window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_10303088": {
"type": "attachments",
"id": "arts_10303088",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10303088",
"found": true
},
"parent": 10303087,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/diorama-400x300.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 300
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/diorama.jpg",
"width": 480,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/diorama-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/diorama-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/diorama-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/diorama-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/diorama-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1421275087,
"modified": 1421275087,
"caption": null,
"description": null,
"title": "diorama",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"marktaylor-2": {
"type": "authors",
"id": "8",
"meta": {
"index": "authors_1716337520",
"id": "8",
"found": true
},
"name": "Mark Taylor",
"firstName": "Mark",
"lastName": "Taylor",
"slug": "marktaylor-2",
"email": "mark@emptypictures.net",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Mark Taylor founded KQED Arts in 2005 and served as Senior Interactive Producer for Arts and Culture through 2014. Taylor was the online arts editor of KQED's daily arts blog for nine years and created the station's first web-original podcasts, Gallery Crawl and The Writers' Block.\r\n\r\nTaylor is an experimental filmmaker and visual artist whose work has been collected by the Library of Congress, Stanford University and the New York Museum of Modern Art, among many others. He teaches Media Studies at the University of San Francisco and is exploring the connection between film and food. \u003ca href=\"http://emptypictures.net/\">Visit Mark Taylor's website\u003c/a> at emptypictures.net.",
"avatar": "https://secure.gravatar.com/avatar/3452322b4dec4379500b11b74718f5da?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Administrator",
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "checkplease",
"roles": [
"subscriber"
]
},
{
"site": "food",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Mark Taylor | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/3452322b4dec4379500b11b74718f5da?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3452322b4dec4379500b11b74718f5da?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/marktaylor-2"
},
"kfarr": {
"type": "authors",
"id": "16",
"meta": {
"index": "authors_1716337520",
"id": "16",
"found": true
},
"name": "Kristin Farr",
"firstName": "Kristin",
"lastName": "Farr",
"slug": "kfarr",
"email": "kfarr@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Kristin Farr is the creator and producer of KQED's Emmy Award-winning web video series, Art School, and she is also a contributing editor for Juxtapoz magazine. Her artwork has been exhibited at galleries around the Bay Area including YBCA, Fifty24SF, Anno Domini and The Bedford Gallery. Her FarrOut art app for iOS was released in 2013. She lives in the East Bay and her favorite color is all of them.",
"avatar": "https://secure.gravatar.com/avatar/96aae7842c46004b98e00051e9e0d71f?s=600&d=blank&r=g",
"twitter": "kristinfarr",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kristin Farr | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/96aae7842c46004b98e00051e9e0d71f?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/96aae7842c46004b98e00051e9e0d71f?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kfarr"
},
"bmarks": {
"type": "authors",
"id": "26",
"meta": {
"index": "authors_1716337520",
"id": "26",
"found": true
},
"name": "Ben Marks",
"firstName": "Ben",
"lastName": "Marks",
"slug": "bmarks",
"email": "gobenmarks@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Ben Marks is a peninsula-based writer and editor. He has covered theater, visual arts, and restaurants for numerous publications. He has also been a lobster and scallop fisherman in Maine, run a restaurant in Seattle, blown glass for Dale Chihuly, and boasts numerous other so-called accomplishments that have surprisingly little to do with the arts in the South Bay, which is his focus at KQED.org.",
"avatar": "https://secure.gravatar.com/avatar/ac0075b66fea4e8075d298dafc66d269?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
}
],
"headData": {
"title": "Ben Marks | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/ac0075b66fea4e8075d298dafc66d269?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ac0075b66fea4e8075d298dafc66d269?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/bmarks"
},
"tbuckwalter": {
"type": "authors",
"id": "29",
"meta": {
"index": "authors_1716337520",
"id": "29",
"found": true
},
"name": "Timothy Buckwalter",
"firstName": "Timothy",
"lastName": "Buckwalter",
"slug": "tbuckwalter",
"email": "FAKE_tbuckwalter@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Since age three, Timothy Buckwalter has been listening to music and drawing.As a teenager growing up near Philadelphia in the early '80s, he discovered hip hop and post-punk. Buckwalter spent his adolescence getting paid to dj parties and finish his friend's high school art assignments. While in art school he was in an incredibly unpopular noise band, and co-organized with Robert Curcio (of Pulse Art Fair fame) their college's first performance art events. Buckwalter spent most of his time at Tyler School of Art drawing and painting or berating other student's work at studio critiques. After a brief stint answering phone queries and responding to complaints about art at the \u003ca href=\"http://www.philamuseum.org/\">Philadelphia Museum of Art\u003c/a>, he sold his record collection and moved to California.Buckwalter his primarily a painter and has exhibited around the country. He is represented by \u003ca href=\"http://www.bquayartgallery.com/\">Braunstein/Quay Gallery\u003c/a> in San Francisco and \u003ca href=\"http://www.rebeccaibel.com/\">Rebecca Ibel Gallery\u003c/a> in Columbus Ohio. In 2006, after a conversation with Dan Golden about alternatives to the gallery system, Timothy spent the bulk of the year making more than 700 drawings, selling them online through a hugely-popular curated weekly exhibition.He is married to author and journalist \u003ca href=\"http://www.amazon.com/exec/obidos/search-handle-url/103-1780071-8102251?%5Fencoding=UTF8&search-type=ss&index=books&field-author=Nell%20Bernstein\">Nell Bernstein\u003c/a>. They have six year-old twins who like to draw. Timothy Buckwalter still listens to music while working, and yes, much of it is still mostly hip hop and post-punk.",
"avatar": "https://secure.gravatar.com/avatar/59ace9f77f8e35612feb6f7137a51c9e?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
}
],
"headData": {
"title": "Timothy Buckwalter | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/59ace9f77f8e35612feb6f7137a51c9e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/59ace9f77f8e35612feb6f7137a51c9e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/tbuckwalter"
},
"clight": {
"type": "authors",
"id": "30",
"meta": {
"index": "authors_1716337520",
"id": "30",
"found": true
},
"name": "Claire Light",
"firstName": "Claire",
"lastName": "Light",
"slug": "clight",
"email": "FAKE_clight@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Claire Light is a Bay Area writer and cultural worker. She has worked for twelve years in nonprofit administration, particularly arts in the Asian American community. Her MFA in fiction came from San Francisco State University, and some of her fiction is published in \u003ci>McSweeney's\u003c/i>, \u003ci>Hyphen\u003c/i>, \u003ci>Farthing\u003c/i>, and a forthcoming issue of \u003ci>The Encyclopedia Project\u003c/i>. A chapbook of her short stories, called \u003cb>Slightly Behind and to the Left\u003c/b>, was published by Aqueduct Press last December. She has taught writing to teens, college students, and adults, and is currently teaching free writing classes through the Oakland Word program. She blogs at \u003ci>Hyphen\u003c/i> and her personal blog \"SeeLight.\"",
"avatar": "https://secure.gravatar.com/avatar/102528ed8a2e7f862a86f905f41f0e2c?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
}
],
"headData": {
"title": "Claire Light | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/102528ed8a2e7f862a86f905f41f0e2c?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/102528ed8a2e7f862a86f905f41f0e2c?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/clight"
},
"kqedarts": {
"type": "authors",
"id": "92",
"meta": {
"index": "authors_1716337520",
"id": "92",
"found": true
},
"name": "KQED Arts",
"firstName": "KQED",
"lastName": "Arts",
"slug": "kqedarts",
"email": "arts@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Staff",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "https://www.instagram.com/kqed_arts/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "science",
"roles": [
"author"
]
},
{
"site": "food",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "KQED Arts | KQED",
"description": "KQED Staff",
"ogImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kqedarts"
}
},
"pagesReducer": {
"arts_category_visualarts": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"score": 14.40303
},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"title": "Visual Arts",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 200
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=visualarts",
"seeMore": false,
"paginated": true,
"page": 200
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_22767": {
"type": "posts",
"id": "arts_22767",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "22767",
"score": null,
"sort": [
1211423849000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1211423849,
"format": "standard",
"title": "Cool Remixed at the Oakland Museum",
"headTitle": "Cool Remixed at the Oakland Museum | KQED",
"content": "\u003cp>Did you know that “cool” is a West African philosophical concept from the 15th century?\u003c/p>\n\u003cp>I resisted the idea when I first encountered it at the fabulous \u003cb>Cool Remixed\u003c/b> exhibition in Oakland last weekend. But a text didactic smacked down my eurocentrism in a few short paragraphs discussing the relationship between the words for “cool” (the temperature) and the concept of \u003ci>ltutu\u003c/i> or detachment. The didactic showed a photograph of a statue whose face demonstrates \u003ci>ltutu\u003c/i>, looking like a jazz musician at rest, and a list of words for “cool” from west African languages that mean both the temperature and the philosophy. I remembered that before the twentieth century the word “cool” in English denoted a lack of humanitarian virtue rather than a virtuous detachment, and a new view of the nature of American hybridity opened up for me.\u003c/p>\n\u003cp>But the whole exhibition put a different complexion (pun intended) on “cool.” \u003cb>Cool Remixed: Bay Area Urban Art + Culture Now\u003c/b>, which opened at the Oakland Museum last weekend, was created as a counterpoint to the traveling show \u003cb>Birth of the Cool: California Art, Design, and Culture At Midcentury\u003c/b>, which originated at the Orange County Museum of Art. \u003cb>Cool Remixed\u003c/b> offers a direct contrast to the traveling exhibit at almost every point: SoCal vs. NorCal; mid-century commercial design vs. millennial community and street art; private houses and interior furnishings vs. public uses, transportation, and murals; middle-aged aesthetics vs. youth culture; suburban vs. urban; lifestyle vs. flavor; minimalist vs. profuse; elite vs. diverse.\u003c/p>\n\u003cp>And this exciting and vibrant exhibition delivers not merely contrast, but context. A visually arresting decade-by-decade timeline of “cool,” and a loop of videos by \u003ca href=\"http://www.youthradio.org/webradio/\" target=\"offsite\" rel=\"noopener\">Youth Radio\u003c/a> remind us that urban communities of color are the vectors of fashion, and that fashions always start with youth and then age radially outward. Without ever directly addressing race, \u003cb>Cool Remixed\u003c/b> finds elements of urban youth culture that originated in different ethnic communities (e.g.: skateboarding and b-boying) and pulls them into the mix. The result is neither muddy melting pot nor multicultural salad, but a hybridity as textured as a graffiti mural.\u003c/p>\n\u003cp>The main gallery is an experimental space for work by young artists using “urban” objects — such as hubcaps, skateboards, car hoods, etc. Although many of the pieces veer into macaroni-crafts territory, explosions of energy, smarts, and sharp aesthetics are sprinkled throughout. One of my favorite pieces in the show was a simple square of wood with a pair of metallic-painted sneakers nailed over a spray-painting of five-pointed stars. The subtle modulation of the spray paint and the arrangement of the stars displayed an aesthetic that was simultaneously do-it-yourself, meditative, and commercially viable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not surprisingly, the strongest work was the outfits, displayed on dressmaker’s dummies, made of clothing and objects. These were conceptual pieces, but they could also easily be worn, clearly suggesting that the makers were already conversant with the idea of pushing fashion forward by recontextualizing the things closest to their bodies: safety pins, tuning pegs, paper and plastic sheeting. The young artists’ selves — as happens with all artists — come through most clearly when they are focusing on their projects and materials rather than on their self-presentation (as in a weak lounge/installation of action photos by the organization EBAYC).\u003c/p>\n\u003cp>Curatorial grace notes bracket the exhibition. A large magnetic poetry set featuring Oakland slang words against a corrugated tin wall welcomes the viewer. The show closes with a wonderful installation breaking down the fragmentation of time and space using bodies and beat sampling. A video of popular Oakland TURF dancers on a street corner is rewound, cut, and looped to create a mobius strip of time and physical performance. Underlining and surrounding the flat monitor are fragmented and collaged photographs of the performers disposed along the street, watching themselves dance.\u003c/p>\n\u003cp>This last image of immensely talented youth shining their lights on street corners — and watching themselves do it — is the best metaphor for \u003cb>Cool Remixed\u003c/b>. Never think that they don’t know exactly what they’re doing. Never pretend that the cool is appropriated from a blind source. Never imagine that any corner of our shared culture, be it ever so tribal or athletic or exotic, is anything but the highest of art, sometimes made by the lowest of artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.museumca.org/exhibit/exhi_cool_remix.html\" target=\"offsite\" rel=\"noopener\">Cool Remixed\u003c/a> runs at the Oakland Museum through August 17, 2008. The museum presents a youth arts festival related to the show on Saturday, May 31 from noon to 9 pm. Curators Evelyn Orantes and Christine Lashaw offer tours at First Fridays After Five on Friday, August 1, from 5 to 9 pm.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 802,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705053122,
"excerpt": "Did you know that \"cool\" is a West African philosophical concept from the 15th century? I resisted the idea when I first encountered it at the fabulous \u003cb>Cool Remixed\u003c/b> exhibition in Oakland last weekend. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Did you know that "cool" is a West African philosophical concept from the 15th century? I resisted the idea when I first encountered it at the fabulous Cool Remixed exhibition in Oakland last weekend. ",
"title": "Cool Remixed at the Oakland Museum | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cool Remixed at the Oakland Museum",
"datePublished": "2008-05-21T19:37:29-07:00",
"dateModified": "2024-01-12T01:52:02-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "cool_remixed_at_the_oakland_museum",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/visualarts-review/",
"sticky": false,
