003ca href=\"https://www.kqed.org/arts/13958762/who-is-michael-jang-documentary-michael-jacobs-sf-docfest\">Michael Jang\u003c/a>. A San Francisco photographer, street artist and subtle prankster, Jang once also… \u003cem>played in a 1960s garage band\u003c/em>?! Here’s the proof: a 7″ of The Tymes 5, for which Jang played guitar, recorded in 1965. Covering songs by the 13th Floor Elevators and the Zombies, the band is out of tune, the vocals are overblown, the tempo-challenged drums sound like cardboard boxes. It’s great! “They’ve been selling like crazy — more than we expected,” said Park Life’s Saffron Munkres. The huge wheatpasted advertisement down the street probably doesn’t hurt.\u003c/p>\n\u003cfigure id=\"attachment_13961362\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Bodega Rider,’ by Martha Naranjo Sandoval. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Bodega Rider’\u003c/h2>\n\u003cp>\u003cem>Martha Naranjo Sandoval (Matarile Ediciones, $14)\u003c/em>\u003c/p>\n\u003cp>Not everything at the SF Art Book Fair is local. Distributed by Brooklyn’s Seaton Street Press, this photo zine contains the artist’s self-portraits on coin-operated sidewalk rides outside bodegas in New York City. What captivated me were the range of emotions on Naranjo Sandoval’s face while revisiting these childhood sources of joy: excitement at seeing them, nostalgia for what they once provided, sadness at their decreasing prominence, frustration at aging out of simple pleasures. “She’s publishing for immigrants, specifically, in the diaspora,” said Seaton Street’s Lindsay Buchman, but anyone who spent 90 seconds and 50¢ on a bucking horse stationed outside a storefront will relate.\u003c/p>\n\u003cfigure id=\"attachment_13961368\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘How to Art Book Fair,’ by Paul Shortt \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘How to Art Book Fair’\u003c/h2>\n\u003cp>\u003cem>Paul Shortt (Shortt Editions, $10)\u003c/em>\u003c/p>\n\u003cp>Talk about meta! This guide to art book fairs was being sold at the art book fair by Paul Shortt, who’d woken up Thursday morning at 3:30 a.m. in Florida before flying to San Francisco. “There’s a lot of books that teach you how to make books,” he said, “and not a lot of books that teach you how to \u003cem>sell\u003c/em> books.” (He should know; he’s been to over 50 art book fairs in the past decade.) I’d assumed this zine would be a snarky troll on art book fairs, but no — it’s a practical guide to their ins and outs, drawn from Shortt’s experiences as a vendor (“I’m very clear in the book about my own failures,” he quipped), and input from other veterans of the scene. Most of the advice is uber-specific, while some is refreshingly simple, like “don’t be a jerk.”\u003c/p>\n\u003cfigure id=\"attachment_13961369\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘If You Listen, Music Will Find You: 35mm Photographs of the Bay Area Underground,’ by Ezra Gonzalez. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘If You Listen, Music Will Find You: 35mm Photographs of the Bay Area Underground’\u003c/h2>\n\u003cp>\u003cem>Ezra Gonzalez (Nematode, $30 each)\u003c/em>\u003c/p>\n\u003cp>It’s a guarantee that your older punk friends have complained that music sucks now, or that the scene is dead. To which I always say: go to more shows! Now, there’s a tangible document to rebut those beardy, complainy denim-vest dudes: under the namesake \u003ca href=\"https://www.instagram.com/nematodeworld/\">Nematode\u003c/a>, Bay Area photographer Ezra Gonzalez has published two volumes documenting the local underground music scene. Spanning 2018–2020 and 2021–2023, the photos contain a few recognizable spots (Eli’s Mile High Club, the Rickshaw Stop), but most come from shows at basements, sidewalks and house parties. “It’s been really fun since we got them,” says Matt Brownell, co-owner of \u003ca href=\"https://coneshapetop.com/\">Cone Shape Top\u003c/a> in Oakland. “People pick up the book and say ‘I was at this show!'” Here’s to more photo books documenting the Bay Area’s rich DIY punk scene. (Please do it, \u003ca href=\"https://www.instagram.com/robcoonsphotography/?hl=en\">Rob Coons\u003c/a>!)\u003c/p>\n\u003cfigure id=\"attachment_13961370\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Advertising Shits in Your Head: Strategies for Resistance,’ by Vyvian Raoul and Matt Bonner. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Advertising Shits in Your Head: Strategies for Resistance’\u003c/h2>\n\u003cp>\u003cem>Vyvian Raoul and Matt Bonner (PM Press, $15.95)\u003c/em>\u003c/p>\n\u003cp>While wandering around the Art Book Fair, it’s easy to be seduced by eye-catching book titles (\u003cem>What Is Post-Branding?\u003c/em>, \u003cem>8-Bit Porn Video Games\u003c/em>, \u003cem>Uncreative Writing\u003c/em> by Taylor Swift). Some of these clever titles deliver on their promises, while many do not. This is, in effect, a microcosm of the advertising world! So I was glad to discover that \u003cem>Advertising Shits in Your Head\u003c/em> is backed up by substance as well as humor. Along with a primer on how advertising intrudes on our daily mental lives, the book focuses on “subvertising” — the art of altering, remixing or defacing billboard and poster ads. “A lot of these things, like bus kiosks, are easy to get into. And if it looks like it belongs there, it’ll stay there for a while,” says Dan from Oakland’s PM Press. “It’s a public space! Use it for your own means!”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The SF Art Book Fair continues daily through Sunday, July 21 at the Minnesota Street Project in San Francisco. Admission is free. \u003ca href=\"https://sfartbookfair.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘With Open Eyes,’ Artists Deploy Dignity and Softness in Depictions of Black Life",
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"headTitle": "In ‘With Open Eyes,’ Artists Deploy Dignity and Softness in Depictions of Black Life | KQED",
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"content": "\u003cp>In John Berryman’s “\u003ca href=\"https://www.poetryfoundation.org/poems/48265/dream-song-29\">Dream Song 29\u003c/a>,” the poem opens with a heaviness (“There sat down, once, a thing on Henry’s heart”) that the subject cannot dispel: “Ghastly, / with open eyes, he attends, blind.”\u003c/p>\n\u003cp>It’s this quality of existential unease, of being unable to either look away or end the source of discomfort, that curator Adrianne Ramsey had in mind while organizing \u003ci>\u003ca href=\"https://rootdivision.org/exhibition/with-open-eyes/\">With Open Eyes\u003c/a>\u003c/i>, a 14-person group show of Black artists at Root Division. She began working on the show, which includes photography, textiles, painting and video, after the murder of George Floyd by a Minneapolis police officer in May 2020. \u003c/p>\n\u003cp>In her curatorial essay, Ramsey recalls how videos of the murder were circulating on social media without any warnings about shocking violence of the content. She points to more recent examples of “Black trauma porn,” like the leaked video of music mogul Sean Combs beating his then-girlfriend Cassie Ventura in a hotel.\u003c/p>\n\u003cfigure id=\"attachment_13961313\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000.jpg\" alt=\"Three wall-mounted artworks on white gallery walls\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13961313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view with Michon Sander’s ‘Used To Issue Out A Warning’ at center. \u003ccite>(Hunter Ridenour/Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>With Open Eyes\u003c/i> is meant to be an opportunity for Black artists to tell their own stories, not ignoring all harm but allowing them to reframe “the narrative that said bodies only experience harm,” Ramsey writes. \u003c/p>\n\u003cp>Two oil paintings by local artist \u003ca href=\"https://michonsandersart.com/\">Michon Sanders\u003c/a> lovingly depict her ancestors in dignified moments of rest. In \u003ci>Arthur Brown (But We Called Him Big Papa)\u003c/i>, Sanders’ great-great grandfather, a man who lived in rural Florida until the early 1900s, looks tranquil, with close-cropped gray hair, a beard and mustache. The background is a royal purple, enhancing his regal bearing. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Used To Issue Out A Warning\u003c/i> shows Sanders’ grandmother, who raised nine children, outside in a lawn chair, her hands folded over her belly. The title comes from the lyrics of Bill Withers’ “\u003ca href=\"https://youtu.be/TdrChyGb574?feature=shared\">Grandma’s Hands\u003c/a>,” in which hands caution as well as comfort. \u003c/p>\n\u003cp>Much of the work in the exhibition presents positive views of Black life, but it’s not a false positivity that ignores struggle. For example, in Bay Area artist \u003ca href=\"https://www.instagram.com/playdatephoto/\">Rohan DaCosta\u003c/a>’s arresting photo, \u003ci>Sistaz Outside\u003c/i>, two women are at the beach, one sipping orange juice out of a goblet and the other with a typewriter and a copy of Audre Lorde’s \u003ci>Sister Outsider\u003c/i>. Their obvious enjoyment in being together, children playing by the waves behind them, is juxtaposed with a rendering of a slave ship above their heads, a reminder of a brutal past.\u003c/p>\n\u003cfigure id=\"attachment_13961314\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000.jpg\" alt=\"Framed color photo of two women at beach with drawing of slave ship behind them\" width=\"2000\" height=\"2352\" class=\"size-full wp-image-13961314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-800x941.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-1020x1200.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-160x188.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-768x903.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-1306x1536.jpg 1306w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-1741x2048.jpg 1741w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-1920x2258.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rohan DaCosta, ‘Sistaz Outside’ in ‘With Open Eyes.’ \u003ccite>(Hunter Ridenour/Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other pieces offer quieter scenes. Los Angeles artist \u003ca href=\"https://mayajunemansour.com/\">Maya June Mansour\u003c/a>’s photograph \u003ci>Dear Body, What’s The Score?\u003c/i> shows a woman in a white tub with her back to the viewer. We can see her face reflected in the mirror she holds. In \u003ci>I’m Still Here\u003c/i>, Mansour captures what seems to be a still life: a simple room with a wood-burning stove. On the stove sits a small mirror showing the same woman’s face. Both photos, ethereal and spare, evoke a feeling of calm. \u003c/p>\n\u003cp>\u003ci>With Open Eyes\u003c/i> also includes softness and humor. The former comes from \u003ca href=\"https://www.instagram.com/seraphimfairy/?hl=en\">Seraphina Perkins\u003c/a>’ small, colorful quilt embroidered with poetry, \u003ci>Softest Fruits of My Labor\u003c/i>, and the latter comes from \u003ca href=\"https://www.danadav.com/\">Dana Davenport\u003c/a>’s \u003ci>Beauty Supply ASMR\u003c/i>, a video showing fingers in front of a microphone, massaging various beauty supplies to create a crinkly, soothing sound.\u003c/p>\n\u003cfigure id=\"attachment_13961317\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000.jpg\" alt=\"Quilted textile work with dried branch hanging above\" width=\"2000\" height=\"2163\" class=\"size-full wp-image-13961317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-800x865.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-1020x1103.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-768x831.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-1420x1536.jpg 1420w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-1894x2048.jpg 1894w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-1920x2076.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Work by Seraphina Perkins in ‘With Open Eyes.’ \u003ccite>(Hunter Ridenour/Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I walked through the show a few days before it opened, Oakland artist \u003ca href=\"https://www.eniolafakile.com/\">Eniola Fakile\u003c/a> was working on the show’s most speculative piece, \u003ci>Ijinle Omi (mysterious water)\u003c/i>, a physical manifestation of the artist’s invented, fantastical world. In \u003ci>Ijinle Omi\u003c/i>, a sea god distributes magical kelp to visitors in the form of blue, green and tan ceramic pieces — available to Root Division visitors for the taking.\u003c/p>\n\u003cp>“A lot of my practice is really just about finding ways to cope and deal with different feelings through world-building,” Fakile says. “I’m creating a mythology based off different cultures around the world, including my own.”\u003c/p>\n\u003cp>With works like this, whether the artists create their own worlds, or document the people and things important to them in our shared reality, the exhibition goes beyond depictions of collective pain, allowing viewers to open their eyes to a more expansive view of Black art.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://rootdivision.org/exhibition/with-open-eyes/\">With Open Eyes\u003c/a>’ is on view at Root Division (1131 Mission St., San Francisco) through Aug. 3, 2024.\u003c/i>\u003c/p>\n\n",
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"title": "‘With Open Eyes’ at Root Division: Dignity and Softness | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In John Berryman’s “\u003ca href=\"https://www.poetryfoundation.org/poems/48265/dream-song-29\">Dream Song 29\u003c/a>,” the poem opens with a heaviness (“There sat down, once, a thing on Henry’s heart”) that the subject cannot dispel: “Ghastly, / with open eyes, he attends, blind.”\u003c/p>\n\u003cp>It’s this quality of existential unease, of being unable to either look away or end the source of discomfort, that curator Adrianne Ramsey had in mind while organizing \u003ci>\u003ca href=\"https://rootdivision.org/exhibition/with-open-eyes/\">With Open Eyes\u003c/a>\u003c/i>, a 14-person group show of Black artists at Root Division. She began working on the show, which includes photography, textiles, painting and video, after the murder of George Floyd by a Minneapolis police officer in May 2020. \u003c/p>\n\u003cp>In her curatorial essay, Ramsey recalls how videos of the murder were circulating on social media without any warnings about shocking violence of the content. She points to more recent examples of “Black trauma porn,” like the leaked video of music mogul Sean Combs beating his then-girlfriend Cassie Ventura in a hotel.\u003c/p>\n\u003cfigure id=\"attachment_13961313\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000.jpg\" alt=\"Three wall-mounted artworks on white gallery walls\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13961313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-25_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view with Michon Sander’s ‘Used To Issue Out A Warning’ at center. \u003ccite>(Hunter Ridenour/Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>With Open Eyes\u003c/i> is meant to be an opportunity for Black artists to tell their own stories, not ignoring all harm but allowing them to reframe “the narrative that said bodies only experience harm,” Ramsey writes. \u003c/p>\n\u003cp>Two oil paintings by local artist \u003ca href=\"https://michonsandersart.com/\">Michon Sanders\u003c/a> lovingly depict her ancestors in dignified moments of rest. In \u003ci>Arthur Brown (But We Called Him Big Papa)\u003c/i>, Sanders’ great-great grandfather, a man who lived in rural Florida until the early 1900s, looks tranquil, with close-cropped gray hair, a beard and mustache. The background is a royal purple, enhancing his regal bearing. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Used To Issue Out A Warning\u003c/i> shows Sanders’ grandmother, who raised nine children, outside in a lawn chair, her hands folded over her belly. The title comes from the lyrics of Bill Withers’ “\u003ca href=\"https://youtu.be/TdrChyGb574?feature=shared\">Grandma’s Hands\u003c/a>,” in which hands caution as well as comfort. \u003c/p>\n\u003cp>Much of the work in the exhibition presents positive views of Black life, but it’s not a false positivity that ignores struggle. For example, in Bay Area artist \u003ca href=\"https://www.instagram.com/playdatephoto/\">Rohan DaCosta\u003c/a>’s arresting photo, \u003ci>Sistaz Outside\u003c/i>, two women are at the beach, one sipping orange juice out of a goblet and the other with a typewriter and a copy of Audre Lorde’s \u003ci>Sister Outsider\u003c/i>. Their obvious enjoyment in being together, children playing by the waves behind them, is juxtaposed with a rendering of a slave ship above their heads, a reminder of a brutal past.\u003c/p>\n\u003cfigure id=\"attachment_13961314\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000.jpg\" alt=\"Framed color photo of two women at beach with drawing of slave ship behind them\" width=\"2000\" height=\"2352\" class=\"size-full wp-image-13961314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-800x941.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-1020x1200.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-160x188.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-768x903.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-1306x1536.jpg 1306w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-1741x2048.jpg 1741w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-10_2000-1920x2258.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rohan DaCosta, ‘Sistaz Outside’ in ‘With Open Eyes.’ \u003ccite>(Hunter Ridenour/Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other pieces offer quieter scenes. Los Angeles artist \u003ca href=\"https://mayajunemansour.com/\">Maya June Mansour\u003c/a>’s photograph \u003ci>Dear Body, What’s The Score?\u003c/i> shows a woman in a white tub with her back to the viewer. We can see her face reflected in the mirror she holds. In \u003ci>I’m Still Here\u003c/i>, Mansour captures what seems to be a still life: a simple room with a wood-burning stove. On the stove sits a small mirror showing the same woman’s face. Both photos, ethereal and spare, evoke a feeling of calm. \u003c/p>\n\u003cp>\u003ci>With Open Eyes\u003c/i> also includes softness and humor. The former comes from \u003ca href=\"https://www.instagram.com/seraphimfairy/?hl=en\">Seraphina Perkins\u003c/a>’ small, colorful quilt embroidered with poetry, \u003ci>Softest Fruits of My Labor\u003c/i>, and the latter comes from \u003ca href=\"https://www.danadav.com/\">Dana Davenport\u003c/a>’s \u003ci>Beauty Supply ASMR\u003c/i>, a video showing fingers in front of a microphone, massaging various beauty supplies to create a crinkly, soothing sound.\u003c/p>\n\u003cfigure id=\"attachment_13961317\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000.jpg\" alt=\"Quilted textile work with dried branch hanging above\" width=\"2000\" height=\"2163\" class=\"size-full wp-image-13961317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-800x865.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-1020x1103.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-768x831.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-1420x1536.jpg 1420w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-1894x2048.jpg 1894w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/WithOpenEyes_Documentation-15_2000-1920x2076.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Work by Seraphina Perkins in ‘With Open Eyes.’ \u003ccite>(Hunter Ridenour/Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I walked through the show a few days before it opened, Oakland artist \u003ca href=\"https://www.eniolafakile.com/\">Eniola Fakile\u003c/a> was working on the show’s most speculative piece, \u003ci>Ijinle Omi (mysterious water)\u003c/i>, a physical manifestation of the artist’s invented, fantastical world. In \u003ci>Ijinle Omi\u003c/i>, a sea god distributes magical kelp to visitors in the form of blue, green and tan ceramic pieces — available to Root Division visitors for the taking.\u003c/p>\n\u003cp>“A lot of my practice is really just about finding ways to cope and deal with different feelings through world-building,” Fakile says. “I’m creating a mythology based off different cultures around the world, including my own.”\u003c/p>\n\u003cp>With works like this, whether the artists create their own worlds, or document the people and things important to them in our shared reality, the exhibition goes beyond depictions of collective pain, allowing viewers to open their eyes to a more expansive view of Black art.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://rootdivision.org/exhibition/with-open-eyes/\">With Open Eyes\u003c/a>’ is on view at Root Division (1131 Mission St., San Francisco) through Aug. 3, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "rightnowishs-grand-finale-words-of-wisdom-from-timothy-b",
"title": "Rightnowish’s Grand Finale: Words of Wisdom From Timothy B.",
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"headTitle": "Rightnowish’s Grand Finale: Words of Wisdom From Timothy B. | KQED",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>On this final episode of the Rightnowish podcast, we end back where we started — but with some pretty significant updates.\u003c/p>\n\u003cp>In the fall of 2019, renowned visual artist \u003ca href=\"https://www.instagram.com/timothyb_art/\" target=\"_blank\" rel=\"noopener\">Timothy B.\u003c/a> gave us the first full Rightnowish interview for an episode titled “\u003ca href=\"https://www.kqed.org/arts/13868502/from-d-boys-to-dope-art\" target=\"_blank\" rel=\"noopener\">From D-Boys to Dope Art.”\u003c/a>\u003c/p>\n\u003cp>During that interview, Timothy B. was flanked by his mother Dana Bluitt and his father Timothy Bluitt Sr. as he shared with us his perspective on mural making, community building and his work in Oakland. We also discussed how Timothy B.’s colorful paintings on the streets of the Town differ drastically from the work his father did in Oakland during the ’80s and early ’90s.\u003c/p>\n\u003cp>Timothy Sr., a representative of East Oakland’s legendary 69 Mob, was incarcerated in a federal penitentiary for over two decades. During that time, Mrs. Bluitt held the family down. Timothy B. took notes from both his mother and father, and flourished because of the strength of his parents.\u003c/p>\n\u003cp>Now, five years after our last conversation on tape, Timothy B. is a father too. Stepping into parenthood has changed his painting schedule and personal priorities. But he remains creative.\u003c/p>\n\u003cfigure id=\"attachment_13961247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13961247 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56%E2%80%AFPM-800x1100.png\" alt=\"Timothy B. stands on a lift in front of a mural he painted at the East Oakland Youth Center dedicated to journalist and political prisoner Mumia Abu-Jamal.\" width=\"800\" height=\"1100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM-800x1100.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM-160x220.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM-768x1056.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM.png 972w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timothy B. stands on a lift in front of a mural he painted at the East Oakland Youth Center dedicated to journalist and political prisoner Mumia Abu-Jamal. \u003ccite>(Courtesy of Timothy B. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, having painted numerous murals around the Town and beyond, his work is getting out there more than ever. In Oakland, his work can be seen at places like the corner store on Grand and Ellita, as well as the broad side of buildings on 7th and Washington, 82nd and International, and 15th and Webster. He has more murals in the works, plus he’s expanding beyond walls: this past February, his designs were commissioned, printed on T-shirts and given away at \u003ca href=\"https://www.instagram.com/p/C3RDwNIPJNl/?hl=en\" target=\"_blank\" rel=\"noopener\">a Golden State Warriors home game\u003c/a>.\u003c/p>\n\u003cp>This week, we discuss how Timothy B. has grown, and how Oakland has changed. And then Timothy B. gives us some advice on how to deal with major life transitions; advice I needed to hear as we end the Rightnowish podcast.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4636659965\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host: \u003c/b>\u003cspan style=\"font-weight: 400\">What’s up Rightnowish listeners, I’m your host Pendarvis Harshaw.\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">We are here. At the grand finale, the final episode of Rightnowish. We’ve had an amazing 5 year run, so much love, so many memories. Thank you all for rocking with us. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To host an arts and culture show in the Bay Area, it’s been so dope, I haven’t fully processed it. But for now I can say that I’m extremely grateful…grateful for the emails, comments on social posts and conversations at bars and coffee shops…grateful that we’ve had the support from KQED and from the community…grateful to the people who shared their stories with us, and to everyone who listened. I could go on but, yeah, grateful. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That being said, to bookend this Rightnowish podcast, we’re going back to where we started: a conversation with the very first guest on the show– renowned visual artist, Timothy B. We caught up with him via zoom from his Oakland studio.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Timothy’s work can be found all around the Bay, and beyond. He’s painted images of community members, goddesses and of Huey P. Newton. His mural of the late Nipsey Hussle on Grand and Perkins in Oakland is a trademark piece. Another mural on a wall further down Grand pays homage to the memory of Nia Wilson, a young woman who was slain on a BART platform in July of 2018.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the first episode of Rightnowish, Timothy B. and I discussed how his work on the streets of the town differs drastically from the work his father did. His dad, Timothy Bliutt Sr., is a factor from East Oakland’s legendary 69 Mob, and he also served a significant amount of time in a federal penitentiary. And from there Mrs. Dana Bluitt, Timothy B.’s mother, held the family down. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Which brings us to today– over the last five years a lot has changed for Timothy B. He’s a father now. So, for this final episode, we chop it up about Oakland, art and mental health, as well as fatherhood, personal relationships and the process of dealing with life’s big transitions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As you might imagine, I could use that advice right now… ish. Yeah, more after this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">There we go, there we go, there we go, Timothy B! I’m really excited to talk to you today for a number of reasons, really because you were the first interview in the Rightnowish series. You started us off on a good note, and so much has changed over the past 5 years. And when I think of all the changes that you have experienced, the biggest one is fatherhood. And our past conversation was about family and your parents and how they poured into you, and how that shows up in your artistry and given your relationship with your parents, what does it mean to you to be a father now? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, my son, he’s, he’s going to be the first to experience having a father and grandfather in I don’t know in how many generations, you know. So, you know, that’s power in itself. Because my father was incarcerated for 24 years of my life, to receive the opportunity to be a father now is monumental. I could give, ya know, my son, he’s…he won’t ever know what it’s like to not have a father around, you know? God forbid anything happens to me. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As you know, being a father yourself, I’m learning a lot around patience. Being a father is probably like, one of my hardest tasks, you know, just trying to balance everything. And I don’t cook to often, right? I think that’s probably like, my biggest challenge is just cooking different meals \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">that he would eat.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Gotta gotta learn more than just the spaghetti. I remember I stepped my game up. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I’m tired of having spaghetti, Dawg. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, for me, man, it’s mashed potatoes and broccoli \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> But that’s clutch, that’s clutch yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">But yeah, it’s been an amazing journey so far. You know, just seeing how, how much joy he bring, not to just myself, but everybody around. I feel like he was just, he was brought at the perfect time. He gave my family hope. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You mentioned the balance, the balancing act and, I mean, you are a renowned artist. How has parenthood changed your schedule as an artist?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Considering that I have my son four days a week,\u003c/span> \u003cspan style=\"font-weight: 400\">I don’t have much time to focus on my work like I used to. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I’m off father-duty, I’m a lot more focused than I used to be. Whereas before I used to cat-off a little bit. But these days, time management skills is a lot much better, ya feel me? So, I think I’m a little more disciplined now than I was back then.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What are some of the things that you’re dealing with with life right now? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B:\u003c/b> \u003cspan style=\"font-weight: 400\">It’s a trip because you know all these great things are happening in the art department. You know a lot of people, they see me accomplishing great things every month. I’m having unveiling, there’s a celebration, I’m being honored by The Warriors and Allen Temple Baptist Church and it’s just love being thrown my way, but at the, on the flip side of it, man I’ve been feeling like sh*t. I’m feeling terrible, you know, just for the reasons that my personal relationships to the people I love the most, you know are in sh*t. It’s like, I don’t know man. Just trying to find that balance. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What’s your method to the madness? How do you deal with it all? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Martial arts, you know, has really helped. I’ve been, you know, getting some sun. And also just accepting that people are going to feel how they feel, you know. Like, there’s nothing, you know, there’s certain things you just can’t do. You know, you can’t control how people think of you. You know, like, if your intentions is to do right by people, but they don’t, they can’t receive it for whatever reason, yo, that’s outside of you. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But I’m learning, you know, these days to, you know, continue to just show the love that I want to receive and if they could receive it from you. Cool. You know, if they not, if they can’t, I’m still going to try to pour as much as I can. You feel me? But, you know, just set my boundaries to protect my heart. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, the last thing I want to do is like, be here, be out here angry or frustrated. You feel me? So, you know, as of late I’ve been, like, moving in gratitude. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You once told me that your artwork is an escape for you. Does it still provide that same escape? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah man, it really does. It really does. Because I mean, essentially, you know, I create worlds, you know whenever, you know, I’m logging into the arts, I’m in a whole different zone. Like, I’m in a whole different thinking space, \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">Can you describe your style? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I think I have, like a Afro-futuristic, surrealist style. I love, like, a stylistic, illustrative type of art, you know, similar to, like, you know, like, comic book style. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m thinking of, like, I’ll read, like, you know, like the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, the one that was written by Ta-Nehisi Coates.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I can’t think of who the illustrator is right now, but his work is is tight. You know, it’s like it’s highly detailed, kind of wanderlust. And whenever I think of my work, you know, I try to give that kind of a Candyland type feel, you know, but with, you know, a real sense of reality, \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">That makes perfect sense. But I like what you say like surrealism, Afrofuturism, a little, you know, flavor to make it shine. And I could fully see that in your work, man. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m thinking about a design you did earlier this year that debuted for The Warriors during Black History Month, real big deal, man. Walk me through the process of designing that image. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I usually start with looking at different references. I would write down, like my intentions for the design, how I want it to feel, what I want it to represent. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">That piece was like, it was themed around manifesting your life, your destiny, your dreams. And it was of a boy, you know, with his hands out and like his strength, his power is in his hands. Right? And my, you know, thinking about myself, you know, I’ve been able to manifest everything I want in life, you know, like I’m living the dream right now. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Man, it all came from my hands. You know, I’ve been able to travel the world. I’ve been able to buy the cars I want. I’ve been able to live in the space I want to live in. All because of these hands. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Behind him was, the elders, you know, that were standing together in prayer, praying over the boy. You know, I come from a big village as you know. My family has always been, ya know, real good at uplifting me in whatever I wanted to do. And, so, you know, that’s what that piece was about. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Having that image printed on hundreds of thousands of t-shirts inside of The Warriors’ Chase Center, what was it like for you to walk in that evening and see your art?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">It was unreal. I would say it was unreal. Like, I don’t even think it really like resonated until afterwards. It was a reminder that I’ve came a long way. You know, like I, you know, I remember, you know, being in college telling myself that one day all this is going to make sense. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So now, to be in this position where, like you say, I got t-shirts, I’m doing.. got t-shirts all over the arena, the Chase. You know, I could barely even afford to be in the arena but now, you know, I’m in partnership with The Warriors, you feel me. It was like, man, like, it’s just it’s euphoric. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You had your son with you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">My son going everywhere with me. You feel me? Like he needs to know that anything is possible at a very young age.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What does it mean for someone to come up to you and compliment your work and give you your flowers? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">What that means to me is that one… people, people see me. And that feels good in itself to be seen, to be recognized, and also to be appreciated for the things that you love to do that you think no one sees. It’d be one thing if I was out here popular for, like, putting out negativity. But when you’re not with that, when you out here putting, you know, spreading love, that’s what you receive. Everywhere you go is just love. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Beyond putting paint where it ain’t and just doing an immaculate job at it, you’re also the founder of Good Air Studios, where you host live events and workshops for artists. Bringing it back a little bit, the last time we talked you were at Mouse Cat, and five years, a lot has changed. How was Good Air different from Mouse Cat? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">The Mouse Cat, personal studio is just all about…it’s my living space, you know. This is where I create, where I sleep, you know, but I needed a space for the community. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">For the longest time I’ve been doing this arts stuff, running this business by myself. I wanted to share this with other people. There’s a bunch of artists that look up to me and want to work by my side. And I want to be there to work in collaboration with them and teach them and learn from them. So I wanted to, you know, create a space for, you know, me and the community to connect and build. That’s how Good Air Studios came about. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For months, I was looking in this space, and I was just trying to, you know, figure out how I was going to pay that rent. So I reached out to all my closest friends and, you know, I pitched the idea to them, and then they believed in what I was talking about and now we here. \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">We makin’ enough money to pay rent, you know, but that’s a milestone. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">That’s gotta be dope to see it happening, the wheels are turning.\u003c/span> \u003cspan style=\"font-weight: 400\">I’ve been to the space it’s high ceilings, you know, like old warehouse just covered in art everywhere, the ping pong tables out front. You got the vibes and all of that is important. But the… what you just said beyond just the esthetics, this is about having space for creatives to come together. Why do you think that’s important for creatives in the Bay area right now? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I feel like we as Black artists need a space for us, you know? And that’s what Good Air Studio is, you know? And it’s not just for Black artists, of course, but we are trying to encourage the Black community to come out and even those who don’t really draw like that and who want to learn, you know, we want to host workshops for them so they could develop the confidence to, you know, express themselves through that medium. We doing something really dope. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\"> I feel like you personally, and also the larger ideas that come from you and your circle are very representative of creatives in the Bay Area right now. And also like, looking forward, I feel like y’all have a foot on the pulse of the now and also have some say in what’s to come down the pipeline.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And we’re coming to the end of producing this show. With that, there’s a slight relief that I don’t do the same thing over and over again and there’s some sadness of like losing this thing that I love, right? And you as a person who’s gone through some transitions in your life, what advice would you give to myself and the Rightnowish team as we go through this transition? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">We all creatives here. So no matter what we doing, we are doing something..we gon do something dope. So I guess my advice is to, continue to move in purpose, you know, and continue to move, towards whatever it is that is fulfilling your spirit, you know, because that is the thing that is going to wake us all up. That’s the… you like, you starting this show, this is the thing that we all needed. We needed to hear these stories of, you know, all these local celebrities. We use these stories that just, you know, remind us of maybe what we doing or, maybe get an insight of, you know, what is out there. Yeah man, continue to explore and experiment, it will happen for you, I promise you. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you. Thank you for sharing some insight into your life as a parent and also your life as an artist, man. And like, yeah, I can’t thank you enough because, you know, you changed the visual landscape at a place that we love. And that’s, that’s a hell of a task. So thank you. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s this thing that happens in journalism sometimes, where the person you’re interviewing speaks your truths. And all you can do is nod in agreement as the tape rolls. Timothy B.’s thoughts on community interaction — how it’s fueled his art and community service, even while dealing with all that life can throw at him. Yeah, bingo. That’s been a big part of this Rightnowish experience. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So Timothy B, Thank you again for your words of wisdom, your story and your work. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To keep up with Timothy B’s visual arts, live events and more follow him on Instagram at timothyb underscore art. That’s t-i-m-o-t-h-y-b underscore art. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, wow…. for the last time here go the show credits:\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Marisol Medina-Cadena is the Rightnowish producer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some of the music you heard in the episode was sourced from Audio Network.\u003cbr>\n\u003c/span>\u003cbr>\nChris Hambrick and Chris Egusa edited this episode.\u003cbr>\nChristopher Beale is our engineer.\u003cbr>\nThe Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan and Katie Sprenger.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Aight yall. This is the end. Thanks again. As a wise person once told me: keep it lit. Peace. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Rightnowish’s Grand Finale: Words of Wisdom From Timothy B. | KQED",
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"headline": "Rightnowish’s Grand Finale: Words of Wisdom From Timothy B.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>On this final episode of the Rightnowish podcast, we end back where we started — but with some pretty significant updates.\u003c/p>\n\u003cp>In the fall of 2019, renowned visual artist \u003ca href=\"https://www.instagram.com/timothyb_art/\" target=\"_blank\" rel=\"noopener\">Timothy B.\u003c/a> gave us the first full Rightnowish interview for an episode titled “\u003ca href=\"https://www.kqed.org/arts/13868502/from-d-boys-to-dope-art\" target=\"_blank\" rel=\"noopener\">From D-Boys to Dope Art.”\u003c/a>\u003c/p>\n\u003cp>During that interview, Timothy B. was flanked by his mother Dana Bluitt and his father Timothy Bluitt Sr. as he shared with us his perspective on mural making, community building and his work in Oakland. We also discussed how Timothy B.’s colorful paintings on the streets of the Town differ drastically from the work his father did in Oakland during the ’80s and early ’90s.\u003c/p>\n\u003cp>Timothy Sr., a representative of East Oakland’s legendary 69 Mob, was incarcerated in a federal penitentiary for over two decades. During that time, Mrs. Bluitt held the family down. Timothy B. took notes from both his mother and father, and flourished because of the strength of his parents.\u003c/p>\n\u003cp>Now, five years after our last conversation on tape, Timothy B. is a father too. Stepping into parenthood has changed his painting schedule and personal priorities. But he remains creative.\u003c/p>\n\u003cfigure id=\"attachment_13961247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13961247 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56%E2%80%AFPM-800x1100.png\" alt=\"Timothy B. stands on a lift in front of a mural he painted at the East Oakland Youth Center dedicated to journalist and political prisoner Mumia Abu-Jamal.\" width=\"800\" height=\"1100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM-800x1100.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM-160x220.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM-768x1056.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM.png 972w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timothy B. stands on a lift in front of a mural he painted at the East Oakland Youth Center dedicated to journalist and political prisoner Mumia Abu-Jamal. \u003ccite>(Courtesy of Timothy B. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, having painted numerous murals around the Town and beyond, his work is getting out there more than ever. In Oakland, his work can be seen at places like the corner store on Grand and Ellita, as well as the broad side of buildings on 7th and Washington, 82nd and International, and 15th and Webster. He has more murals in the works, plus he’s expanding beyond walls: this past February, his designs were commissioned, printed on T-shirts and given away at \u003ca href=\"https://www.instagram.com/p/C3RDwNIPJNl/?hl=en\" target=\"_blank\" rel=\"noopener\">a Golden State Warriors home game\u003c/a>.\u003c/p>\n\u003cp>This week, we discuss how Timothy B. has grown, and how Oakland has changed. And then Timothy B. gives us some advice on how to deal with major life transitions; advice I needed to hear as we end the Rightnowish podcast.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4636659965\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/div>",
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"content": "\u003cdiv class=\"post-content post-body\">\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host: \u003c/b>\u003cspan style=\"font-weight: 400\">What’s up Rightnowish listeners, I’m your host Pendarvis Harshaw.\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">We are here. At the grand finale, the final episode of Rightnowish. We’ve had an amazing 5 year run, so much love, so many memories. Thank you all for rocking with us. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To host an arts and culture show in the Bay Area, it’s been so dope, I haven’t fully processed it. But for now I can say that I’m extremely grateful…grateful for the emails, comments on social posts and conversations at bars and coffee shops…grateful that we’ve had the support from KQED and from the community…grateful to the people who shared their stories with us, and to everyone who listened. I could go on but, yeah, grateful. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That being said, to bookend this Rightnowish podcast, we’re going back to where we started: a conversation with the very first guest on the show– renowned visual artist, Timothy B. We caught up with him via zoom from his Oakland studio.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Timothy’s work can be found all around the Bay, and beyond. He’s painted images of community members, goddesses and of Huey P. Newton. His mural of the late Nipsey Hussle on Grand and Perkins in Oakland is a trademark piece. Another mural on a wall further down Grand pays homage to the memory of Nia Wilson, a young woman who was slain on a BART platform in July of 2018.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the first episode of Rightnowish, Timothy B. and I discussed how his work on the streets of the town differs drastically from the work his father did. His dad, Timothy Bliutt Sr., is a factor from East Oakland’s legendary 69 Mob, and he also served a significant amount of time in a federal penitentiary. And from there Mrs. Dana Bluitt, Timothy B.’s mother, held the family down. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Which brings us to today– over the last five years a lot has changed for Timothy B. He’s a father now. So, for this final episode, we chop it up about Oakland, art and mental health, as well as fatherhood, personal relationships and the process of dealing with life’s big transitions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As you might imagine, I could use that advice right now… ish. Yeah, more after this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">There we go, there we go, there we go, Timothy B! I’m really excited to talk to you today for a number of reasons, really because you were the first interview in the Rightnowish series. You started us off on a good note, and so much has changed over the past 5 years. And when I think of all the changes that you have experienced, the biggest one is fatherhood. And our past conversation was about family and your parents and how they poured into you, and how that shows up in your artistry and given your relationship with your parents, what does it mean to you to be a father now? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, my son, he’s, he’s going to be the first to experience having a father and grandfather in I don’t know in how many generations, you know. So, you know, that’s power in itself. Because my father was incarcerated for 24 years of my life, to receive the opportunity to be a father now is monumental. I could give, ya know, my son, he’s…he won’t ever know what it’s like to not have a father around, you know? God forbid anything happens to me. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As you know, being a father yourself, I’m learning a lot around patience. Being a father is probably like, one of my hardest tasks, you know, just trying to balance everything. And I don’t cook to often, right? I think that’s probably like, my biggest challenge is just cooking different meals \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">that he would eat.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Gotta gotta learn more than just the spaghetti. I remember I stepped my game up. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I’m tired of having spaghetti, Dawg. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, for me, man, it’s mashed potatoes and broccoli \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> But that’s clutch, that’s clutch yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">But yeah, it’s been an amazing journey so far. You know, just seeing how, how much joy he bring, not to just myself, but everybody around. I feel like he was just, he was brought at the perfect time. He gave my family hope. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You mentioned the balance, the balancing act and, I mean, you are a renowned artist. How has parenthood changed your schedule as an artist?