"path": "/arts/22767/cool_remixed_at_the_oakland_museum",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Did you know that “cool” is a West African philosophical concept from the 15th century?\u003c/p>\n\u003cp>I resisted the idea when I first encountered it at the fabulous \u003cb>Cool Remixed\u003c/b> exhibition in Oakland last weekend. But a text didactic smacked down my eurocentrism in a few short paragraphs discussing the relationship between the words for “cool” (the temperature) and the concept of \u003ci>ltutu\u003c/i> or detachment. The didactic showed a photograph of a statue whose face demonstrates \u003ci>ltutu\u003c/i>, looking like a jazz musician at rest, and a list of words for “cool” from west African languages that mean both the temperature and the philosophy. I remembered that before the twentieth century the word “cool” in English denoted a lack of humanitarian virtue rather than a virtuous detachment, and a new view of the nature of American hybridity opened up for me.\u003c/p>\n\u003cp>But the whole exhibition put a different complexion (pun intended) on “cool.” \u003cb>Cool Remixed: Bay Area Urban Art + Culture Now\u003c/b>, which opened at the Oakland Museum last weekend, was created as a counterpoint to the traveling show \u003cb>Birth of the Cool: California Art, Design, and Culture At Midcentury\u003c/b>, which originated at the Orange County Museum of Art. \u003cb>Cool Remixed\u003c/b> offers a direct contrast to the traveling exhibit at almost every point: SoCal vs. NorCal; mid-century commercial design vs. millennial community and street art; private houses and interior furnishings vs. public uses, transportation, and murals; middle-aged aesthetics vs. youth culture; suburban vs. urban; lifestyle vs. flavor; minimalist vs. profuse; elite vs. diverse.\u003c/p>\n\u003cp>And this exciting and vibrant exhibition delivers not merely contrast, but context. A visually arresting decade-by-decade timeline of “cool,” and a loop of videos by \u003ca href=\"http://www.youthradio.org/webradio/\" target=\"offsite\" rel=\"noopener\">Youth Radio\u003c/a> remind us that urban communities of color are the vectors of fashion, and that fashions always start with youth and then age radially outward. Without ever directly addressing race, \u003cb>Cool Remixed\u003c/b> finds elements of urban youth culture that originated in different ethnic communities (e.g.: skateboarding and b-boying) and pulls them into the mix. The result is neither muddy melting pot nor multicultural salad, but a hybridity as textured as a graffiti mural.\u003c/p>\n\u003cp>The main gallery is an experimental space for work by young artists using “urban” objects — such as hubcaps, skateboards, car hoods, etc. Although many of the pieces veer into macaroni-crafts territory, explosions of energy, smarts, and sharp aesthetics are sprinkled throughout. One of my favorite pieces in the show was a simple square of wood with a pair of metallic-painted sneakers nailed over a spray-painting of five-pointed stars. The subtle modulation of the spray paint and the arrangement of the stars displayed an aesthetic that was simultaneously do-it-yourself, meditative, and commercially viable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not surprisingly, the strongest work was the outfits, displayed on dressmaker’s dummies, made of clothing and objects. These were conceptual pieces, but they could also easily be worn, clearly suggesting that the makers were already conversant with the idea of pushing fashion forward by recontextualizing the things closest to their bodies: safety pins, tuning pegs, paper and plastic sheeting. The young artists’ selves — as happens with all artists — come through most clearly when they are focusing on their projects and materials rather than on their self-presentation (as in a weak lounge/installation of action photos by the organization EBAYC).\u003c/p>\n\u003cp>Curatorial grace notes bracket the exhibition. A large magnetic poetry set featuring Oakland slang words against a corrugated tin wall welcomes the viewer. The show closes with a wonderful installation breaking down the fragmentation of time and space using bodies and beat sampling. A video of popular Oakland TURF dancers on a street corner is rewound, cut, and looped to create a mobius strip of time and physical performance. Underlining and surrounding the flat monitor are fragmented and collaged photographs of the performers disposed along the street, watching themselves dance.\u003c/p>\n\u003cp>This last image of immensely talented youth shining their lights on street corners — and watching themselves do it — is the best metaphor for \u003cb>Cool Remixed\u003c/b>. Never think that they don’t know exactly what they’re doing. Never pretend that the cool is appropriated from a blind source. Never imagine that any corner of our shared culture, be it ever so tribal or athletic or exotic, is anything but the highest of art, sometimes made by the lowest of artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.museumca.org/exhibit/exhi_cool_remix.html\" target=\"offsite\" rel=\"noopener\">Cool Remixed\u003c/a> runs at the Oakland Museum through August 17, 2008. The museum presents a youth arts festival related to the show on Saturday, May 31 from noon to 9 pm. Curators Evelyn Orantes and Christine Lashaw offer tours at First Fridays After Five on Friday, August 1, from 5 to 9 pm.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/22767/cool_remixed_at_the_oakland_museum",
"authors": [
"30"
],
"categories": [
"arts_70"
],
"label": "arts"
},
"arts_22763": {
"type": "posts",
"id": "arts_22763",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "22763",
"score": null,
"sort": [
1211420219000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1211420219,
"format": "standard",
"title": "10 Questions for Peter Wegner",
"headTitle": "10 Questions for Peter Wegner | KQED",
"content": "\u003cp>A few months ago, I visited the SFMOMA to see the Lee Friedlander retrospective. On impulse, I wandered into the architecture and design gallery, where I encountered \u003ca href=\"http://www.peterwegner.com\" target=\"offsite\" rel=\"noopener\">Peter Wegner’s\u003c/a> \u003cb>Guillotine of Sunshine, Guillotine of Shade\u003c/b>. Imagine an expansive wall, covered in hyper-saturated color. The wall shimmers and undulates, a mirage, but with more heft, more body. Turn the corner, and the wall continues — only the cool, Mediterranean colors have suddenly turned hot, and the deep blues and rich turquoises are now hot pink and acid yellow. Shade and sun. Sun and shade. I liked the piece so much, I decided to play “10 Questions” with the artist.\u003c/p>\n\u003cp>1. Let’s start with the idea of using stacked paper. When did you first begin creating pieces using stacked paper? Why?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> In 2004 I exhibited \u003cb>Floor-to-Ceiling Blues\u003c/b> and \u003cb>Wall-to-Wall Reds\u003c/b> at The Bohen Foundation in New York. They were simple stacked pieces, just a few colors each, spanning the architectural planes of the exhibition space. Later that year I made a stacked paper sculpture that was itself a wall dividing the space of Henry’s (Urbach, SFMoMA’s curator of architecture and design) gallery in Chelsea. By the following year, this body of work had grown to include a labyrinth of stacked paper walls that split the difference between a garden maze and the maze of Manhattan. \u003cb>Lever Labyrinth\u003c/b>, occupied the glass lobby of Lever House on Park Avenue all summer.\u003c/p>\n\u003cp>As to why: I’d been working with color for many years. In the ’90s, this took the form of paintings derived from paint chips. I had stacks and stacks of paint chips lying around the studio. And I’m sure it also had something to do with the Color Aid paper used in Josef Albers’ famous “Color” course I took as a Yale undergraduate. But these are just conventional explanations. Reasons are something else. I’m not even sure they make themselves consciously available to us. They’re fugitives, rarely seen.\u003c/p>\n\u003cp>2. When Henry approached you for \u003cb>Cut\u003c/b>, what drew you to the project? Did you see the other pieces in \u003cb>Cut\u003c/b> before you began your piece?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> Great exhibition concept. Great exhibition title. Henry is that rare curator who combines great intellect and great intuition. So he feels comfortable taking on an unusual degree of risk. Early on, he showed me some of the pieces eventually included in the show, but I had already figured out what I wanted to contribute. Or at least where I wanted to begin.\u003c/p>\n\u003cp>3. Let’s talk a little about your use of color. Again, what came first? Did you want to do a piece using the spectrum, or was there something else, some other trigger?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> Because color is contextual, you can create a rich palette simply by varying the rhythm of a few different colors — six sheets of this color, ten of that. That’s how I’d worked in the past. People would tell me the piece had nineteen colors, or eleven, or thirty, and they were all correct.\u003c/p>\n\u003cp>This new work is not a full spectrum because that would be impossible to embody in material form. But it’s one representation of a spectrum. I’m often drawn to systems that are in some sense encyclopedic, systems that purport to deal with all of something. That impulse is irresistible and futile in equal measure.\u003c/p>\n\u003cp>In \u003cb>Guillotine\u003c/b>, I was interested in using some of the same yellows on both sides of the wall, then bending that color until it becomes something else ? blue, say, or red. The way Coltrane bends a note, the way Ashbery bends a word. It’s a chromatic continuum interrupted by the wall.\u003c/p>\n\u003cp>4. \u003cb>Guillotine\u003c/b> reminds me a little bit of a “technocratic” Seurat. It’s very sensual. Henry described it as a visceral piece. \u003cb>Guillotine\u003c/b> is certainly a very aesthetic piece, almost painterly. Do you seek that aesthetic impact?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> I want to make work that’s both fast and slow, monumental and ephemeral, simple and complex. I want it lush and I want it austere! I want it to be painting and sculpture and architecture! I want it to be tactile even if the guards won’t let you touch it!\u003c/p>\n\u003cp>5. The “how” part always fascinates readers. So… how did you make the piece? Did you do it alone? Or did you have help? What is your process? Where did you find all that paper?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> The paper is from many different companies in the U.S. and Canada. I began by making a small-scale maquette, working with color quickly and intuitively. Then I had to break it down, count it out and scale it up, up, up. The installation itself was a massive undertaking that eventually came to involve forty people from the museum, with a core group of ten working twelve consecutive days. On the weekend, even my teenaged sons pitched in. Everybody helped — curators, conservators, administrators, interns, professional installers. People in different departments would hear about the project and come lend a hand.\u003c/p>\n\u003cp>Everyone would work on the same row at the same time. People would bring me prescribed sequences of color roughly mixed. I did the final mix to impose a loose uniformity before it was installed. But part of the poetry of the piece, I think, is that it still contains traces of the signature efforts of so many.\u003c/p>\n\u003cp>6. Tell me a little about the title of the piece. I’ve heard all sorts of speculation, but most people describe it as “poetic.”\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> “Guillotine of Sunlight, Guillotine of Shade” is a phrase borrowed from a poem by Charles Wright. One day while I was making the maquette, I pulled his collection, \u003cb>Negative Blue\u003c/b>, from my bookshelf to read over lunch. \u003cb>Guillotine\u003c/b> seemed like a good name for a work made of 1.4 million sheets of cut paper, each a little blade, for a show called \u003cb>Cut\u003c/b>. And just as Wright’s phrase describes two sides of the same blade, my piece occupies two sides of the same wall. “Sunlight” and “shade” are also close to the inspiration for the project: light, especially natural light, is a long-standing obsession. (It’s why I had to move back to California after a long exile in Brooklyn.) Natural light is what makes seeing possible. Also us: it makes us possible.\u003c/p>\n\u003cp>7. I just have to ask — Do you like T.J. Clark’s writing?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> I’ve never read him. But when I googled him just now, the ad that appeared on the right column said “I quit TJ Clark. Now I make $30k a month.” So maybe I should read him in order to stop and make some cash.\u003c/p>\n\u003cp>8. OK, let’s backtrack now and talk about your biography. When did you decide that you had to be an artist?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> I grew up in South Dakota. You couldn’t be an artist in South Dakota. And yet that’s who I am. You just catch up with yourself, and that’s who you turn out to be. Several years ago I wrote a book called \u003cb>The Other Today\u003c/b> that included this line: “It’s the other way things couldn’t go.” In that case, I was referring to the art, but it’s also a good description of the artist.\u003c/p>\n\u003cp>9. First piece of art work that made an impact on you?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> I recently visited the Jasper Johns exhibition, \u003cb>Gray\u003c/b>, at the Met and had a vivid memory of seeing one of his gray number paintings when I was fourteen. It stopped me in my tracks. I didn’t know what to make of it, but I couldn’t stop thinking about it. I still don’t know, and I still can’t get it out of my mind. That same year I saw a show of large abstract paintings at the Boston Museum. The scale, the color — I remember feeling that this was a language I spoke.\u003c/p>\n\u003cp>10. What are you working on now?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> \u003cb>The United States of Nothing\u003c/b>, a work in wall paint and neon. It will be on display at SFMoMA beginning in September, 2008. It’s about the act of naming, the desolation of the American landscape, redundancy, cartography, boosterism, bad luck, the void, and what happens when you put a spark of electrical current through invisible gas.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1484,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 27
},
"modified": 1705053124,
"excerpt": "A few months ago, I visited the SFMOMA to see the Lee Friedlander retrospective. On impulse, I wandered into the architecture and design gallery, where I encountered \u003ca href=\"http://www.peterwegner.com\" target=\"offsite\" rel=\"noopener\">Peter Wegner's\u003c/a> \u003cb>Guillotine of Sunshine, Guillotine of Shade\u003c/b>. Imagine an expansive wall, covered in hyper-saturated color. The wall shimmers and undulates, a mirage, but with more heft, more body. Turn the corner, and the wall continues -- only the cool, Mediterranean colors have suddenly turned hot, and the deep blues and rich turquoises are now hot pink and acid yellow. Shade and sun. Sun and shade. I liked the piece so much, I decided to play \"10 Questions\" with the artist.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A few months ago, I visited the SFMOMA to see the Lee Friedlander retrospective. On impulse, I wandered into the architecture and design gallery, where I encountered Peter Wegner's Guillotine of Sunshine, Guillotine of Shade. Imagine an expansive wall, covered in hyper-saturated color. The wall shimmers and undulates, a mirage, but with more heft, more body. Turn the corner, and the wall continues -- only the cool, Mediterranean colors have suddenly turned hot, and the deep blues and rich turquoises are now hot pink and acid yellow. Shade and sun. Sun and shade. I liked the piece so much, I decided to play "10 Questions" with the artist.",
"title": "10 Questions for Peter Wegner | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "10 Questions for Peter Wegner",
"datePublished": "2008-05-21T18:36:59-07:00",
"dateModified": "2024-01-12T01:52:04-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "10_questions_for_peter_wegner",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/",
"sticky": false,
"path": "/arts/22763/10_questions_for_peter_wegner",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few months ago, I visited the SFMOMA to see the Lee Friedlander retrospective. On impulse, I wandered into the architecture and design gallery, where I encountered \u003ca href=\"http://www.peterwegner.com\" target=\"offsite\" rel=\"noopener\">Peter Wegner’s\u003c/a> \u003cb>Guillotine of Sunshine, Guillotine of Shade\u003c/b>. Imagine an expansive wall, covered in hyper-saturated color. The wall shimmers and undulates, a mirage, but with more heft, more body. Turn the corner, and the wall continues — only the cool, Mediterranean colors have suddenly turned hot, and the deep blues and rich turquoises are now hot pink and acid yellow. Shade and sun. Sun and shade. I liked the piece so much, I decided to play “10 Questions” with the artist.\u003c/p>\n\u003cp>1. Let’s start with the idea of using stacked paper. When did you first begin creating pieces using stacked paper? Why?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> In 2004 I exhibited \u003cb>Floor-to-Ceiling Blues\u003c/b> and \u003cb>Wall-to-Wall Reds\u003c/b> at The Bohen Foundation in New York. They were simple stacked pieces, just a few colors each, spanning the architectural planes of the exhibition space. Later that year I made a stacked paper sculpture that was itself a wall dividing the space of Henry’s (Urbach, SFMoMA’s curator of architecture and design) gallery in Chelsea. By the following year, this body of work had grown to include a labyrinth of stacked paper walls that split the difference between a garden maze and the maze of Manhattan. \u003cb>Lever Labyrinth\u003c/b>, occupied the glass lobby of Lever House on Park Avenue all summer.\u003c/p>\n\u003cp>As to why: I’d been working with color for many years. In the ’90s, this took the form of paintings derived from paint chips. I had stacks and stacks of paint chips lying around the studio. And I’m sure it also had something to do with the Color Aid paper used in Josef Albers’ famous “Color” course I took as a Yale undergraduate. But these are just conventional explanations. Reasons are something else. I’m not even sure they make themselves consciously available to us. They’re fugitives, rarely seen.\u003c/p>\n\u003cp>2. When Henry approached you for \u003cb>Cut\u003c/b>, what drew you to the project? Did you see the other pieces in \u003cb>Cut\u003c/b> before you began your piece?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> Great exhibition concept. Great exhibition title. Henry is that rare curator who combines great intellect and great intuition. So he feels comfortable taking on an unusual degree of risk. Early on, he showed me some of the pieces eventually included in the show, but I had already figured out what I wanted to contribute. Or at least where I wanted to begin.\u003c/p>\n\u003cp>3. Let’s talk a little about your use of color. Again, what came first? Did you want to do a piece using the spectrum, or was there something else, some other trigger?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> Because color is contextual, you can create a rich palette simply by varying the rhythm of a few different colors — six sheets of this color, ten of that. That’s how I’d worked in the past. People would tell me the piece had nineteen colors, or eleven, or thirty, and they were all correct.\u003c/p>\n\u003cp>This new work is not a full spectrum because that would be impossible to embody in material form. But it’s one representation of a spectrum. I’m often drawn to systems that are in some sense encyclopedic, systems that purport to deal with all of something. That impulse is irresistible and futile in equal measure.\u003c/p>\n\u003cp>In \u003cb>Guillotine\u003c/b>, I was interested in using some of the same yellows on both sides of the wall, then bending that color until it becomes something else ? blue, say, or red. The way Coltrane bends a note, the way Ashbery bends a word. It’s a chromatic continuum interrupted by the wall.\u003c/p>\n\u003cp>4. \u003cb>Guillotine\u003c/b> reminds me a little bit of a “technocratic” Seurat. It’s very sensual. Henry described it as a visceral piece. \u003cb>Guillotine\u003c/b> is certainly a very aesthetic piece, almost painterly. Do you seek that aesthetic impact?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> I want to make work that’s both fast and slow, monumental and ephemeral, simple and complex. I want it lush and I want it austere! I want it to be painting and sculpture and architecture! I want it to be tactile even if the guards won’t let you touch it!\u003c/p>\n\u003cp>5. The “how” part always fascinates readers. So… how did you make the piece? Did you do it alone? Or did you have help? What is your process? Where did you find all that paper?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> The paper is from many different companies in the U.S. and Canada. I began by making a small-scale maquette, working with color quickly and intuitively. Then I had to break it down, count it out and scale it up, up, up. The installation itself was a massive undertaking that eventually came to involve forty people from the museum, with a core group of ten working twelve consecutive days. On the weekend, even my teenaged sons pitched in. Everybody helped — curators, conservators, administrators, interns, professional installers. People in different departments would hear about the project and come lend a hand.\u003c/p>\n\u003cp>Everyone would work on the same row at the same time. People would bring me prescribed sequences of color roughly mixed. I did the final mix to impose a loose uniformity before it was installed. But part of the poetry of the piece, I think, is that it still contains traces of the signature efforts of so many.\u003c/p>\n\u003cp>6. Tell me a little about the title of the piece. I’ve heard all sorts of speculation, but most people describe it as “poetic.”\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> “Guillotine of Sunlight, Guillotine of Shade” is a phrase borrowed from a poem by Charles Wright. One day while I was making the maquette, I pulled his collection, \u003cb>Negative Blue\u003c/b>, from my bookshelf to read over lunch. \u003cb>Guillotine\u003c/b> seemed like a good name for a work made of 1.4 million sheets of cut paper, each a little blade, for a show called \u003cb>Cut\u003c/b>. And just as Wright’s phrase describes two sides of the same blade, my piece occupies two sides of the same wall. “Sunlight” and “shade” are also close to the inspiration for the project: light, especially natural light, is a long-standing obsession. (It’s why I had to move back to California after a long exile in Brooklyn.) Natural light is what makes seeing possible. Also us: it makes us possible.\u003c/p>\n\u003cp>7. I just have to ask — Do you like T.J. Clark’s writing?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> I’ve never read him. But when I googled him just now, the ad that appeared on the right column said “I quit TJ Clark. Now I make $30k a month.” So maybe I should read him in order to stop and make some cash.\u003c/p>\n\u003cp>8. OK, let’s backtrack now and talk about your biography. When did you decide that you had to be an artist?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> I grew up in South Dakota. You couldn’t be an artist in South Dakota. And yet that’s who I am. You just catch up with yourself, and that’s who you turn out to be. Several years ago I wrote a book called \u003cb>The Other Today\u003c/b> that included this line: “It’s the other way things couldn’t go.” In that case, I was referring to the art, but it’s also a good description of the artist.\u003c/p>\n\u003cp>9. First piece of art work that made an impact on you?\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> I recently visited the Jasper Johns exhibition, \u003cb>Gray\u003c/b>, at the Met and had a vivid memory of seeing one of his gray number paintings when I was fourteen. It stopped me in my tracks. I didn’t know what to make of it, but I couldn’t stop thinking about it. I still don’t know, and I still can’t get it out of my mind. That same year I saw a show of large abstract paintings at the Boston Museum. The scale, the color — I remember feeling that this was a language I spoke.\u003c/p>\n\u003cp>10. What are you working on now?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Peter Wegner:\u003c/b> \u003cb>The United States of Nothing\u003c/b>, a work in wall paint and neon. It will be on display at SFMoMA beginning in September, 2008. It’s about the act of naming, the desolation of the American landscape, redundancy, cartography, boosterism, bad luck, the void, and what happens when you put a spark of electrical current through invisible gas.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/22763/10_questions_for_peter_wegner",
"authors": [
"92"
],
"categories": [
"arts_70"
],
"label": "arts"
},
"arts_22743": {
"type": "posts",
"id": "arts_22743",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "22743",
"score": null,
"sort": [
1211223386000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1211223386,
"format": "standard",
"title": "Fecal Face Dot Gallery",
"headTitle": "Fecal Face Dot Gallery | KQED",
"content": "\u003cp>It started as a ‘zine — a handmade book of photocopied art and words assembled by John Trippe, now owner/founder/director/curator of the quizzically named arty Web site \u003ca href=\"http://www.fecalface.com/\" target=\"offsite\" rel=\"noopener\">Fecal Face Dot Com\u003c/a>. Trippe amassed thousands of counterculture art-loving followers through the site, creating enough momentum to open a small gallery in Hayes Valley. Scoff at the name all you want, Fecal Face Dot Gallery is the newest local spot for art that appeals to snot-nosed kids and grown-up art snobs alike. It’s got a gross name, but it can be a family place.\u003c/p>\n\u003cp>The current show is not, at first glance, a drop-dead crazy amazing exhibit. It’s a tidy display of twenty 2- and 4-color prints created by Austin, TX, artist, Michael \u003ca href=\"http://www.msieben.com/\" target=\"offsite\" rel=\"noopener\">Michael Sieben\u003c/a>, and Nat Swope of \u003ca href=\"http://www.bloompress.com/\" target=\"offsite\" rel=\"noopener\">Bloom Press\u003c/a> in Oakland. What is truly amazing about the show is that it stands for accessibility — art is not just for elite, fiscally frivolous collectors. In an \u003ca href=\"http://www.youtube.com/watch?v=25MLo8i9kU4&eurl=http://www.fecalface.com/gallery/sieben.html%20/\" target=\"offsite\" rel=\"noopener\">interview on YouTube\u003c/a>, Swope and Sieben said they wanted to show — through their ongoing collaboration \u003cb>Forever and Never\u003c/b> — how easy it can be to make and buy art: limited edition, hand-printed pieces with substance made by artists who might also design board graphics for a living and have skate ramps in their backyards.\u003c/p>\n\u003cp>Sieben’s signature characters are ruddy and lovable and were the subject of a super cute music video for the band \u003ca href=\"http://www.vimeo.com/910112/\" target=\"offsite\" rel=\"noopener\">((sounder))\u003c/a>. Thanks to Fecal Face Dot Com, I’ve been following Sieben’s work online for a little while and I relate to the weariness that I see in his subjects. They have globular heads and extra long arms and arrows in their backs, illustrating how you might feel after a long, treacherous week of working (or partying). Speaking of partying, FFDG is clean and professional — there is nothing behind the counter but a laptop, a sink, and a keg.\u003c/p>\n\u003cp>There’s a new show every other week at Fecal Face Dot Gallery in May, so go there soon. Or, don’t. Be all judgmental about the poop moniker now, but you’ll go there eventually. At the very least, \u003ca href=\"http://www.fecalface.com/gallery/sieben.html/\" target=\"offsite\" rel=\"noopener\">buy a print online\u003c/a> for thirty dollars. Made in limited editions of 45, they have lovely sentiments. “Hug yourself,” according to my interpretation, or “Keep the dream alive.” “Learn from your mistakes, be they alcohol or skateboard-related.”\u003c/p>\n\u003cp>So, whatever, the \u003ca>San Francisco Chronicle\u003c/a> scooped me. I was just waiting for the right show. To learn more about emerging local and international artistic talent, John Trippe’s sailboat, interesting art-related photos/videos/Web sites/things to check out, art news, and Trippe’s cat named Poo, visit \u003ca href=\"http://www.fecalface.com/\" target=\"offsite\" rel=\"noopener\">fecal face dot com\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Next up at the gallery: Alexis MacKenzie and Jessica Cusik’s show opening May 17th and Tara Foley’s show opening June 6.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 500,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705053131,
"excerpt": "It started as a 'zine -- a handmade book of photocopied art and words assembled by John Trippe, now owner/founder/director/curator of the quizzically named arty Web site \u003ca href=\"http://www.fecalface.com/\" target=\"offsite\" rel=\"noopener\">Fecal Face Dot Com\u003c/a>. Trippe amassed thousands of counterculture art-loving followers through the site, creating enough momentum to open a small gallery in Hayes Valley. Scoff at the name all you want, Fecal Face Dot Gallery is the newest local spot for art that appeals to snot-nosed kids and grown-up art snobs alike. It's got a gross name, but it can be a family place. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "It started as a 'zine -- a handmade book of photocopied art and words assembled by John Trippe, now owner/founder/director/curator of the quizzically named arty Web site Fecal Face Dot Com. Trippe amassed thousands of counterculture art-loving followers through the site, creating enough momentum to open a small gallery in Hayes Valley. Scoff at the name all you want, Fecal Face Dot Gallery is the newest local spot for art that appeals to snot-nosed kids and grown-up art snobs alike. It's got a gross name, but it can be a family place. ",
"title": "Fecal Face Dot Gallery | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Fecal Face Dot Gallery",
"datePublished": "2008-05-19T11:56:26-07:00",
"dateModified": "2024-01-12T01:52:11-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "fecal_face_dot_gallery",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/visualarts-review/",
"sticky": false,
"path": "/arts/22743/fecal_face_dot_gallery",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It started as a ‘zine — a handmade book of photocopied art and words assembled by John Trippe, now owner/founder/director/curator of the quizzically named arty Web site \u003ca href=\"http://www.fecalface.com/\" target=\"offsite\" rel=\"noopener\">Fecal Face Dot Com\u003c/a>. Trippe amassed thousands of counterculture art-loving followers through the site, creating enough momentum to open a small gallery in Hayes Valley. Scoff at the name all you want, Fecal Face Dot Gallery is the newest local spot for art that appeals to snot-nosed kids and grown-up art snobs alike. It’s got a gross name, but it can be a family place.\u003c/p>\n\u003cp>The current show is not, at first glance, a drop-dead crazy amazing exhibit. It’s a tidy display of twenty 2- and 4-color prints created by Austin, TX, artist, Michael \u003ca href=\"http://www.msieben.com/\" target=\"offsite\" rel=\"noopener\">Michael Sieben\u003c/a>, and Nat Swope of \u003ca href=\"http://www.bloompress.com/\" target=\"offsite\" rel=\"noopener\">Bloom Press\u003c/a> in Oakland. What is truly amazing about the show is that it stands for accessibility — art is not just for elite, fiscally frivolous collectors. In an \u003ca href=\"http://www.youtube.com/watch?v=25MLo8i9kU4&eurl=http://www.fecalface.com/gallery/sieben.html%20/\" target=\"offsite\" rel=\"noopener\">interview on YouTube\u003c/a>, Swope and Sieben said they wanted to show — through their ongoing collaboration \u003cb>Forever and Never\u003c/b> — how easy it can be to make and buy art: limited edition, hand-printed pieces with substance made by artists who might also design board graphics for a living and have skate ramps in their backyards.\u003c/p>\n\u003cp>Sieben’s signature characters are ruddy and lovable and were the subject of a super cute music video for the band \u003ca href=\"http://www.vimeo.com/910112/\" target=\"offsite\" rel=\"noopener\">((sounder))\u003c/a>. Thanks to Fecal Face Dot Com, I’ve been following Sieben’s work online for a little while and I relate to the weariness that I see in his subjects. They have globular heads and extra long arms and arrows in their backs, illustrating how you might feel after a long, treacherous week of working (or partying). Speaking of partying, FFDG is clean and professional — there is nothing behind the counter but a laptop, a sink, and a keg.\u003c/p>\n\u003cp>There’s a new show every other week at Fecal Face Dot Gallery in May, so go there soon. Or, don’t. Be all judgmental about the poop moniker now, but you’ll go there eventually. At the very least, \u003ca href=\"http://www.fecalface.com/gallery/sieben.html/\" target=\"offsite\" rel=\"noopener\">buy a print online\u003c/a> for thirty dollars. Made in limited editions of 45, they have lovely sentiments. “Hug yourself,” according to my interpretation, or “Keep the dream alive.” “Learn from your mistakes, be they alcohol or skateboard-related.”\u003c/p>\n\u003cp>So, whatever, the \u003ca>San Francisco Chronicle\u003c/a> scooped me. I was just waiting for the right show. To learn more about emerging local and international artistic talent, John Trippe’s sailboat, interesting art-related photos/videos/Web sites/things to check out, art news, and Trippe’s cat named Poo, visit \u003ca href=\"http://www.fecalface.com/\" target=\"offsite\" rel=\"noopener\">fecal face dot com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Next up at the gallery: Alexis MacKenzie and Jessica Cusik’s show opening May 17th and Tara Foley’s show opening June 6.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/22743/fecal_face_dot_gallery",
"authors": [
"16"
],
"categories": [
"arts_70"
],
"label": "arts"
},
"arts_22719": {
"type": "posts",
"id": "arts_22719",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "22719",
"score": null,
"sort": [
1210289673000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1210289673,
"format": "standard",
"title": "Gale Antokal: No Vanishing Point",
"headTitle": "Gale Antokal: No Vanishing Point | KQED",
"content": "\u003cp>On the occasion of Gale Antokal’s fourth solo exhibition at \u003ca href=\"http://www.patriciasweetowgallery.com\" target=\"offsite\" rel=\"noopener\">Patricia Sweetow Gallery\u003c/a>, Timothy Buckwalter asked the artist a few questions on how viewers should look at \u003ca href=\"http://www.galeantokal.com/work/2008/\" target=\"offsite\" rel=\"noopener\"> her current work\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Timothy Buckwalter\u003c/b>: In the last decade your drawings have changed — the orbs, spheres and glassware you were drawing the ’90s were very precise, the images very specific. Not that you’re a photorealist, but your intention seemed to be a kind of elegant appraisal of certain objects.\u003c/p>\n\u003cp>More recently your drawings (pastel on paper) have become hazier and more ambiguous… and you seem to be using photos as a source now, instead of the actual object.\u003c/p>\n\u003cp>\u003cb>Gale Antokal\u003c/b>: Actually, the objects from the ’90s were all photo based. I took hundreds of photos in different light sources, and in those days, pre-Photoshop, I would have the 35mm rolls developed, and each time, alter the color temperature and contrast. I needed the photography to give the drawing a foundation on which to reestablish an elusive power — an intensified subject matter in the foreground, a heightened realism, yet there was actually a subtle, complex layer of secrets in the relationships and qualities of the forms being described in pastel.\u003c/p>\n\u003cp>The photos I use are now considered for their degradation and inability to be read. I enhance them making the image even more low contrast. There is a vagueness of vision and clarity. It describes a “failure of sight” on many levels. It also speaks of how the past is obscured.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>TB\u003c/b>: Well, certainly by removing the figure the audience must form a new relationship with your drawings, since figures are generally the keys that people use to open the door of a painting or drawing (your new pieces feature only clouds or trees).\u003c/p>\n\u003cp>But I wonder after so many years of creating figurative work are your new pieces the beginning of a journey into the abstract?\u003c/p>\n\u003cp>\u003cb>GA\u003c/b>: Yes.\u003c/p>\n\u003cp>As it began, objects started to translate into thoughts and depictions of lost, or abandoned or unclaimed possessions. Then, I looked at the nature of weight and gravity. I started thinking about what we leave behind to prove we have existed at all.\u003c/p>\n\u003cp>The carvings left by ice skates or sleds, or footprints in the snow.\u003c/p>\n\u003cp>I am thinking more about what is left when everything is taken away. These places have a primordial quality, even though the photo sources are very mundane and the locations are very personal. There is more absence of life (whether it is birds (the flying ash), or figures (the walking dust).\u003c/p>\n\u003cp>I also like thinking about the fact that usually a sense of “place” is perceived when there are two descriptors. An “above” and a “below” and the relation between the two. Usually the consequent edge is a horizon.\u003c/p>\n\u003cp>\u003cb>TB\u003c/b>: Clouds and trees, at this point in our history, are pretty clichéd. How is the viewer going to separate your chalk drawings from say a nature calendar (which features nature sans traces of man) or drawings on the sidewalk of Venice beach (which are about the beauty of the material)? Is there some clue that you provide to help your audience enter a different emotional viewing platform? Or are they to take it at face value, and the informed can place your work outside of those parameters by simply knowing the history of your intentions?\u003c/p>\n\u003cp>\u003cb>GA\u003c/b>: In the larger sky and forest drawing, the colors are not the accessible or predictable colors of the venues you describe. I’d say the dark indigo and purple colors look more like bruises. The one forest that is pale gray and white, to me, “sounds” like the moment a shot is being fired.\u003c/p>\n\u003cp>Have you ever been close to shelling? I have. There is an instant, when you go white-blind before the sound hits.\u003c/p>\n\u003cp>The small treetop pieces (not displayed in the gallery show, but on my site) I might read as black smoke.\u003c/p>\n\u003cp>The photo sources for the large purple cloud were shot while I was driving, precariously, with my camera in one hand through a windshield, and my other hand on the steering wheel. You can therefore understand why I had no idea what was above or below at the time. I was totally disoriented.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Gale Antokal’s \u003cb>No Vanishing Point\u003c/b> is on view at Patricia Sweetow Gallery through June 14, 2008.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 749,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705053138,