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Considering that I have my son four days a week,\u003c/span> \u003cspan style=\"font-weight: 400\">I don’t have much time to focus on my work like I used to. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I’m off father-duty, I’m a lot more focused than I used to be. Whereas before I used to cat-off a little bit. But these days, time management skills is a lot much better, ya feel me? So, I think I’m a little more disciplined now than I was back then.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What are some of the things that you’re dealing with with life right now? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B:\u003c/b> \u003cspan style=\"font-weight: 400\">It’s a trip because you know all these great things are happening in the art department. You know a lot of people, they see me accomplishing great things every month. I’m having unveiling, there’s a celebration, I’m being honored by The Warriors and Allen Temple Baptist Church and it’s just love being thrown my way, but at the, on the flip side of it, man I’ve been feeling like sh*t. I’m feeling terrible, you know, just for the reasons that my personal relationships to the people I love the most, you know are in sh*t. It’s like, I don’t know man. Just trying to find that balance. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What’s your method to the madness? How do you deal with it all? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Martial arts, you know, has really helped. I’ve been, you know, getting some sun. And also just accepting that people are going to feel how they feel, you know. Like, there’s nothing, you know, there’s certain things you just can’t do. You know, you can’t control how people think of you. You know, like, if your intentions is to do right by people, but they don’t, they can’t receive it for whatever reason, yo, that’s outside of you. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But I’m learning, you know, these days to, you know, continue to just show the love that I want to receive and if they could receive it from you. Cool. You know, if they not, if they can’t, I’m still going to try to pour as much as I can. You feel me? But, you know, just set my boundaries to protect my heart. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, the last thing I want to do is like, be here, be out here angry or frustrated. You feel me? So, you know, as of late I’ve been, like, moving in gratitude. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You once told me that your artwork is an escape for you. Does it still provide that same escape? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah man, it really does. It really does. Because I mean, essentially, you know, I create worlds, you know whenever, you know, I’m logging into the arts, I’m in a whole different zone. Like, I’m in a whole different thinking space, \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">Can you describe your style? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I think I have, like a Afro-futuristic, surrealist style. I love, like, a stylistic, illustrative type of art, you know, similar to, like, you know, like, comic book style. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m thinking of, like, I’ll read, like, you know, like the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, the one that was written by Ta-Nehisi Coates.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I can’t think of who the illustrator is right now, but his work is is tight. You know, it’s like it’s highly detailed, kind of wanderlust. And whenever I think of my work, you know, I try to give that kind of a Candyland type feel, you know, but with, you know, a real sense of reality, \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">That makes perfect sense. But I like what you say like surrealism, Afrofuturism, a little, you know, flavor to make it shine. And I could fully see that in your work, man. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m thinking about a design you did earlier this year that debuted for The Warriors during Black History Month, real big deal, man. Walk me through the process of designing that image. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I usually start with looking at different references. I would write down, like my intentions for the design, how I want it to feel, what I want it to represent. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">That piece was like, it was themed around manifesting your life, your destiny, your dreams. And it was of a boy, you know, with his hands out and like his strength, his power is in his hands. Right? And my, you know, thinking about myself, you know, I’ve been able to manifest everything I want in life, you know, like I’m living the dream right now. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Man, it all came from my hands. You know, I’ve been able to travel the world. I’ve been able to buy the cars I want. I’ve been able to live in the space I want to live in. All because of these hands. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Behind him was, the elders, you know, that were standing together in prayer, praying over the boy. You know, I come from a big village as you know. My family has always been, ya know, real good at uplifting me in whatever I wanted to do. And, so, you know, that’s what that piece was about. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Having that image printed on hundreds of thousands of t-shirts inside of The Warriors’ Chase Center, what was it like for you to walk in that evening and see your art?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">It was unreal. I would say it was unreal. Like, I don’t even think it really like resonated until afterwards. It was a reminder that I’ve came a long way. You know, like I, you know, I remember, you know, being in college telling myself that one day all this is going to make sense. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So now, to be in this position where, like you say, I got t-shirts, I’m doing.. got t-shirts all over the arena, the Chase. You know, I could barely even afford to be in the arena but now, you know, I’m in partnership with The Warriors, you feel me. It was like, man, like, it’s just it’s euphoric. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You had your son with you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">My son going everywhere with me. You feel me? Like he needs to know that anything is possible at a very young age.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What does it mean for someone to come up to you and compliment your work and give you your flowers? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">What that means to me is that one… people, people see me. And that feels good in itself to be seen, to be recognized, and also to be appreciated for the things that you love to do that you think no one sees. It’d be one thing if I was out here popular for, like, putting out negativity. But when you’re not with that, when you out here putting, you know, spreading love, that’s what you receive. Everywhere you go is just love. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Beyond putting paint where it ain’t and just doing an immaculate job at it, you’re also the founder of Good Air Studios, where you host live events and workshops for artists. Bringing it back a little bit, the last time we talked you were at Mouse Cat, and five years, a lot has changed. How was Good Air different from Mouse Cat? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">The Mouse Cat, personal studio is just all about…it’s my living space, you know. This is where I create, where I sleep, you know, but I needed a space for the community. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">For the longest time I’ve been doing this arts stuff, running this business by myself. I wanted to share this with other people. There’s a bunch of artists that look up to me and want to work by my side. And I want to be there to work in collaboration with them and teach them and learn from them. So I wanted to, you know, create a space for, you know, me and the community to connect and build. That’s how Good Air Studios came about. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For months, I was looking in this space, and I was just trying to, you know, figure out how I was going to pay that rent. So I reached out to all my closest friends and, you know, I pitched the idea to them, and then they believed in what I was talking about and now we here. \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">We makin’ enough money to pay rent, you know, but that’s a milestone. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">That’s gotta be dope to see it happening, the wheels are turning.\u003c/span> \u003cspan style=\"font-weight: 400\">I’ve been to the space it’s high ceilings, you know, like old warehouse just covered in art everywhere, the ping pong tables out front. You got the vibes and all of that is important. But the… what you just said beyond just the esthetics, this is about having space for creatives to come together. Why do you think that’s important for creatives in the Bay area right now? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I feel like we as Black artists need a space for us, you know? And that’s what Good Air Studio is, you know? And it’s not just for Black artists, of course, but we are trying to encourage the Black community to come out and even those who don’t really draw like that and who want to learn, you know, we want to host workshops for them so they could develop the confidence to, you know, express themselves through that medium. We doing something really dope. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\"> I feel like you personally, and also the larger ideas that come from you and your circle are very representative of creatives in the Bay Area right now. And also like, looking forward, I feel like y’all have a foot on the pulse of the now and also have some say in what’s to come down the pipeline.