"excerpt": "On the occasion of Gale Antokal's fourth solo exhibition at \u003ca href=\"http://www.patriciasweetowgallery.com\" target=\"offsite\" rel=\"noopener\">Patricia Sweetow Gallery\u003c/a>, Timothy Buckwalter asked the artist a few questions on how viewers should look at \u003ca href=\"http://www.galeantokal.com/work/2008/\" target=\"offsite\" rel=\"noopener\"> her current work\u003c/a>.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "On the occasion of Gale Antokal's fourth solo exhibition at Patricia Sweetow Gallery, Timothy Buckwalter asked the artist a few questions on how viewers should look at her current work.",
"title": "Gale Antokal: No Vanishing Point | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Gale Antokal: No Vanishing Point",
"datePublished": "2008-05-08T16:34:33-07:00",
"dateModified": "2024-01-12T01:52:18-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "gale_antokal_no_vanishing_point",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/",
"sticky": false,
"path": "/arts/22719/gale_antokal_no_vanishing_point",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the occasion of Gale Antokal’s fourth solo exhibition at \u003ca href=\"http://www.patriciasweetowgallery.com\" target=\"offsite\" rel=\"noopener\">Patricia Sweetow Gallery\u003c/a>, Timothy Buckwalter asked the artist a few questions on how viewers should look at \u003ca href=\"http://www.galeantokal.com/work/2008/\" target=\"offsite\" rel=\"noopener\"> her current work\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Timothy Buckwalter\u003c/b>: In the last decade your drawings have changed — the orbs, spheres and glassware you were drawing the ’90s were very precise, the images very specific. Not that you’re a photorealist, but your intention seemed to be a kind of elegant appraisal of certain objects.\u003c/p>\n\u003cp>More recently your drawings (pastel on paper) have become hazier and more ambiguous… and you seem to be using photos as a source now, instead of the actual object.\u003c/p>\n\u003cp>\u003cb>Gale Antokal\u003c/b>: Actually, the objects from the ’90s were all photo based. I took hundreds of photos in different light sources, and in those days, pre-Photoshop, I would have the 35mm rolls developed, and each time, alter the color temperature and contrast. I needed the photography to give the drawing a foundation on which to reestablish an elusive power — an intensified subject matter in the foreground, a heightened realism, yet there was actually a subtle, complex layer of secrets in the relationships and qualities of the forms being described in pastel.\u003c/p>\n\u003cp>The photos I use are now considered for their degradation and inability to be read. I enhance them making the image even more low contrast. There is a vagueness of vision and clarity. It describes a “failure of sight” on many levels. It also speaks of how the past is obscured.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>TB\u003c/b>: Well, certainly by removing the figure the audience must form a new relationship with your drawings, since figures are generally the keys that people use to open the door of a painting or drawing (your new pieces feature only clouds or trees).\u003c/p>\n\u003cp>But I wonder after so many years of creating figurative work are your new pieces the beginning of a journey into the abstract?\u003c/p>\n\u003cp>\u003cb>GA\u003c/b>: Yes.\u003c/p>\n\u003cp>As it began, objects started to translate into thoughts and depictions of lost, or abandoned or unclaimed possessions. Then, I looked at the nature of weight and gravity. I started thinking about what we leave behind to prove we have existed at all.\u003c/p>\n\u003cp>The carvings left by ice skates or sleds, or footprints in the snow.\u003c/p>\n\u003cp>I am thinking more about what is left when everything is taken away. These places have a primordial quality, even though the photo sources are very mundane and the locations are very personal. There is more absence of life (whether it is birds (the flying ash), or figures (the walking dust).\u003c/p>\n\u003cp>I also like thinking about the fact that usually a sense of “place” is perceived when there are two descriptors. An “above” and a “below” and the relation between the two. Usually the consequent edge is a horizon.\u003c/p>\n\u003cp>\u003cb>TB\u003c/b>: Clouds and trees, at this point in our history, are pretty clichéd. How is the viewer going to separate your chalk drawings from say a nature calendar (which features nature sans traces of man) or drawings on the sidewalk of Venice beach (which are about the beauty of the material)? Is there some clue that you provide to help your audience enter a different emotional viewing platform? Or are they to take it at face value, and the informed can place your work outside of those parameters by simply knowing the history of your intentions?\u003c/p>\n\u003cp>\u003cb>GA\u003c/b>: In the larger sky and forest drawing, the colors are not the accessible or predictable colors of the venues you describe. I’d say the dark indigo and purple colors look more like bruises. The one forest that is pale gray and white, to me, “sounds” like the moment a shot is being fired.\u003c/p>\n\u003cp>Have you ever been close to shelling? I have. There is an instant, when you go white-blind before the sound hits.\u003c/p>\n\u003cp>The small treetop pieces (not displayed in the gallery show, but on my site) I might read as black smoke.\u003c/p>\n\u003cp>The photo sources for the large purple cloud were shot while I was driving, precariously, with my camera in one hand through a windshield, and my other hand on the steering wheel. You can therefore understand why I had no idea what was above or below at the time. I was totally disoriented.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Gale Antokal’s \u003cb>No Vanishing Point\u003c/b> is on view at Patricia Sweetow Gallery through June 14, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/22719/gale_antokal_no_vanishing_point",
"authors": [
"29"
],
"categories": [
"arts_70"
],
"label": "arts"
},
"arts_22716": {
"type": "posts",
"id": "arts_22716",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "22716",
"score": null,
"sort": [
1210211555000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1210211555,
"format": "standard",
"title": "Robots: Evolution of a Cultural Icon",
"headTitle": "Robots: Evolution of a Cultural Icon | KQED",
"content": "\u003cp>Nostalgia is the prevailing sentiment in \u003cb>Robots: Evolution of a Cultural Icon\u003c/b>, an exhibition of sculpture, video, paintings, and works on paper by 20 artists at the San Jose Museum of Art. For senior curator JoAnne Northrup, the word robot conjures the walking tin men of science fiction’s golden age, whose physical similarity to us (arms, legs, eyes, etc.) was essential to our embrace, and fear, of these in-our-image fantasies. These are the robots of our futuristic daydreams from days gone by, the machines that would one day deliver us from empty lives of domestic drudgery and toil — that is, if they didn’t zap us to death first with fire rays from the guns mounted in their titanium chests.\u003c/p>\n\u003cp>From the vantage points of the 1930s through the 1960s, the source years for much of the material in this exhibition, we live in a future that’s lousy with robots, eclipsing even the imaginations of the most caffeinated sci-fi writers and lurid B-movie producers of those eras. Turns out the future is a pretty dull place, at least as far as robots are concerned. “Mother’s Day is May 11,” an ad in 2008 reminds us, “Buy her a Roomba.” Is that the best we can do: A disc that randomly bumps around your living room floor, sucking up everything in its path, but “intelligent” enough not to vacuum itself down a flight of stairs? “We were promised robots,” muses artist Michael Salter in a gallery handout. Your Roomba, and the foreseeable iterations that are certain to follow it, will never be as endearing as a robot like Rosie, the loyal and devoted metal maid in \u003cb>The Jetsons\u003c/b>. On the other hand, you’re never going to feel guilty about switching off your Roomba and hiding it away in a closet.\u003c/p>\n\u003cp>Indeed, Northrup’s exhibit is largely concerned with how we feel about robots like Rosie. To her credit, Northrup has not set out to explore how our lives have, or have not, been improved by things like Roombas. This almost complete apathy for the functional aspects of modern-day robots, let alone the tangible contributions they make to society, is one of the show’s many charms, and one of the main reasons why moving through the exhibition is so much fun.\u003c/p>\n\u003cp>Clayton Bailey’s work epitomizes the sense of play that permeates the galleries. His robots, assembled primarily from found metal objects, can be sly, cute, and funny, sometimes all at once. Through his choices of proximity and proportion, Bailey has an almost shamanistic ability to animate the inanimate. In his hands, junk is somehow elegant, graceful, suave, and, in the case of \u003cb>Robot Pet\u003c/b>, adorable. Just as the visionaries of the ’30s-’60s delivered the best robots they could scrounge from the corners of their minds, Bailey builds the best robots he can conjure with parts from the scrap yard. Which is not to say that Bailey is only a skilled scavenger. A few rooms away from \u003cb>Robot Pet\u003c/b> and its masters, \u003cb>Beautybot\u003c/b> and \u003cb>Boybot\u003c/b>, a trio of Bailey’s gun-metal-blue ceramic robot torsos are evidence that this guy can breath cartoon life into practically anything, even a clay teapot.\u003c/p>\n\u003cp>Another standout is Michael Mew, whose collage-like paintings of toy robots wreaking havoc on whatever stands in their wind-up way are given a glossy, clear-resin sheen. Despite Mew’s obvious infatuation with surface, his paintings invite us inside to explore a seductively foggy world of pulp science-fiction and advertising (or, perhaps, advertising-like) images.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Compared to other artists in the show, Mew and Bailey are well represented, with four and six pieces respectively (Bailey also lent the exhibition a number of vintage toy robots from his personal collection). I could have done with at least that many works by Feric (Eric Feng), whose blueprint-like drawings of a bird and a benign raptor-like creature are superb works of draftsmanship. At first we are content to simply drink in the artist’s skill at rendering a wing or section of muscle, but then we notice that Feric’s lovely animals are actually little robots, whose innards are filled with low-tech, probably magic-powered gears. A short animated film of Feric’s winsome creations plays next to these two quiet sketches. I left this show longing for much more.\u003c/p>\n\u003cp>At the other end of the scale spectrum is Michael Salter’s \u003cb>Giant Styrobot\u003c/b>. When I first heard this object described in a radio ad (I think it was something about the world’s largest robot made out of recycled styrofoam, but I may have gotten the “world’s largest” part wrong), I was prepared for a gimmick. But I have to say, this is a pretty good gimmick. Reaching almost to the top of the two-story vaulted ceiling of the museum’s tallest gallery, \u003cb>Giant Styrobot\u003c/b> is surprisingly well rendered for something made out of discarded packing materials. Its composition is patient and subtle, as true to itself as the best Deborah Butterfield horse made of scraps of metal or found sticks. Beneath this gentle giant, children visiting the gallery sit at tables piled with Legos so they can make robots of their own. No doubt they too will one day be disappointed when it dawns on them that their childhood visions will probably never see the light of day, but it’s good to see a museum encouraging its young patrons to dream.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Robots: Evolution of a Cultural Icon\u003c/b> is on view at the San Jose Museum of Art through October 19, 2008. 110 South Market Street, 408-271-6840. For \u003ca href=\"http://www.sjmusart.org/\" target=\"offfsite\" rel=\"noopener\">more information\u003c/a> visit sjmusart.org.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 986,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705053139,
"excerpt": "Nostalgia is the prevailing sentiment in \u003cb>Robots: Evolution of a Cultural Icon\u003c/b>, an exhibition of sculpture, video, paintings, and works on paper by 20 artists at the San Jose Museum of Art. For senior curator JoAnne Northrup, the word robot conjures the walking tin men of science fiction's golden age, whose physical similarity to us (arms, legs, eyes, etc.) was essential to our embrace, and fear, of these in-our-image fantasies. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Nostalgia is the prevailing sentiment in Robots: Evolution of a Cultural Icon, an exhibition of sculpture, video, paintings, and works on paper by 20 artists at the San Jose Museum of Art. For senior curator JoAnne Northrup, the word robot conjures the walking tin men of science fiction's golden age, whose physical similarity to us (arms, legs, eyes, etc.) was essential to our embrace, and fear, of these in-our-image fantasies. ",
"title": "Robots: Evolution of a Cultural Icon | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Robots: Evolution of a Cultural Icon",
"datePublished": "2008-05-07T18:52:35-07:00",
"dateModified": "2024-01-12T01:52:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "robots_evolution_of_a_cultural_icon",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/visualarts-review/",
"sticky": false,
"path": "/arts/22716/robots_evolution_of_a_cultural_icon",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nostalgia is the prevailing sentiment in \u003cb>Robots: Evolution of a Cultural Icon\u003c/b>, an exhibition of sculpture, video, paintings, and works on paper by 20 artists at the San Jose Museum of Art. For senior curator JoAnne Northrup, the word robot conjures the walking tin men of science fiction’s golden age, whose physical similarity to us (arms, legs, eyes, etc.) was essential to our embrace, and fear, of these in-our-image fantasies. These are the robots of our futuristic daydreams from days gone by, the machines that would one day deliver us from empty lives of domestic drudgery and toil — that is, if they didn’t zap us to death first with fire rays from the guns mounted in their titanium chests.\u003c/p>\n\u003cp>From the vantage points of the 1930s through the 1960s, the source years for much of the material in this exhibition, we live in a future that’s lousy with robots, eclipsing even the imaginations of the most caffeinated sci-fi writers and lurid B-movie producers of those eras. Turns out the future is a pretty dull place, at least as far as robots are concerned. “Mother’s Day is May 11,” an ad in 2008 reminds us, “Buy her a Roomba.” Is that the best we can do: A disc that randomly bumps around your living room floor, sucking up everything in its path, but “intelligent” enough not to vacuum itself down a flight of stairs? “We were promised robots,” muses artist Michael Salter in a gallery handout. Your Roomba, and the foreseeable iterations that are certain to follow it, will never be as endearing as a robot like Rosie, the loyal and devoted metal maid in \u003cb>The Jetsons\u003c/b>. On the other hand, you’re never going to feel guilty about switching off your Roomba and hiding it away in a closet.\u003c/p>\n\u003cp>Indeed, Northrup’s exhibit is largely concerned with how we feel about robots like Rosie. To her credit, Northrup has not set out to explore how our lives have, or have not, been improved by things like Roombas. This almost complete apathy for the functional aspects of modern-day robots, let alone the tangible contributions they make to society, is one of the show’s many charms, and one of the main reasons why moving through the exhibition is so much fun.\u003c/p>\n\u003cp>Clayton Bailey’s work epitomizes the sense of play that permeates the galleries. His robots, assembled primarily from found metal objects, can be sly, cute, and funny, sometimes all at once. Through his choices of proximity and proportion, Bailey has an almost shamanistic ability to animate the inanimate. In his hands, junk is somehow elegant, graceful, suave, and, in the case of \u003cb>Robot Pet\u003c/b>, adorable. Just as the visionaries of the ’30s-’60s delivered the best robots they could scrounge from the corners of their minds, Bailey builds the best robots he can conjure with parts from the scrap yard. Which is not to say that Bailey is only a skilled scavenger. A few rooms away from \u003cb>Robot Pet\u003c/b> and its masters, \u003cb>Beautybot\u003c/b> and \u003cb>Boybot\u003c/b>, a trio of Bailey’s gun-metal-blue ceramic robot torsos are evidence that this guy can breath cartoon life into practically anything, even a clay teapot.\u003c/p>\n\u003cp>Another standout is Michael Mew, whose collage-like paintings of toy robots wreaking havoc on whatever stands in their wind-up way are given a glossy, clear-resin sheen. Despite Mew’s obvious infatuation with surface, his paintings invite us inside to explore a seductively foggy world of pulp science-fiction and advertising (or, perhaps, advertising-like) images.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Compared to other artists in the show, Mew and Bailey are well represented, with four and six pieces respectively (Bailey also lent the exhibition a number of vintage toy robots from his personal collection). I could have done with at least that many works by Feric (Eric Feng), whose blueprint-like drawings of a bird and a benign raptor-like creature are superb works of draftsmanship. At first we are content to simply drink in the artist’s skill at rendering a wing or section of muscle, but then we notice that Feric’s lovely animals are actually little robots, whose innards are filled with low-tech, probably magic-powered gears. A short animated film of Feric’s winsome creations plays next to these two quiet sketches. I left this show longing for much more.\u003c/p>\n\u003cp>At the other end of the scale spectrum is Michael Salter’s \u003cb>Giant Styrobot\u003c/b>. When I first heard this object described in a radio ad (I think it was something about the world’s largest robot made out of recycled styrofoam, but I may have gotten the “world’s largest” part wrong), I was prepared for a gimmick. But I have to say, this is a pretty good gimmick. Reaching almost to the top of the two-story vaulted ceiling of the museum’s tallest gallery, \u003cb>Giant Styrobot\u003c/b> is surprisingly well rendered for something made out of discarded packing materials. Its composition is patient and subtle, as true to itself as the best Deborah Butterfield horse made of scraps of metal or found sticks. Beneath this gentle giant, children visiting the gallery sit at tables piled with Legos so they can make robots of their own. No doubt they too will one day be disappointed when it dawns on them that their childhood visions will probably never see the light of day, but it’s good to see a museum encouraging its young patrons to dream.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Robots: Evolution of a Cultural Icon\u003c/b> is on view at the San Jose Museum of Art through October 19, 2008. 110 South Market Street, 408-271-6840. For \u003ca href=\"http://www.sjmusart.org/\" target=\"offfsite\" rel=\"noopener\">more information\u003c/a> visit sjmusart.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/22716/robots_evolution_of_a_cultural_icon",