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And we’re coming to the end of producing this show. With that, there’s a slight relief that I don’t do the same thing over and over again and there’s some sadness of like losing this thing that I love, right? And you as a person who’s gone through some transitions in your life, what advice would you give to myself and the Rightnowish team as we go through this transition? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">We all creatives here. So no matter what we doing, we are doing something..we gon do something dope. So I guess my advice is to, continue to move in purpose, you know, and continue to move, towards whatever it is that is fulfilling your spirit, you know, because that is the thing that is going to wake us all up. That’s the… you like, you starting this show, this is the thing that we all needed. We needed to hear these stories of, you know, all these local celebrities. We use these stories that just, you know, remind us of maybe what we doing or, maybe get an insight of, you know, what is out there. Yeah man, continue to explore and experiment, it will happen for you, I promise you. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you. Thank you for sharing some insight into your life as a parent and also your life as an artist, man. And like, yeah, I can’t thank you enough because, you know, you changed the visual landscape at a place that we love. And that’s, that’s a hell of a task. So thank you. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s this thing that happens in journalism sometimes, where the person you’re interviewing speaks your truths. And all you can do is nod in agreement as the tape rolls. Timothy B.’s thoughts on community interaction — how it’s fueled his art and community service, even while dealing with all that life can throw at him. Yeah, bingo. That’s been a big part of this Rightnowish experience. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So Timothy B, Thank you again for your words of wisdom, your story and your work. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To keep up with Timothy B’s visual arts, live events and more follow him on Instagram at timothyb underscore art. That’s t-i-m-o-t-h-y-b underscore art. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, wow…. for the last time here go the show credits:\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Marisol Medina-Cadena is the Rightnowish producer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some of the music you heard in the episode was sourced from Audio Network.\u003cbr>\n\u003c/span>\u003cbr>\nChris Hambrick and Chris Egusa edited this episode.\u003cbr>\nChristopher Beale is our engineer.\u003cbr>\nThe Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan and Katie Sprenger.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Aight yall. This is the end. Thanks again. As a wise person once told me: keep it lit. Peace. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>"
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"content": "\u003cp>Before applying to Palo Alto’s King Artist Residency, \u003ca href=\"https://studiolandeta.com/\">Alma Landeta\u003c/a> researched the state of mental health in the city, specifically among queer people. The findings alarmed them. \u003c/p>\n\u003cp>“The statistics from a 2019 report were something like 25% of LGBTQAI+ individuals in Palo Alto had had some suicidal ideations, and it went up to closer to 50% for those who identified as trans,” Landeta remembers. “It’s startling and deeply upsetting.” \u003c/p>\n\u003cp>Landeta grew up in Tampa, Florida and always thought of the Bay Area as a refuge. “A part of me was a little surprised,” they say. “I guess I thought those numbers would be lower here.”\u003c/p>\n\u003cp>In their winning application for the \u003ca href=\"https://www.cityofpaloalto.org/Departments/Community-Services/Arts-Sciences/Public-Art-Program/King-Artist-Residency\">year-long residency\u003c/a>, Landeta proposed a portrait project in which the artist would work collaboratively with their subjects. In all their work, Landeta wants to provide mirrors for queer people to see themselves — and for the rest of the world to see them as well. That’s why their portraits, though identifiable to sitters, are somewhat abstract, so that viewers can project their own lives and experiences onto each artwork. \u003c/p>\n\u003cfigure id=\"attachment_13960596\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8.jpg\" alt=\"\" width=\"2000\" height=\"1396\" class=\"size-full wp-image-13960596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-1536x1072.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-1920x1340.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Landeta in their Cubberly studio. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In June, in the plain, white studio in the Cubberley Community Center, which they had recently started using as part of the residency, some examples of those portraits hung on the walls. Landeta’s process is careful. They check in with their sitters often, before, during and at the end of the session, making people feel comfortable with how they’re being portrayed. Sometimes, they say, a sitter will ask for small adjustments: lips more defined, a jawline less pronounced. Finally, Landeta has their sitters title the artwork. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since painting a mural for the San Francisco LGBT Center in 2023 titled \u003cem>\u003ca href=\"https://www.instagram.com/p/CvIMla_xtlS/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Joy is the Fuel\u003c/a>\u003c/em>, Landeta says they have been wanting to express more joy in their work. It’s part of why they take the collaborative process so seriously; Landeta wants people to feel good about how they’re portrayed. \u003c/p>\n\u003cp>As the 2024 Dr. Martin Luther King Jr. & Coretta Scott King artist in residence, Landeta has, along with the free studio, a stipend from the city, and will do an installation at King Plaza in front of Palo Alto City Hall at the end of the year. Landeta is the third artist to participate in the residency program, which focuses on equity and belonging. \u003c/p>\n\u003cp>In May, they started the \u003ca href=\"https://www.instagram.com/alma.landeta/reel/C8pqrGBSrYQ/\">Queeries Hotline\u003c/a>, which people are invited to call and leave a story. Landeta says the retro nature of voicemails tickles them, and they are thinking of using some of the audio in the installation at the end of the year. \u003c/p>\n\u003cfigure id=\"attachment_13960593\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13960593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">As part of Landeta’s research phase for the residency, they started a hotline where individuals who identify as LGBTQAI+ call and talk about their stories. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The prompt is ‘What is something you would want residents of Palo Alto to know about your experiences as an LGBTQAI + person of this community,’” Landeta says. “There’s a lot of beauty and a lot of joy in these stories as well as a lot of hardships. There are a lot of ways folks are still not feeling safe to be out and open, and that’s heartbreaking.”\u003c/p>\n\u003cp>In-person events are providing Landeta with opportunities to further connect with people in Palo Alto. In June, they hosted an open studio event, and a free community portrait workshop at the Mitchell Park Library. Landeta has linked up with Avenidas, a senior center that welcomes all communities. They participated in a Pride event there with \u003ca href=\"https://atmospherepress.com/books/run-my-story-of-lgbtq-political-power-equality-and-acceptance-in-silicon-valley-by-ken-yeager-ph-d/\">Ken Yeager\u003c/a>, one of the first openly gay political leaders in Silicon Valley, who served on the Santa Clara County Board of Supervisors.\u003c/p>\n\u003cp>“He was instrumental in making a lot of change happen, and I got to hear from him and other people in the room who had lived here and grown up here,” Landeta says of the senior center event. “There were some folks who had only recently come out, and they’re in their 60s and 70s.”\u003c/p>\n\u003cfigure id=\"attachment_13960597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13960597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Landeta holds a photo from the 2022 documentary ‘Queer Silicon Valley.’ \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Avenidas, Landeta stayed after the panel to have lunch with attendees, inviting them to visit the studio and sit for a portrait if interested. At the library, Landeta led an hour-long workshop where the participants made portraits with Sharpies, which they took home. \u003c/p>\n\u003cp>“There were a few folks who came up to me at the end of the workshop and just wanted to share, ‘Hey, I’m trans,’ or ‘Hey, I’m gay,’” Landeta says. “I had one woman who was so sweet. She was wearing this rainbow jewel necklace, and she held it up to me, and she kind of was whispering, ‘I’m an ally.’” Like, ‘OK, yes, we love the allies, say it loud and proud!’”\u003c/p>\n\u003cp>Landeta’s ability to connect with people is part of why they were chosen for this residency, says Elise DeMarzo, director of Palo Alto’s public art program. \u003c/p>\n\u003cp>“Alma is so relatable and approachable,” DeMarzo says. “In the interview and presentation, they engaged everyone right off the bat with a drawing exercise. They put everyone at ease with their warmth.” \u003c/p>\n\u003cfigure id=\"attachment_13960595\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13960595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A self-portrait Landeta made a few weeks ago, center, is displayed in their Cubberly studio. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Landeta, a high school art teacher, is skilled at drawing people out, and their collaborative approach comes out of a genuine desire to make others feel included. Meanwhile, their art is entering ever-more formal contexts. Currently, they have work on view in \u003ci>\u003ca href=\"https://www.bmoa.org/exhibits/resonantly-me-queer-artist-invitational\">Resonantly Me: A Queer Artist’s Invitational\u003c/a>\u003c/i> at the Bakersfield Museum of Art, up through Sept. 7, 2024. With curator Victor Gonzales, Landeta chose two portraits — one of someone from San Francisco’s Transgender District office, and a self-portrait Landeta did right before undergoing gender affirming surgery.