"authors": [
"26"
],
"categories": [
"arts_70"
],
"label": "arts"
},
"arts_22714": {
"type": "posts",
"id": "arts_22714",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "22714",
"score": null,
"sort": [
1210210330000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1210210330,
"format": "standard",
"title": "MATRIX/REDUX at Berkeley Art Museum",
"headTitle": "MATRIX/REDUX at Berkeley Art Museum | KQED",
"content": "\u003cp>Not to be outdone by last year’s \u003ca href=\"http://www.museumca.org/exhibit/exhi_cca.html\" target=\"offsite\" rel=\"noopener\">CCA centennial survey\u003c/a> at the Oakland Museum, the Berkeley Art Museum is currently offering a vanity exhibition of its own. Assembled by BAM’s Elizabeth Thomas, \u003cb>MATRIX/REDUX\u003c/b> is a self-curated look at the Museum’s acclaimed program of a similar name.\u003c/p>\n\u003cp>Begun in 1978 by then BAM director, James Elliot, the MATRIX program was a way to present — almost immediately — work from rising or influential contemporary artists. The idea was revolutionary for its time. In the late ’70s it took most museums a few years of planning to mount exhibitions of art. MATRIX shows could be up and running in a few months.\u003c/p>\n\u003cp>Nowadays, MATRIX is the norm, and any museum of modern art worth its nettle has a similar project space program of its own.\u003c/p>\n\u003cp>\u003cb>MATRIX/REDUX\u003c/b>, the show, is a grab bag of work from about a quarter of the artists seen in the more than 220 exhibitions. I say grab bag because, well, outside of the obvious connection of folks once featured in MATRIX there isn’t really anything connecting the work. Tossed around the Museum’s numerous bays are fine examples of pieces from Richard Misrach, Ed Rushca, Julie Mehretu, Robert Bechtle and Louise Bourgeois.\u003c/p>\n\u003cp>Midway through a trudge into the show, a realization arose — contemporary art before Clinton (Bill, that is) was a lot funnier. I’m not saying the art world of the ’70s and ’80s was a laugh riot, but it certainly had more jokers in it than it does now.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>1986 appears to have been the year that contemporary art visited the Friars Club. Even though that was the year that Columbia blew up, Chernobyl melted down and we bombed the hell out of Libya, work created in 1986 by three artists in the show oscillates between cynical and funny.\u003c/p>\n\u003cp>Lutz Bacher’s collaged photos (found news pictures with a cartoon caption balloon added by the artist) had me laughing out loud. Alongside Johnny Carson berating Ed McMahon for brown-nosing, Bacher has Henry Kissinger announcing to Gerald Ford, “seen one president, seen them all.” \u003c/p>\n\u003cp>Not to be outdone, Adrian Piper’s \u003cb>My Calling (Card) #2\u003c/b> is equally smug in its smart-assness. Offset printed on card stock and slightly larger than a business card, the piece goes like this “dear friend, I am not here to pick anyone up, or to be picked up… I am here alone because I want to be here ALONE.”\u003c/p>\n\u003cp>And Raymond Pettibon, the bon vivant of punk rock art, offered a charmingly simple pen and ink drawing of a pair of glazed over eyes staring into space, scratched in underneath the word “drugs.”\u003c/p>\n\u003cp>It’s not that art isn’t occasionally funny now. Sure, Paul Kos’s \u003cb>Pilot Butte\u003c/b> from ’06, a digital broadcast of a real life grassy pasture onto a lushly painted monochrome canvas, could easily be read as a hilarious comment on Bay Area field painters. But I would much rather put my money down on Zoe Leonard’s 1990 \u003cb>Frontal View\u003c/b>, an upskirt photo of a model in a Geoffrey Beene fashion show. It’s as if Andrew Dice Clay grabbed a camera and headed for the runway.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Part one of \u003cb>MATRIX/REDUX\u003c/b> is up now through May 18, 2008. Some of the pieces will removed and the rest will remain on view through July 20.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 594,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705053140,
"excerpt": "Not to be outdone by last year's \u003ca href=\"http://www.museumca.org/exhibit/exhi_cca.html\" target=\"offsite\" rel=\"noopener\">CCA centennial survey\u003c/a> at the Oakland Museum, the Berkeley Art Museum is currently offering a vanity exhibition of its own. Assembled by BAM's Elizabeth Thomas, \u003cb>MATRIX/REDUX\u003c/b> is a self-curated look at the Museum's acclaimed program of a similar name.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Not to be outdone by last year's CCA centennial survey at the Oakland Museum, the Berkeley Art Museum is currently offering a vanity exhibition of its own. Assembled by BAM's Elizabeth Thomas, MATRIX/REDUX is a self-curated look at the Museum's acclaimed program of a similar name.",
"title": "MATRIX/REDUX at Berkeley Art Museum | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "MATRIX/REDUX at Berkeley Art Museum",
"datePublished": "2008-05-07T18:32:10-07:00",
"dateModified": "2024-01-12T01:52:20-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "matrixredux_at_berkeley_art_museum",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/visualarts-review/",
"sticky": false,
"path": "/arts/22714/matrixredux_at_berkeley_art_museum",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not to be outdone by last year’s \u003ca href=\"http://www.museumca.org/exhibit/exhi_cca.html\" target=\"offsite\" rel=\"noopener\">CCA centennial survey\u003c/a> at the Oakland Museum, the Berkeley Art Museum is currently offering a vanity exhibition of its own. Assembled by BAM’s Elizabeth Thomas, \u003cb>MATRIX/REDUX\u003c/b> is a self-curated look at the Museum’s acclaimed program of a similar name.\u003c/p>\n\u003cp>Begun in 1978 by then BAM director, James Elliot, the MATRIX program was a way to present — almost immediately — work from rising or influential contemporary artists. The idea was revolutionary for its time. In the late ’70s it took most museums a few years of planning to mount exhibitions of art. MATRIX shows could be up and running in a few months.\u003c/p>\n\u003cp>Nowadays, MATRIX is the norm, and any museum of modern art worth its nettle has a similar project space program of its own.\u003c/p>\n\u003cp>\u003cb>MATRIX/REDUX\u003c/b>, the show, is a grab bag of work from about a quarter of the artists seen in the more than 220 exhibitions. I say grab bag because, well, outside of the obvious connection of folks once featured in MATRIX there isn’t really anything connecting the work. Tossed around the Museum’s numerous bays are fine examples of pieces from Richard Misrach, Ed Rushca, Julie Mehretu, Robert Bechtle and Louise Bourgeois.\u003c/p>\n\u003cp>Midway through a trudge into the show, a realization arose — contemporary art before Clinton (Bill, that is) was a lot funnier. I’m not saying the art world of the ’70s and ’80s was a laugh riot, but it certainly had more jokers in it than it does now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>1986 appears to have been the year that contemporary art visited the Friars Club. Even though that was the year that Columbia blew up, Chernobyl melted down and we bombed the hell out of Libya, work created in 1986 by three artists in the show oscillates between cynical and funny.\u003c/p>\n\u003cp>Lutz Bacher’s collaged photos (found news pictures with a cartoon caption balloon added by the artist) had me laughing out loud. Alongside Johnny Carson berating Ed McMahon for brown-nosing, Bacher has Henry Kissinger announcing to Gerald Ford, “seen one president, seen them all.” \u003c/p>\n\u003cp>Not to be outdone, Adrian Piper’s \u003cb>My Calling (Card) #2\u003c/b> is equally smug in its smart-assness. Offset printed on card stock and slightly larger than a business card, the piece goes like this “dear friend, I am not here to pick anyone up, or to be picked up… I am here alone because I want to be here ALONE.”\u003c/p>\n\u003cp>And Raymond Pettibon, the bon vivant of punk rock art, offered a charmingly simple pen and ink drawing of a pair of glazed over eyes staring into space, scratched in underneath the word “drugs.”\u003c/p>\n\u003cp>It’s not that art isn’t occasionally funny now. Sure, Paul Kos’s \u003cb>Pilot Butte\u003c/b> from ’06, a digital broadcast of a real life grassy pasture onto a lushly painted monochrome canvas, could easily be read as a hilarious comment on Bay Area field painters. But I would much rather put my money down on Zoe Leonard’s 1990 \u003cb>Frontal View\u003c/b>, an upskirt photo of a model in a Geoffrey Beene fashion show. It’s as if Andrew Dice Clay grabbed a camera and headed for the runway.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Part one of \u003cb>MATRIX/REDUX\u003c/b> is up now through May 18, 2008. Some of the pieces will removed and the rest will remain on view through July 20.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/22714/matrixredux_at_berkeley_art_museum",
"authors": [
"29"
],
"categories": [
"arts_70"
],
"label": "arts"
},
"arts_22681": {
"type": "posts",
"id": "arts_22681",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "22681",
"score": null,
"sort": [
1209069745000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1209069745,
"format": "standard",
"title": "NIAD: Call & Response",
"headTitle": "NIAD: Call & Response | KQED",
"content": "\u003cp>You know what call and response is, right?\u003c/p>\n\u003cp>If you’ve ever been to church or attended a rally, you do. Or if you’ve listened to music — like James Brown’s “Soul Power” — you know what I’m talking about.\u003c/p>\n\u003cp>Yep, its when one person poses a question or makes a statement and the like-minded group proffers a reply. In “Soul Power,” when Brown sings “What we want?” the JB’s ecstatically offer “SOUL POWER!” Got it now?\u003c/p>\n\u003cp>\u003ca href=\"http://www.niadart.org/\" target=\"offsite\" rel=\"noopener\">NIAD (National Institute of Art and Disabilities) Art Center\u003c/a>, that local gem of an artist studio program, is currently offering \u003ca href=\"http://www.niadart.org/exhibits.html\" target=\"offsite\" rel=\"noopener\">Call & Response\u003c/a>, their own take on this classic form of communication. But in their case the exchange is visual not verbal.\u003c/p>\n\u003cp>You know what NIAD is right? Alright sleepyhead, here goes: formed more than a quarter century ago in downtown Richmond by Elias Katz and Florence Ludins-Katz, NIAD is program that works with talented and developmentally and/or physically disabled adults. A couple of the artists in the program deserve a wider audience, but more on that later. On a good day, about 50 people can be found at work on painting, ceramics, printmaking, sculpture or exercising.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the beginning of 2008, NIAD sent a selection of their works (mostly drawings and paintings) a few blocks across town to \u003ca href=\"http://en.wikipedia.org/wiki/Richmond_High_School_(Richmond,_California)\" target=\"offsite\" rel=\"noopener\">Richmond High School\u003c/a>. With some direction from teacher Ivette Hermann, more than a dozen art students reinterpreted the work. The results are fantastic and unexpected. \u003cb>Call & Response\u003c/b> pairs up the student’ pieces with the artist originals to beautiful effect.\u003c/p>\n\u003cp>A few of the groupings are a bit like remixes, elements from the original are given some space and a bigger beat in another. A floating duck drawn nearly in close up by a NIAD artist is redrawn by a youth, but in a minimal landscape and from an aerial view. And that’s cool.\u003c/p>\n\u003cp>But the show sparkles when one artist’s piece is simply a stepping stone of ideas for another artist. Billy White, whose line contains the force of \u003ca href=\"http://en.wikipedia.org/wiki/Optimus_Prime\" target=\"offsite\" rel=\"noopener\">Optimus Prime\u003c/a>, offers a startling and rugged figure drawing that seems to be part man and part dog in contemplation on a murky field of blue, titled \u003cb>Vincent Van\u003c/b> (sic) Gogh \u003cb>thinking about his next art piece he is going to be doing\u003c/b>. In response Jose Emanuel Gil has offered \u003cb>The Flowers\u003c/b>, an almost square drawing of five blood red flowers in various stages of bloom. The sky behind is rendered in pitch black. The earth below a peaty brown. The associations between the two explode, creating a seemingly endless chatter.\u003c/p>\n\u003cp>Sylvia Fragoso’s \u003cb>Untitled\u003c/b> is an all-over composition, a semi-abstract number bursting with plants, birds and bugs swaying under some heavy ornamentation. Araceli DeLa Torre’s \u003cb>Tri-Bows\u003c/b> is a message back. Fragoso’s all over-ness arrives intact but DeLa Torre has replaced the figurative elements with some seriously elegant geometry and pattern, swaying majestically under shimmering fields of baubles. DeLa Torre stands up to Fragoso’s colorfully labor intensive piece with a labor intensity of her own, as if Fragoso had given her license to be obsessive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Next up, NIAD needs to invite Richmond High into the studio to collaborate directly on pieces. The results can only be stunning.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 571,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705053146,
"excerpt": "You know what call and response is, right?\u003cp>If you've ever been to church or attended a rally, you do. Or if you've listened to music -- like James Brown's \"Soul Power\" -- you know what I'm talking about.\u003c/p>",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "You know what call and response is, right?If you've ever been to church or attended a rally, you do. Or if you've listened to music -- like James Brown's "Soul Power" -- you know what I'm talking about.",
"title": "NIAD: Call & Response | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "NIAD: Call & Response",
"datePublished": "2008-04-24T13:42:25-07:00",
"dateModified": "2024-01-12T01:52:26-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "niad_call_amp_response",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/visualarts-review/",
"sticky": false,
"path": "/arts/22681/niad_call_amp_response",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know what call and response is, right?\u003c/p>\n\u003cp>If you’ve ever been to church or attended a rally, you do. Or if you’ve listened to music — like James Brown’s “Soul Power” — you know what I’m talking about.\u003c/p>\n\u003cp>Yep, its when one person poses a question or makes a statement and the like-minded group proffers a reply. In “Soul Power,” when Brown sings “What we want?” the JB’s ecstatically offer “SOUL POWER!” Got it now?\u003c/p>\n\u003cp>\u003ca href=\"http://www.niadart.org/\" target=\"offsite\" rel=\"noopener\">NIAD (National Institute of Art and Disabilities) Art Center\u003c/a>, that local gem of an artist studio program, is currently offering \u003ca href=\"http://www.niadart.org/exhibits.html\" target=\"offsite\" rel=\"noopener\">Call & Response\u003c/a>, their own take on this classic form of communication. But in their case the exchange is visual not verbal.\u003c/p>\n\u003cp>You know what NIAD is right? Alright sleepyhead, here goes: formed more than a quarter century ago in downtown Richmond by Elias Katz and Florence Ludins-Katz, NIAD is program that works with talented and developmentally and/or physically disabled adults. A couple of the artists in the program deserve a wider audience, but more on that later. On a good day, about 50 people can be found at work on painting, ceramics, printmaking, sculpture or exercising.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the beginning of 2008, NIAD sent a selection of their works (mostly drawings and paintings) a few blocks across town to \u003ca href=\"http://en.wikipedia.org/wiki/Richmond_High_School_(Richmond,_California)\" target=\"offsite\" rel=\"noopener\">Richmond High School\u003c/a>. With some direction from teacher Ivette Hermann, more than a dozen art students reinterpreted the work. The results are fantastic and unexpected. \u003cb>Call & Response\u003c/b> pairs up the student’ pieces with the artist originals to beautiful effect.\u003c/p>\n\u003cp>A few of the groupings are a bit like remixes, elements from the original are given some space and a bigger beat in another. A floating duck drawn nearly in close up by a NIAD artist is redrawn by a youth, but in a minimal landscape and from an aerial view. And that’s cool.\u003c/p>\n\u003cp>But the show sparkles when one artist’s piece is simply a stepping stone of ideas for another artist. Billy White, whose line contains the force of \u003ca href=\"http://en.wikipedia.org/wiki/Optimus_Prime\" target=\"offsite\" rel=\"noopener\">Optimus Prime\u003c/a>, offers a startling and rugged figure drawing that seems to be part man and part dog in contemplation on a murky field of blue, titled \u003cb>Vincent Van\u003c/b> (sic) Gogh \u003cb>thinking about his next art piece he is going to be doing\u003c/b>. In response Jose Emanuel Gil has offered \u003cb>The Flowers\u003c/b>, an almost square drawing of five blood red flowers in various stages of bloom. The sky behind is rendered in pitch black. The earth below a peaty brown. The associations between the two explode, creating a seemingly endless chatter.\u003c/p>\n\u003cp>Sylvia Fragoso’s \u003cb>Untitled\u003c/b> is an all-over composition, a semi-abstract number bursting with plants, birds and bugs swaying under some heavy ornamentation. Araceli DeLa Torre’s \u003cb>Tri-Bows\u003c/b> is a message back. Fragoso’s all over-ness arrives intact but DeLa Torre has replaced the figurative elements with some seriously elegant geometry and pattern, swaying majestically under shimmering fields of baubles. DeLa Torre stands up to Fragoso’s colorfully labor intensive piece with a labor intensity of her own, as if Fragoso had given her license to be obsessive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Next up, NIAD needs to invite Richmond High into the studio to collaborate directly on pieces. The results can only be stunning.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/22681/niad_call_amp_response",
"authors": [
"29"
],
"categories": [
"arts_70"
],
"label": "arts"
},
"arts_22683": {
"type": "posts",
"id": "arts_22683",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "22683",
"score": null,
"sort": [
1209067326000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1209067326,
"format": "standard",
"title": "Women in the City",
"headTitle": "Women in the City | KQED",
"content": "\u003cp>“Alienation produces eccentrics or revolutionaries,” announced Jenny Holzer on an old marquis in Hollywood. “Please stop texting,” begged Barbara Kruger from an LED screen on the side of an art museum. In the \u003ci>LA Weekly\u003c/i>, Holzer continued, “You are trapped on earth so you will explode,” while Kruger’s video commands continued looping on Wilshire Blvd., “You are a very important person. Hang up and drive.” Both artists are known to work with text and in public — in front of an estimated one hundred million people — they were at no loss for words. Their work was part of a public art exhibition in Los Angeles this spring called \u003cb>Women in the City\u003c/b>.\u003c/p>\n\u003cp>The exhibition featured four successful American female artists who contributed new or rejuvenated works. Some pieces were created in the late seventies/early eighties and are associated with the feminist movement, such as Cindy Sherman’s beloved \u003cb>Untitled Film Stills\u003c/b>, four of which were displayed in large format on billboards. I shrieked when I unexpectedly drove past one of them — a mirrored image of Sherman as a girl with short, dark hair who looks reflective and French. It was not the first time I shrieked while looking at \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22567\" target=\"offsite\" rel=\"noopener\">art in L.A.\u003c/a>, but I wondered if other passersby knew what they were looking at. To some, an image of Sherman on a billboard might look like yet another beauty advertisement, minus the persuasive text. Immediately recognizing the image as an artwork felt like being a member of a secret society.\u003c/p>\n\u003cp>Curator Emi Fontana created the exhibit through the new non-profit arm of her arts organization, \u003cb>West of Rome\u003c/b>. As she said in a \u003ca>\u003ci>New York Times Magazine\u003c/i>\u003c/a> article, Fontana wasn’t very good at selling small works as an art dealer — enter the idea of art on billboards, marquees, and walls in over fifty locations for the \u003cb>Women in the City\u003c/b> exhibit.\u003c/p>\n\u003cp>Kruger’s aforementioned film, \u003cb>Plenty\u003c/b>, is still rolling on a couple of outdoor screens in LA. Holzer’s newspaper propagations — sheets of silver stickers printed with phrases from her \u003cb>Survival Series\u003c/b> are long gone, but wheat-pasted sheets of brightly colored paper with more collections of her borrowed words can still be found around the city — some were pasted with permission, some without. Many of the other works by Holzer, Kruger, Sherman and Louise Lawler are no longer on view, but thanks to Interweb magic (\u003ca>check out my Flickr set\u003c/a>), you can see images of everything without having to go back in time or sit in traffic on Wilshire.\u003c/p>\n\u003cp>I didn’t see the entire exhibition, but I enjoyed having the artists’ intentions subtly shouted at me. I’m still thinking about it a month later, especially Jenny Holzer’s sticker that reminds you to “Turn soft and lovely any time you have a chance.” It made me wish all of our billboards and Jumbo-trons and newspaper advertisements were upended in favor of art. The world might be a much better place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 525,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705053144,
"excerpt": "\"Alienation produces eccentrics or revolutionaries,\" announced Jenny Holzer on an old marquis in Hollywood. \"Please stop texting,\" begged Barbara Kruger from an LED screen on the side of an art museum. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": ""Alienation produces eccentrics or revolutionaries," announced Jenny Holzer on an old marquis in Hollywood. "Please stop texting," begged Barbara Kruger from an LED screen on the side of an art museum. ",
"title": "Women in the City | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Women in the City",
"datePublished": "2008-04-24T13:02:06-07:00",
"dateModified": "2024-01-12T01:52:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "women_in_the_city",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/multimedia/multimedia-review/",
"sticky": false,
"path": "/arts/22683/women_in_the_city",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Alienation produces eccentrics or revolutionaries,” announced Jenny Holzer on an old marquis in Hollywood. “Please stop texting,” begged Barbara Kruger from an LED screen on the side of an art museum. In the \u003ci>LA Weekly\u003c/i>, Holzer continued, “You are trapped on earth so you will explode,” while Kruger’s video commands continued looping on Wilshire Blvd., “You are a very important person. Hang up and drive.” Both artists are known to work with text and in public — in front of an estimated one hundred million people — they were at no loss for words. Their work was part of a public art exhibition in Los Angeles this spring called \u003cb>Women in the City\u003c/b>.\u003c/p>\n\u003cp>The exhibition featured four successful American female artists who contributed new or rejuvenated works. Some pieces were created in the late seventies/early eighties and are associated with the feminist movement, such as Cindy Sherman’s beloved \u003cb>Untitled Film Stills\u003c/b>, four of which were displayed in large format on billboards. I shrieked when I unexpectedly drove past one of them — a mirrored image of Sherman as a girl with short, dark hair who looks reflective and French. It was not the first time I shrieked while looking at \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22567\" target=\"offsite\" rel=\"noopener\">art in L.A.\u003c/a>, but I wondered if other passersby knew what they were looking at. To some, an image of Sherman on a billboard might look like yet another beauty advertisement, minus the persuasive text. Immediately recognizing the image as an artwork felt like being a member of a secret society.\u003c/p>\n\u003cp>Curator Emi Fontana created the exhibit through the new non-profit arm of her arts organization, \u003cb>West of Rome\u003c/b>. As she said in a \u003ca>\u003ci>New York Times Magazine\u003c/i>\u003c/a> article, Fontana wasn’t very good at selling small works as an art dealer — enter the idea of art on billboards, marquees, and walls in over fifty locations for the \u003cb>Women in the City\u003c/b> exhibit.\u003c/p>\n\u003cp>Kruger’s aforementioned film, \u003cb>Plenty\u003c/b>, is still rolling on a couple of outdoor screens in LA. Holzer’s newspaper propagations — sheets of silver stickers printed with phrases from her \u003cb>Survival Series\u003c/b> are long gone, but wheat-pasted sheets of brightly colored paper with more collections of her borrowed words can still be found around the city — some were pasted with permission, some without. Many of the other works by Holzer, Kruger, Sherman and Louise Lawler are no longer on view, but thanks to Interweb magic (\u003ca>check out my Flickr set\u003c/a>), you can see images of everything without having to go back in time or sit in traffic on Wilshire.\u003c/p>\n\u003cp>I didn’t see the entire exhibition, but I enjoyed having the artists’ intentions subtly shouted at me. I’m still thinking about it a month later, especially Jenny Holzer’s sticker that reminds you to “Turn soft and lovely any time you have a chance.” It made me wish all of our billboards and Jumbo-trons and newspaper advertisements were upended in favor of art. The world might be a much better place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/22683/women_in_the_city",
"authors": [
"16"
],
"categories": [
"arts_70"
],
"label": "arts"
},
"arts_22638": {
"type": "posts",
"id": "arts_22638",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "22638",
"score": null,
"sort": [
1208984185000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1208984185,
"format": "standard",
"title": "The Color of Palo Alto",
"headTitle": "The Color of Palo Alto | KQED",
"content": "\u003cp>Only in Palo Alto could an inventory of real estate be mistaken for a work of art. But that pretty much sums up \u003cb>The Color of Palo Alto\u003c/b>, a seven-years-in-the-making quest on the part of artist Samuel Yates to photograph every last one of Palo Alto’s 17,725 property parcels and then to use those photographs to determine the peninsula suburb’s signature hue, which, until Yates showed up, was something the city had not realized it lacked.\u003c/p>\n\u003cp>On April 25, 2008, Yates’s computer will begin grinding its way through a program written by a fellow artist named Eli Schleifer, whose software will, according to Yates’s website, “calculate various color traits about each digital photograph, including numerous average pixel colors (mean, median, mode, HSL, Gaussian, etc.); the unique pixel color (which pixel the photo contains that no other photo contains); the cream-of-the-crop (top row of pixels); and center square (center four pixels), etc. In a democratic manner, each parcel in the city will contribute one ‘vote’ of ‘average mean color’ toward the final color of Palo Alto.” Actually, there won’t be just one color but many: Some colors will be named for neighborhoods like Professorville, others for streets. The current plan is to reveal the official Color of Palo Alto, as well as the colors of its neighborhoods and thoroughfares, on August 5, 2008, the anniversary of the project’s inception. In the meantime, Yates photographs — all of them — are on view through the summer on the side of Palo Alto City Hall.\u003c/p>\n\u003cp>From the street, looking up at all those thousands of photographs, the color of Palo Alto is unmistakably blue, since so many of Yates’s images feature a generous background of sky in them. Of course, my human eyeballs and analog brain are not tuned to the implications of Gaussian distribution, as Yates’ computer will be, so we’ll just have to wait until the actual color is unveiled to learn the answer to this weighty question.\u003c/p>\n\u003cp>The impulse on the part of artists to inventory finite corners of their worlds is hardly new. Los Angeles artist Ed Ruscha shot a photograph of every building on the Sunset Strip in 1966, which he self-published as a book and titled \u003cb>Every Building on the Sunset Strip\u003c/b>. Unlike Yates, Ruscha felt no need to mediate his cataloging impulse for his audience. For Ruscha, it was enough of an artistic statement to simply pay attention to something that most people took for granted. His was a straightforward act of observation, which he quietly shared with anyone who was interested. As it turned out, not a lot of people were.\u003c/p>\n\u003cp>Yates’s piece is a three-ring circus by comparison. It was not enough for him to merely drive or cycle around the city and take his pictures. It was imperative that his means of transportation be a zero-emission electric scooter (on his website, Yates tells us that he got 32 miles per charge) and that his scooter, and sometimes himself, be housed in a solar-powered garage made of salvaged building materials, which, except for the salvaged building materials part, is a nod to a nearby garage where David Packard famously founded the company that still bears his name (surprise, surprise; HP is a major underwriter of the Yates project). And then there are the photos on City Hall. It required 256 three-by-seven-foot perforated vinyl panels, each encompassing about 84 photos, to get the job done. When the public display is over, the panels will be rolled up and stored in a two-by-two-by-three-foot time-capsule-like box, to amaze and delight future generations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My obvious reservations about the piece aside, there is something undeniably charming about Yates’s quixotic adventure. Hats off, first of all, to anyone willing to spend a year taking pictures of anything. And I like the look of all those resulting photographs on the side of City Hall, although perhaps not for the reasons the artist hopes. Yates suggests that residents bring binoculars with them to City Hall to search for their street and house, especially for those whose homes are reproduced in panels mounted on the building’s upper floors. But are people these days really that impressed by such childish confirmations? Certainly not since Google launched its Street View feature at maps.google.com, which lets anyone do the online equivalent (for the record, Google missed one or two sections of Palo Alto, whereas Yates’s inventory is as complete as a time-restricted exercise in documentation can be). More interesting, I think, than the narcissistic opportunity the piece presents to viewers who happen to live in Palo Alto is the impressionistic impact of all those photos lined up between the building’s vertical exterior columns, as if reduced to so many dots in a Seurat. As a work of conceptual art, it is, ironically, this rather traditional aspect of Yates’s piece that succeeds best. \u003c/p>\n\u003cp>That would have been enough for me. In the end, I guess the thing I still fail to fully appreciate is why this work of conceptual art is so focused on the very unconceptual desire to create a product, even if it is a color. Come August 5, Palo Alto-philes around the globe will be able to take Yates’s and Schleifer’s paint chips to their local hardware stores so that the colors of Palo Alto can be splashed proudly on their walls. “We did the kids rooms in Embarcadero, but the kitchen is pure Middlefield!” You can see why this conceit was so appealing to the city officials who gave this project the green light, but will a line of furniture at Restoration Hardware be next? I suppose that’s exactly the sort of paradigm today’s conceptual artist must rise to in the age of Jeff Koons and Takashi Murakami, which I also suppose makes me the one who ought to be put in that time capsule.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>The Color of Palo Alto \u003c/b> by Samuel Yates will be revealed on August 5, 2008. Photos from the project are on view on the side of city hall, 250 Hamilton Avenue, through the summer of 2008. For \u003ca href=\"http://www.thecolorofpaloalto.com/\" target=\"offsite\" rel=\"noopener\"> more information,\u003c/a> visit thecolorofpaloalto.com.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1089,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705053149,
"excerpt": "Only in Palo Alto could an inventory of real estate be mistaken for a work of art. But that pretty much sums up \u003cb>The Color of Palo Alto\u003c/b>, a seven-years-in-the-making quest on the part of artist Samuel Yates to photograph every last one of Palo Alto's 17,725 property parcels and then to use those photographs to determine the peninsula suburb's signature hue, which, until Yates showed up, was something the city had not realized it lacked.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Only in Palo Alto could an inventory of real estate be mistaken for a work of art. But that pretty much sums up The Color of Palo Alto, a seven-years-in-the-making quest on the part of artist Samuel Yates to photograph every last one of Palo Alto's 17,725 property parcels and then to use those photographs to determine the peninsula suburb's signature hue, which, until Yates showed up, was something the city had not realized it lacked.",
"title": "The Color of Palo Alto | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Color of Palo Alto",
"datePublished": "2008-04-23T13:56:25-07:00",
"dateModified": "2024-01-12T01:52:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the_color_of_palo_alto",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/visualarts-review/",
"sticky": false,