\u003c/p>\n\u003cp>Gonzales says he’s long admired Landeta’s work. \u003c/p>\n\u003cp>“It’s really about owning your own body and being able to be expressive and comfortable when you’re finally who you really are,” he says. “That’s what I want to come from those two works. Just be yourself, honestly.”\u003c/p>\n\u003cp>Landeta says Bakersfield’s conservative character reminds them of Tampa. With \u003cem>Resonantly Me\u003c/em>, they get to be part of a show they would have enjoyed seeing growing up. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I get to bring this to a place where I know there is some closeted queer youth who will just see this and have a ‘Whoa, I don’t know what I’m looking at, but I know what I’m looking at,’ kind of feeling,” Landeta says. “I certainly had that at different points, and I wish I would have had way more of it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before applying to Palo Alto’s King Artist Residency, \u003ca href=\"https://studiolandeta.com/\">Alma Landeta\u003c/a> researched the state of mental health in the city, specifically among queer people. The findings alarmed them. \u003c/p>\n\u003cp>“The statistics from a 2019 report were something like 25% of LGBTQAI+ individuals in Palo Alto had had some suicidal ideations, and it went up to closer to 50% for those who identified as trans,” Landeta remembers. “It’s startling and deeply upsetting.” \u003c/p>\n\u003cp>Landeta grew up in Tampa, Florida and always thought of the Bay Area as a refuge. “A part of me was a little surprised,” they say. “I guess I thought those numbers would be lower here.”\u003c/p>\n\u003cp>In their winning application for the \u003ca href=\"https://www.cityofpaloalto.org/Departments/Community-Services/Arts-Sciences/Public-Art-Program/King-Artist-Residency\">year-long residency\u003c/a>, Landeta proposed a portrait project in which the artist would work collaboratively with their subjects. In all their work, Landeta wants to provide mirrors for queer people to see themselves — and for the rest of the world to see them as well. That’s why their portraits, though identifiable to sitters, are somewhat abstract, so that viewers can project their own lives and experiences onto each artwork. \u003c/p>\n\u003cfigure id=\"attachment_13960596\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8.jpg\" alt=\"\" width=\"2000\" height=\"1396\" class=\"size-full wp-image-13960596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-1536x1072.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-8-1920x1340.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Landeta in their Cubberly studio. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In June, in the plain, white studio in the Cubberley Community Center, which they had recently started using as part of the residency, some examples of those portraits hung on the walls. Landeta’s process is careful. They check in with their sitters often, before, during and at the end of the session, making people feel comfortable with how they’re being portrayed. Sometimes, they say, a sitter will ask for small adjustments: lips more defined, a jawline less pronounced. Finally, Landeta has their sitters title the artwork. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since painting a mural for the San Francisco LGBT Center in 2023 titled \u003cem>\u003ca href=\"https://www.instagram.com/p/CvIMla_xtlS/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Joy is the Fuel\u003c/a>\u003c/em>, Landeta says they have been wanting to express more joy in their work. It’s part of why they take the collaborative process so seriously; Landeta wants people to feel good about how they’re portrayed. \u003c/p>\n\u003cp>As the 2024 Dr. Martin Luther King Jr. & Coretta Scott King artist in residence, Landeta has, along with the free studio, a stipend from the city, and will do an installation at King Plaza in front of Palo Alto City Hall at the end of the year. Landeta is the third artist to participate in the residency program, which focuses on equity and belonging. \u003c/p>\n\u003cp>In May, they started the \u003ca href=\"https://www.instagram.com/alma.landeta/reel/C8pqrGBSrYQ/\">Queeries Hotline\u003c/a>, which people are invited to call and leave a story. Landeta says the retro nature of voicemails tickles them, and they are thinking of using some of the audio in the installation at the end of the year. \u003c/p>\n\u003cfigure id=\"attachment_13960593\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13960593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">As part of Landeta’s research phase for the residency, they started a hotline where individuals who identify as LGBTQAI+ call and talk about their stories. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The prompt is ‘What is something you would want residents of Palo Alto to know about your experiences as an LGBTQAI + person of this community,’” Landeta says. “There’s a lot of beauty and a lot of joy in these stories as well as a lot of hardships. There are a lot of ways folks are still not feeling safe to be out and open, and that’s heartbreaking.”\u003c/p>\n\u003cp>In-person events are providing Landeta with opportunities to further connect with people in Palo Alto. In June, they hosted an open studio event, and a free community portrait workshop at the Mitchell Park Library. Landeta has linked up with Avenidas, a senior center that welcomes all communities. They participated in a Pride event there with \u003ca href=\"https://atmospherepress.com/books/run-my-story-of-lgbtq-political-power-equality-and-acceptance-in-silicon-valley-by-ken-yeager-ph-d/\">Ken Yeager\u003c/a>, one of the first openly gay political leaders in Silicon Valley, who served on the Santa Clara County Board of Supervisors.\u003c/p>\n\u003cp>“He was instrumental in making a lot of change happen, and I got to hear from him and other people in the room who had lived here and grown up here,” Landeta says of the senior center event. “There were some folks who had only recently come out, and they’re in their 60s and 70s.”\u003c/p>\n\u003cfigure id=\"attachment_13960597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13960597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-10-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Landeta holds a photo from the 2022 documentary ‘Queer Silicon Valley.’ \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Avenidas, Landeta stayed after the panel to have lunch with attendees, inviting them to visit the studio and sit for a portrait if interested. At the library, Landeta led an hour-long workshop where the participants made portraits with Sharpies, which they took home. \u003c/p>\n\u003cp>“There were a few folks who came up to me at the end of the workshop and just wanted to share, ‘Hey, I’m trans,’ or ‘Hey, I’m gay,’” Landeta says. “I had one woman who was so sweet. She was wearing this rainbow jewel necklace, and she held it up to me, and she kind of was whispering, ‘I’m an ally.’” Like, ‘OK, yes, we love the allies, say it loud and proud!’”\u003c/p>\n\u003cp>Landeta’s ability to connect with people is part of why they were chosen for this residency, says Elise DeMarzo, director of Palo Alto’s public art program. \u003c/p>\n\u003cp>“Alma is so relatable and approachable,” DeMarzo says. “In the interview and presentation, they engaged everyone right off the bat with a drawing exercise. They put everyone at ease with their warmth.” \u003c/p>\n\u003cfigure id=\"attachment_13960595\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13960595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627_AlmaLandeta-7-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A self-portrait Landeta made a few weeks ago, center, is displayed in their Cubberly studio. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Landeta, a high school art teacher, is skilled at drawing people out, and their collaborative approach comes out of a genuine desire to make others feel included. Meanwhile, their art is entering ever-more formal contexts. Currently, they have work on view in \u003ci>\u003ca href=\"https://www.bmoa.org/exhibits/resonantly-me-queer-artist-invitational\">Resonantly Me: A Queer Artist’s Invitational\u003c/a>\u003c/i> at the Bakersfield Museum of Art, up through Sept. 7, 2024. With curator Victor Gonzales, Landeta chose two portraits — one of someone from San Francisco’s Transgender District office, and a self-portrait Landeta did right before undergoing gender affirming surgery.\u003c/p>\n\u003cp>Gonzales says he’s long admired Landeta’s work. \u003c/p>\n\u003cp>“It’s really about owning your own body and being able to be expressive and comfortable when you’re finally who you really are,” he says. “That’s what I want to come from those two works. Just be yourself, honestly.”\u003c/p>\n\u003cp>Landeta says Bakersfield’s conservative character reminds them of Tampa. With \u003cem>Resonantly Me\u003c/em>, they get to be part of a show they would have enjoyed seeing growing up. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I get to bring this to a place where I know there is some closeted queer youth who will just see this and have a ‘Whoa, I don’t know what I’m looking at, but I know what I’m looking at,’ kind of feeling,” Landeta says. “I certainly had that at different points, and I wish I would have had way more of it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"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",
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"possible": {
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"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",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"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.",
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},
"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",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
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