"path": "/arts/22638/the_color_of_palo_alto",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Only in Palo Alto could an inventory of real estate be mistaken for a work of art. But that pretty much sums up \u003cb>The Color of Palo Alto\u003c/b>, a seven-years-in-the-making quest on the part of artist Samuel Yates to photograph every last one of Palo Alto’s 17,725 property parcels and then to use those photographs to determine the peninsula suburb’s signature hue, which, until Yates showed up, was something the city had not realized it lacked.\u003c/p>\n\u003cp>On April 25, 2008, Yates’s computer will begin grinding its way through a program written by a fellow artist named Eli Schleifer, whose software will, according to Yates’s website, “calculate various color traits about each digital photograph, including numerous average pixel colors (mean, median, mode, HSL, Gaussian, etc.); the unique pixel color (which pixel the photo contains that no other photo contains); the cream-of-the-crop (top row of pixels); and center square (center four pixels), etc. In a democratic manner, each parcel in the city will contribute one ‘vote’ of ‘average mean color’ toward the final color of Palo Alto.” Actually, there won’t be just one color but many: Some colors will be named for neighborhoods like Professorville, others for streets. The current plan is to reveal the official Color of Palo Alto, as well as the colors of its neighborhoods and thoroughfares, on August 5, 2008, the anniversary of the project’s inception. In the meantime, Yates photographs — all of them — are on view through the summer on the side of Palo Alto City Hall.\u003c/p>\n\u003cp>From the street, looking up at all those thousands of photographs, the color of Palo Alto is unmistakably blue, since so many of Yates’s images feature a generous background of sky in them. Of course, my human eyeballs and analog brain are not tuned to the implications of Gaussian distribution, as Yates’ computer will be, so we’ll just have to wait until the actual color is unveiled to learn the answer to this weighty question.\u003c/p>\n\u003cp>The impulse on the part of artists to inventory finite corners of their worlds is hardly new. Los Angeles artist Ed Ruscha shot a photograph of every building on the Sunset Strip in 1966, which he self-published as a book and titled \u003cb>Every Building on the Sunset Strip\u003c/b>. Unlike Yates, Ruscha felt no need to mediate his cataloging impulse for his audience. For Ruscha, it was enough of an artistic statement to simply pay attention to something that most people took for granted. His was a straightforward act of observation, which he quietly shared with anyone who was interested. As it turned out, not a lot of people were.\u003c/p>\n\u003cp>Yates’s piece is a three-ring circus by comparison. It was not enough for him to merely drive or cycle around the city and take his pictures. It was imperative that his means of transportation be a zero-emission electric scooter (on his website, Yates tells us that he got 32 miles per charge) and that his scooter, and sometimes himself, be housed in a solar-powered garage made of salvaged building materials, which, except for the salvaged building materials part, is a nod to a nearby garage where David Packard famously founded the company that still bears his name (surprise, surprise; HP is a major underwriter of the Yates project). And then there are the photos on City Hall. It required 256 three-by-seven-foot perforated vinyl panels, each encompassing about 84 photos, to get the job done. When the public display is over, the panels will be rolled up and stored in a two-by-two-by-three-foot time-capsule-like box, to amaze and delight future generations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My obvious reservations about the piece aside, there is something undeniably charming about Yates’s quixotic adventure. Hats off, first of all, to anyone willing to spend a year taking pictures of anything. And I like the look of all those resulting photographs on the side of City Hall, although perhaps not for the reasons the artist hopes. Yates suggests that residents bring binoculars with them to City Hall to search for their street and house, especially for those whose homes are reproduced in panels mounted on the building’s upper floors. But are people these days really that impressed by such childish confirmations? Certainly not since Google launched its Street View feature at maps.google.com, which lets anyone do the online equivalent (for the record, Google missed one or two sections of Palo Alto, whereas Yates’s inventory is as complete as a time-restricted exercise in documentation can be). More interesting, I think, than the narcissistic opportunity the piece presents to viewers who happen to live in Palo Alto is the impressionistic impact of all those photos lined up between the building’s vertical exterior columns, as if reduced to so many dots in a Seurat. As a work of conceptual art, it is, ironically, this rather traditional aspect of Yates’s piece that succeeds best. \u003c/p>\n\u003cp>That would have been enough for me. In the end, I guess the thing I still fail to fully appreciate is why this work of conceptual art is so focused on the very unconceptual desire to create a product, even if it is a color. Come August 5, Palo Alto-philes around the globe will be able to take Yates’s and Schleifer’s paint chips to their local hardware stores so that the colors of Palo Alto can be splashed proudly on their walls. “We did the kids rooms in Embarcadero, but the kitchen is pure Middlefield!” You can see why this conceit was so appealing to the city officials who gave this project the green light, but will a line of furniture at Restoration Hardware be next? I suppose that’s exactly the sort of paradigm today’s conceptual artist must rise to in the age of Jeff Koons and Takashi Murakami, which I also suppose makes me the one who ought to be put in that time capsule.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>The Color of Palo Alto \u003c/b> by Samuel Yates will be revealed on August 5, 2008. Photos from the project are on view on the side of city hall, 250 Hamilton Avenue, through the summer of 2008. For \u003ca href=\"http://www.thecolorofpaloalto.com/\" target=\"offsite\" rel=\"noopener\"> more information,\u003c/a> visit thecolorofpaloalto.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/22638/the_color_of_palo_alto",
"authors": [
"26"
],
"categories": [
"arts_70"
],
"label": "arts"
},
"arts_22608": {
"type": "posts",
"id": "arts_22608",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "22608",
"score": null,
"sort": [
1208830430000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1208830430,
"format": "standard",
"title": "Spiritualized: Lawrence Rinder at Meridian Gallery",
"headTitle": "Spiritualized: Lawrence Rinder at Meridian Gallery | KQED",
"content": "\u003cp>Peter Gabriel had world music. Sting had the rainforests.\u003c/p>\n\u003cp>At mid-career, curator Lawrence Rinder may have spirituality tied up. And like Gabriel’s attempt to bring the harmonies of international song to the West, we are better for it.\u003c/p>\n\u003cp>Rinder, dean at CCA and an independent curator, has put together \u003cb>Three Related Exhibitions\u003c/b>, a trio of shows at the three-storied \u003ca href=\"http://www.meridiangallery.org/index.html\" target=\"offsite\" rel=\"noopener\">Meridian Gallery\u003c/a>. Its hard to say exactly what ties the shows together besides a lightly tempered spirit of optimism, and an undercurrent of concentrated thinking.\u003c/p>\n\u003cp>\u003cb>Form +\u003c/b> is the show that surrounds you upon entering Meridian. Rinder has gathered together a sextet of local abstractionists that set a rather loose tone for the subsequent shows. All the work exudes sincerity, which is good. Occasionally, they burst with other worldiness, which is even better. Glowing with a slightly clumsy feeling, \u003ca href=\"http://www.basebasebase.com/archive/flat_files/000064.html\" target=\"offsite\" rel=\"noopener\">Todd Bura\u003c/a>‘s small panels manage to squeeze out a little bit of warmth — pretty rare for paintings that are done in a primary palette of black & white. But Bura’s intentions, earnest as they may be, are hindered by their size. Their smallness can come off as downright corny. On the other hand, \u003ca href=\"http://www.deansmith.us/index.html\" target=\"offsite\" rel=\"noopener\">Dean Smith\u003c/a>, whose pencil drawings are only marginally bigger than Bura’s paintings, builds up images with such intricacy and discipline that the results are stratospheric. Within seconds you are lost in the maze of his line, swirling around and around in its various associations.\u003c/p>\n\u003cp>While \u003cb>Form +\u003c/b> staunchly engages in art dialogs that were crafted and honed by Western thought, \u003cb>Dhyána\u003c/b>, on the second floor, speaks a whole different language. This selection of contemporary Tantric drawings, most about the size of a placemat, were gathered in India by French poet Franck André Jamme. The gouache and ink pictures were done as aids for meditation — kinda like spiritual cue cards. And therein lies the problem. Like Peter Gabriel’s presentation of world music to Anglo rock’n’rollers, the Tantric drawings can only be approached, at least in a gallery setting, within the context of the West. Its hard not to look at the pictures and relate elements of them to various art historic moments — like minimalism, stoner art, and constructivism. Luckily, there is an elegance of spirit and an unflinching grace at their core that lingers long after you leave their presence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Floor three is the home to \u003cb>Franck André Jamme: New Exercises\u003c/b>, a room chock full of numerous identically-sized mirrors. The rectangular mirrors, hand-framed in white wood and small enough to be dropped into a purse, are lightly painted by Jamme with slightly enigmatic phrases. Lacking spaces between the words, these poems are lettered in a grid reminiscent of Chris Wool. The phrases can be cloying to no end though, such as “to sense that the eye in fact never chooses anything,” and are only occasionally engaging, like “To cut off regularly one’s own head.”\u003c/p>\n\u003cp>Three Related Exhibitions runs concurrently with Rinder’s \u003cb>Shahrokh Yadegari: Through Music\u003c/b>, at the \u003ca href=\"http://www.magnes.org/exhibits/index.html\" target=\"offsite\" rel=\"noopener\">Magnes\u003c/a>. \u003cb>Shahrokh Yadegari\u003c/b>, a tribute to Rinder’s grandfather (a celebrated cantor at Temple Emanu-El), is a meditative sound installation that merges Jewish and Islamic musical traditions.\u003c/p>\n\u003cp>The artworld can be a snide place. Nowhere more so than here. But the work of Lawrence Rinder reminds us that it can also be a place that offers intergalactic tours with chances to leave this world, if only for a moment, for something better. And maybe we’ll meet the Almighty along the way.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All three exhibitions are at the Meridian Gallery through May 3, 2008.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 617,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705053155,
"excerpt": "Peter Gabriel had world music. Sting had the rainforests.\u003cp>At mid-career, curator Lawrence Rinder may have spirituality tied up. And like Gabriel's attempt to bring the harmonies of international song to the West, we are better for it.\u003c/p>",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Peter Gabriel had world music. Sting had the rainforests.At mid-career, curator Lawrence Rinder may have spirituality tied up. And like Gabriel's attempt to bring the harmonies of international song to the West, we are better for it.",
"title": "Spiritualized: Lawrence Rinder at Meridian Gallery | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Spiritualized: Lawrence Rinder at Meridian Gallery",
"datePublished": "2008-04-21T19:13:50-07:00",
"dateModified": "2024-01-12T01:52:35-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "spiritualized_lawrence_rinder_at_meridian_gallery",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/visualarts-review/",
"sticky": false,
"path": "/arts/22608/spiritualized_lawrence_rinder_at_meridian_gallery",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Peter Gabriel had world music. Sting had the rainforests.\u003c/p>\n\u003cp>At mid-career, curator Lawrence Rinder may have spirituality tied up. And like Gabriel’s attempt to bring the harmonies of international song to the West, we are better for it.\u003c/p>\n\u003cp>Rinder, dean at CCA and an independent curator, has put together \u003cb>Three Related Exhibitions\u003c/b>, a trio of shows at the three-storied \u003ca href=\"http://www.meridiangallery.org/index.html\" target=\"offsite\" rel=\"noopener\">Meridian Gallery\u003c/a>. Its hard to say exactly what ties the shows together besides a lightly tempered spirit of optimism, and an undercurrent of concentrated thinking.\u003c/p>\n\u003cp>\u003cb>Form +\u003c/b> is the show that surrounds you upon entering Meridian. Rinder has gathered together a sextet of local abstractionists that set a rather loose tone for the subsequent shows. All the work exudes sincerity, which is good. Occasionally, they burst with other worldiness, which is even better. Glowing with a slightly clumsy feeling, \u003ca href=\"http://www.basebasebase.com/archive/flat_files/000064.html\" target=\"offsite\" rel=\"noopener\">Todd Bura\u003c/a>‘s small panels manage to squeeze out a little bit of warmth — pretty rare for paintings that are done in a primary palette of black & white. But Bura’s intentions, earnest as they may be, are hindered by their size. Their smallness can come off as downright corny. On the other hand, \u003ca href=\"http://www.deansmith.us/index.html\" target=\"offsite\" rel=\"noopener\">Dean Smith\u003c/a>, whose pencil drawings are only marginally bigger than Bura’s paintings, builds up images with such intricacy and discipline that the results are stratospheric. Within seconds you are lost in the maze of his line, swirling around and around in its various associations.\u003c/p>\n\u003cp>While \u003cb>Form +\u003c/b> staunchly engages in art dialogs that were crafted and honed by Western thought, \u003cb>Dhyána\u003c/b>, on the second floor, speaks a whole different language. This selection of contemporary Tantric drawings, most about the size of a placemat, were gathered in India by French poet Franck André Jamme. The gouache and ink pictures were done as aids for meditation — kinda like spiritual cue cards. And therein lies the problem. Like Peter Gabriel’s presentation of world music to Anglo rock’n’rollers, the Tantric drawings can only be approached, at least in a gallery setting, within the context of the West. Its hard not to look at the pictures and relate elements of them to various art historic moments — like minimalism, stoner art, and constructivism. Luckily, there is an elegance of spirit and an unflinching grace at their core that lingers long after you leave their presence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Floor three is the home to \u003cb>Franck André Jamme: New Exercises\u003c/b>, a room chock full of numerous identically-sized mirrors. The rectangular mirrors, hand-framed in white wood and small enough to be dropped into a purse, are lightly painted by Jamme with slightly enigmatic phrases. Lacking spaces between the words, these poems are lettered in a grid reminiscent of Chris Wool. The phrases can be cloying to no end though, such as “to sense that the eye in fact never chooses anything,” and are only occasionally engaging, like “To cut off regularly one’s own head.”\u003c/p>\n\u003cp>Three Related Exhibitions runs concurrently with Rinder’s \u003cb>Shahrokh Yadegari: Through Music\u003c/b>, at the \u003ca href=\"http://www.magnes.org/exhibits/index.html\" target=\"offsite\" rel=\"noopener\">Magnes\u003c/a>. \u003cb>Shahrokh Yadegari\u003c/b>, a tribute to Rinder’s grandfather (a celebrated cantor at Temple Emanu-El), is a meditative sound installation that merges Jewish and Islamic musical traditions.\u003c/p>\n\u003cp>The artworld can be a snide place. Nowhere more so than here. But the work of Lawrence Rinder reminds us that it can also be a place that offers intergalactic tours with chances to leave this world, if only for a moment, for something better. And maybe we’ll meet the Almighty along the way.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All three exhibitions are at the Meridian Gallery through May 3, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/22608/spiritualized_lawrence_rinder_at_meridian_gallery",
"authors": [
"29"
],
"categories": [
"arts_70"
],
"label": "arts"
},
"arts_10303087": {
"type": "posts",
"id": "arts_10303087",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10303087",
"score": null,
"sort": [
1208813785000
]
},
"guestAuthors": [],
"slug": "the-art-of-diorama",
"title": "The Art of Diorama",
"publishDate": 1208813785,
"format": "video",
"headTitle": "The Art of Diorama | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>In April 2008, \u003ci>Gallery Crawl\u003c/i> visits the Bedford Gallery in Walnut Creek for a chat with Carrie Lederer, the curator of \u003cem>THE ART OF DIORAMA\u003c/em> exhibition, which features Jeremy Mora, Helen Cohen, Davis + Davis, Lothar Osterberg, Tracey Snelling and Misako Inaoka.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>Resources\u003c/h3>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.kqed.org/assets/pdf/arts/programs/gallerycrawl/diorama_edguide.pdf\">Download educator guide\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "In April 2008, \u003ci>Gallery Crawl\u003c/i> visits the Bedford Gallery in Walnut Creek for a chat with Carrie Lederer, the curator of \u003cem>THE ART OF DIORAMA\u003c/em> exhibition, which features Jeremy Mora, Helen Cohen, Davis + Davis, Lothar Osterberg, Tracey Snelling and Misako Inaoka.",
"status": "publish",
"parent": 0,
"modified": 1726767734,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 3,
"wordCount": 47
},
"headData": {
"title": "The Art of Diorama | KQED",
"description": "In April 2008, Gallery Crawl visits the Bedford Gallery in Walnut Creek for a chat with Carrie Lederer, the curator of THE ART OF DIORAMA exhibition, which features Jeremy Mora, Helen Cohen, Davis + Davis, Lothar Osterberg, Tracey Snelling and Misako Inaoka.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Art of Diorama",
"datePublished": "2008-04-21T14:36:25-07:00",
"dateModified": "2024-09-19T10:42:14-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"videoEmbed": "http://youtu.be/PcZyp9uQdZQ",
"sticky": false,
"path": "/arts/10303087/the-art-of-diorama",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In April 2008, \u003ci>Gallery Crawl\u003c/i> visits the Bedford Gallery in Walnut Creek for a chat with Carrie Lederer, the curator of \u003cem>THE ART OF DIORAMA\u003c/em> exhibition, which features Jeremy Mora, Helen Cohen, Davis + Davis, Lothar Osterberg, Tracey Snelling and Misako Inaoka.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>Resources\u003c/h3>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.kqed.org/assets/pdf/arts/programs/gallerycrawl/diorama_edguide.pdf\">Download educator guide\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10303087/the-art-of-diorama",
"authors": [
"8"
],
"categories": [
"arts_70"
],
"featImg": "arts_10303088",
"label": "arts"
},
"arts_22582": {
"type": "posts",
"id": "arts_22582",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "22582",
"score": null,
"sort": [
1208224208000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1208224208,
"format": "standard",
"title": "Love at First Sight III",
"headTitle": "Love at First Sight III | KQED",
"content": "\u003cp>Painters can often recall the first painting that truly inspired them. Below is the third in a three part series (read \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22108\">part one\u003c/a> and \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22447\">part two\u003c/a>) where Bay Area artists talk about that first love — the initial painting that moved them to pick up a brush.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/cezanne-lg.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>NARANGKAR GLOVER:\u003c/b> Paul Cezanne’s \u003cb>La Femme à la cafetière\u003c/b>, the 1890 portrait of a heavyset café owner wearing a simple dress painted in cobalt and ceruleans, hung unassumingly in a corner at the \u003ca href=\"http://www.musee-orsay.fr/en/home.html\" target=\"offsite\" rel=\"noopener\">Musée d’Orsay\u003c/a> when I visited in 2002.\u003c/p>\n\u003cp>What kept me circling the gallery to pass over it several times was the portrait’s complexity within the understated yet ubiquitous subject matter. What I saw in her was a reflection of Cezanne’s disillusionment and disdain for pretty much everything. Her expression echoed him barking orders toward his obliging, yet pedestrian subjects. The heaviness in her face, and the gravity of her form read that she was not in the least bit amused. The frustration is that visceral.\u003c/p>\n\u003cp>Yet the skewed perspectives, loose brushwork, and strategic placing of the coffee pot and mug to the side are a one hundred percent thing of beauty… forever. That’s when I realized it was what I always wanted. I wanted to paint people for real — with all their baggage, frustrations, impatience, and loneliness.\u003c/p>\n\u003cp>It was a swift turning point for me in my approach to painting, a shift away from graffiti and Pop Art. I was confronted with the master works of Paul Cezanne in person, and I was no longer afraid to make each and every piece a tug-of-war from start to finish.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.narangkar.com/\" target=\"offsite\" rel=\"noopener\">Narangkar Glover\u003c/a> is co-director of \u003ca href=\"http://www.rowanmorrison.com/\" target=\"offsite\" rel=\"noopener\">Rowan Morrison Gallery\u003c/a>. She most recently exhibited at \u003ca href=\"http://www.tinlark.com/\" target=\"offsite\" rel=\"noopener\">Tinlark Gallery\u003c/a> in Los Angeles.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/rauschenberg.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>MARY SNOWDEN:\u003c/b> My influences are almost too many to mention, and they change and evolve constantly. Nevertheless, I’ll take a stab at it.\u003c/p>\n\u003cp>When I was a child, I painted paintings that were embarrassingly like \u003ca href=\"http://en.wikipedia.org/wiki/Grandma_Moses\" target=\"offsite\" rel=\"noopener\">Grandma Moses\u003c/a>. I can still remember the excitement I felt looking at her farm scenes and imagining myself in them.\u003c/p>\n\u003cp>In my late teens I loved \u003ca href=\"http://http://en.wikipedia.org/wiki/Willem_de_Kooning\" target=\"offsite\" rel=\"noopener\">Willem de Kooning\u003c/a>. But somewhere around 1960, I went to a show in New York and saw this amazing painting with a large bird protruding out of it with a pillow dangling beneath it on a rope. It was \u003cb>Canyon\u003c/b>, a \u003ca href=\"http://www.metmuseum.org/special/Rauschenberg/combines_more.asp\" target=\"offsite\" rel=\"noopener\">Robert Rauschenberg combine\u003c/a>. I was blown away and my ideas about painting were forever altered.\u003c/p>\n\u003cp>I appreciate all forms of art, especially writing and film, but paintings are what always steal my heart.\u003c/p>\n\u003cp>Mary Snowden is represented by \u003ca href=\"http://www.bquayartgallery.com/artists/snowden_bio.html\" target=\"offsite\" rel=\"noopener\">Braunstein/Quay Gallery\u003c/a>. Her work is currently featured in \u003ca href=\"http://www.museumca.org/exhibit/exhi_cca.html\" target=\"offsite\" rel=\"noopener\">Artists of Invention: A Century of CCA\u003c/a> at the Oakland Museum of California.\u003c/p>\n\u003cp>\u003cb>ALEXIS MACKENZIE:\u003c/b> Because I was a classic case of I’m-going-to-be-an-artist-when-I-grow-up, the difficult thing was choosing how, exactly, I was going to express myself. I drew, I wrote; it wasn’t so much that I was ever thunderstruck by inspiration, or carried an ideal close to my heart — it was more that I spent a long time searching for the thing to hold dear, which felt most right as a means of expression.\u003c/p>\n\u003cp>There is one concrete moment with a collage that I recall, however, which almost certainly is what set me down the eventually obsessive path I’ve taken with the medium.\u003c/p>\n\u003cp>In high school, I kept a visual journal for a class, which was mainly comprised of collages; while I loved making them and they were well received, I think the moment I began to feel that they could be more than simply a journal to me was one afternoon at my friend Meredith’s house.\u003c/p>\n\u003cp>She had made a collage incorporating various elements from magazines — signage, a ballerina, a large rounded mirror, an urban environment — I can’t recall everything about it, sadly. I lost my tattered color copy of it long ago. But what was so captivating about it was how precisely she had cut out all the tiny details, and placed things so that they almost seemed to belong. They fit, they balanced, there were no rough edges. We were admiring it together and she said to me, “There’s just something so nice about cutting something out perfectly…” and somehow it resonated; something inside me clicked into place with that statement.\u003c/p>\n\u003cp>From there it simply became a journey of exploring the imagery available in the world, how it fits together, and how well I can teach myself to manipulate it. I still think of that moment, and how the consideration of it has led me deep into this practice which I love so much — in a way, the thing that is so nice about cutting something out perfectly, is how the discipline of focusing so tightly on a single task actually allows the mind to roam most freely.\u003c/p>\n\u003cp>\u003ca href=\"http://www.alexisanne.com/\" target=\"offsite\" rel=\"noopener\">Alexis Mackenzie\u003c/a>‘s work was recently seen in \u003ca href=\"http://www.sleepmovement.com/gallery.php?artist_id=64\" target=\"offsite\" rel=\"noopener\">All Star Hustlaz III\u003c/a> at \u003ca href=\"http://www.sleepmovement.com/about.php\" target=\"offsite\" rel=\"noopener\">White Walls\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/dekooning.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>CHRIS ASHLEY:\u003c/b> Initially, I was certain that de Kooning’s \u003cb>Woman I\u003c/b>, 1950-52, most influenced me. He is an enormously important artist for me, and this unusual and controversial painting is a unique milestone in American art.\u003c/p>\n\u003cp>But I had to think about this. Many early encounters with paintings were important, and I needed to wade through memories and sort out my story to identify that single moment. So I put de Kooning on hold.\u003c/p>\n\u003cp>One Saturday afternoon in 1969, my grandmother took me to the new \u003ca href=\"http://www.museumca.org/\" target=\"offsite\" rel=\"noopener\">Oakland Museum\u003c/a>, and while she tried to interest me in landscape painters (\u003ca href=\"http://collections.museumca.org/item_detail.jsp?from_basic_search=t&id=142618&start=11\" target=\"offsite\" rel=\"noopener\">Albert Bierstadt\u003c/a> and Hill, who I do like) I was drawn to abstract painters (\u003ca href=\"http://en.wikipedia.org/wiki/Clyfford_Still\" target=\"offsite\" rel=\"noopener\">Clyfford Still\u003c/a>, \u003ca href=\"http://www.artnet.com/artist/4417/edward-corbett.html\" target=\"offsite\" rel=\"noopener\">Edward Corbett,\u003c/a> or \u003ca href=\"http://www.artistsforum.com/Lobdell/\" target=\"offsite\" rel=\"noopener\">Lobdell\u003c/a>). I think I remember seeing Nathan Oliveira’s large pink and orange \u003ca href=\"http://www.marin.cc.ca.us/art107/images/OliveriaSpringNude.jpg\" target=\"offsite\" rel=\"noopener\">Spring Nude\u003c/a>, but maybe I’ve just seen it too many times over the years. I very clearly remember Mel Ramos’s \u003ca href=\"http://www.artfacts.net/artworkpics/thumbs/8288.jpg\" target=\"offsite\" rel=\"noopener\">Browned Bare\u003c/a>, which showed me what kind of artist I did not want to be. On the way home that day my grandmother bought me a set of oils, and as I sat before the still life she set up on the kitchen table I tried to make a Lobdell.\u003c/p>\n\u003cp>Other important memories: Joan Brown’s large yet intimate narrative travel paintings at Hansen Fuller Gallery, San Francisco, 1976; the huge Fauves show at SFMoMA that same year, and my first encounter with Clyfford Still soon after; Hassel Smith at Paule Anglim on Montgomery in 1977; and first seeing Agnes Martin’s \u003cb>Falling Blue\u003c/b>, around 1978, and literally feeling my life change as I stood there.\u003c/p>\n\u003cp>But I keep going back to de Kooning. I remember finding \u003ca href=\"http://www.amazon.com/Kooning-Willem/dp/0810901234/ref=sr_1_1?ie=UTF8&s=books&qid=1202797652&sr=1-1\" target=\"offsite\" rel=\"noopener\">Harold Rosenberg’s big 1974 book\u003c/a> on de Kooning in the public library not far from where I grew up around 1976, my surpise when looking through it, and how I repeatedly checked it out. \u003cb>Woman I\u003c/b> grabbed me because of the edge it walked between representation and abstraction, because of de Kooning’s assertive drawing with the brush and control of space, and because of that wonderful bar of aluminum paint holding down the right side, later confirmed in person at MoMA. It all made me want to paint, which I began and continue, and I think of de Kooning, and my grandmother, quite often.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://www.marjoriewoodgallery.com/exhibitions/ashley/index.html\" target=\"offsite\" rel=\"noopener\">I Made This For You\u003c/a>, \u003ca href=\"http://chrisashley.net/\" target=\"offsite\" rel=\"noopener\">Chris Ashley\u003c/a>‘s online exhibition of drawings is on view at Marjorie Wood Gallery.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1281,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 25
},
"modified": 1705053163,
"excerpt": "Painters can often recall the first painting that truly inspired them. Below is the third in a three part series where Bay Area artists talk about that first love -- the initial painting that moved them to pick up a brush.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Painters can often recall the first painting that truly inspired them. Below is the third in a three part series where Bay Area artists talk about that first love -- the initial painting that moved them to pick up a brush.",
"title": "Love at First Sight III | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Love at First Sight III",
"datePublished": "2008-04-14T18:50:08-07:00",
"dateModified": "2024-01-12T01:52:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "love_at_first_sight_iii",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/",
"sticky": false,
"path": "/arts/22582/love_at_first_sight_iii",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Painters can often recall the first painting that truly inspired them. Below is the third in a three part series (read \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22108\">part one\u003c/a> and \u003ca href=\"http://www.kqed.org/arts/visualarts/index.jsp?id=22447\">part two\u003c/a>) where Bay Area artists talk about that first love — the initial painting that moved them to pick up a brush.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/cezanne-lg.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>NARANGKAR GLOVER:\u003c/b> Paul Cezanne’s \u003cb>La Femme à la cafetière\u003c/b>, the 1890 portrait of a heavyset café owner wearing a simple dress painted in cobalt and ceruleans, hung unassumingly in a corner at the \u003ca href=\"http://www.musee-orsay.fr/en/home.html\" target=\"offsite\" rel=\"noopener\">Musée d’Orsay\u003c/a> when I visited in 2002.\u003c/p>\n\u003cp>What kept me circling the gallery to pass over it several times was the portrait’s complexity within the understated yet ubiquitous subject matter. What I saw in her was a reflection of Cezanne’s disillusionment and disdain for pretty much everything. Her expression echoed him barking orders toward his obliging, yet pedestrian subjects. The heaviness in her face, and the gravity of her form read that she was not in the least bit amused. The frustration is that visceral.\u003c/p>\n\u003cp>Yet the skewed perspectives, loose brushwork, and strategic placing of the coffee pot and mug to the side are a one hundred percent thing of beauty… forever. That’s when I realized it was what I always wanted. I wanted to paint people for real — with all their baggage, frustrations, impatience, and loneliness.\u003c/p>\n\u003cp>It was a swift turning point for me in my approach to painting, a shift away from graffiti and Pop Art. I was confronted with the master works of Paul Cezanne in person, and I was no longer afraid to make each and every piece a tug-of-war from start to finish.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.narangkar.com/\" target=\"offsite\" rel=\"noopener\">Narangkar Glover\u003c/a> is co-director of \u003ca href=\"http://www.rowanmorrison.com/\" target=\"offsite\" rel=\"noopener\">Rowan Morrison Gallery\u003c/a>. She most recently exhibited at \u003ca href=\"http://www.tinlark.com/\" target=\"offsite\" rel=\"noopener\">Tinlark Gallery\u003c/a> in Los Angeles.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/rauschenberg.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>MARY SNOWDEN:\u003c/b> My influences are almost too many to mention, and they change and evolve constantly. Nevertheless, I’ll take a stab at it.\u003c/p>\n\u003cp>When I was a child, I painted paintings that were embarrassingly like \u003ca href=\"http://en.wikipedia.org/wiki/Grandma_Moses\" target=\"offsite\" rel=\"noopener\">Grandma Moses\u003c/a>. I can still remember the excitement I felt looking at her farm scenes and imagining myself in them.\u003c/p>\n\u003cp>In my late teens I loved \u003ca href=\"http://http://en.wikipedia.org/wiki/Willem_de_Kooning\" target=\"offsite\" rel=\"noopener\">Willem de Kooning\u003c/a>. But somewhere around 1960, I went to a show in New York and saw this amazing painting with a large bird protruding out of it with a pillow dangling beneath it on a rope. It was \u003cb>Canyon\u003c/b>, a \u003ca href=\"http://www.metmuseum.org/special/Rauschenberg/combines_more.asp\" target=\"offsite\" rel=\"noopener\">Robert Rauschenberg combine\u003c/a>. I was blown away and my ideas about painting were forever altered.\u003c/p>\n\u003cp>I appreciate all forms of art, especially writing and film, but paintings are what always steal my heart.\u003c/p>\n\u003cp>Mary Snowden is represented by \u003ca href=\"http://www.bquayartgallery.com/artists/snowden_bio.html\" target=\"offsite\" rel=\"noopener\">Braunstein/Quay Gallery\u003c/a>. Her work is currently featured in \u003ca href=\"http://www.museumca.org/exhibit/exhi_cca.html\" target=\"offsite\" rel=\"noopener\">Artists of Invention: A Century of CCA\u003c/a> at the Oakland Museum of California.\u003c/p>\n\u003cp>\u003cb>ALEXIS MACKENZIE:\u003c/b> Because I was a classic case of I’m-going-to-be-an-artist-when-I-grow-up, the difficult thing was choosing how, exactly, I was going to express myself. I drew, I wrote; it wasn’t so much that I was ever thunderstruck by inspiration, or carried an ideal close to my heart — it was more that I spent a long time searching for the thing to hold dear, which felt most right as a means of expression.\u003c/p>\n\u003cp>There is one concrete moment with a collage that I recall, however, which almost certainly is what set me down the eventually obsessive path I’ve taken with the medium.\u003c/p>\n\u003cp>In high school, I kept a visual journal for a class, which was mainly comprised of collages; while I loved making them and they were well received, I think the moment I began to feel that they could be more than simply a journal to me was one afternoon at my friend Meredith’s house.\u003c/p>\n\u003cp>She had made a collage incorporating various elements from magazines — signage, a ballerina, a large rounded mirror, an urban environment — I can’t recall everything about it, sadly. I lost my tattered color copy of it long ago. But what was so captivating about it was how precisely she had cut out all the tiny details, and placed things so that they almost seemed to belong. They fit, they balanced, there were no rough edges. We were admiring it together and she said to me, “There’s just something so nice about cutting something out perfectly…” and somehow it resonated; something inside me clicked into place with that statement.\u003c/p>\n\u003cp>From there it simply became a journey of exploring the imagery available in the world, how it fits together, and how well I can teach myself to manipulate it. I still think of that moment, and how the consideration of it has led me deep into this practice which I love so much — in a way, the thing that is so nice about cutting something out perfectly, is how the discipline of focusing so tightly on a single task actually allows the mind to roam most freely.\u003c/p>\n\u003cp>\u003ca href=\"http://www.alexisanne.com/\" target=\"offsite\" rel=\"noopener\">Alexis Mackenzie\u003c/a>‘s work was recently seen in \u003ca href=\"http://www.sleepmovement.com/gallery.php?artist_id=64\" target=\"offsite\" rel=\"noopener\">All Star Hustlaz III\u003c/a> at \u003ca href=\"http://www.sleepmovement.com/about.php\" target=\"offsite\" rel=\"noopener\">White Walls\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.kqed.org/arts/images/blog/dekooning.jpg\" style=\"float: right; margin-left: 5px; margin-bottom: 10px; border: 1px solid black;\">\u003cb>CHRIS ASHLEY:\u003c/b> Initially, I was certain that de Kooning’s \u003cb>Woman I\u003c/b>, 1950-52, most influenced me. He is an enormously important artist for me, and this unusual and controversial painting is a unique milestone in American art.\u003c/p>\n\u003cp>But I had to think about this. Many early encounters with paintings were important, and I needed to wade through memories and sort out my story to identify that single moment. So I put de Kooning on hold.\u003c/p>\n\u003cp>One Saturday afternoon in 1969, my grandmother took me to the new \u003ca href=\"http://www.museumca.org/\" target=\"offsite\" rel=\"noopener\">Oakland Museum\u003c/a>, and while she tried to interest me in landscape painters (\u003ca href=\"http://collections.museumca.org/item_detail.jsp?from_basic_search=t&id=142618&start=11\" target=\"offsite\" rel=\"noopener\">Albert Bierstadt\u003c/a> and Hill, who I do like) I was drawn to abstract painters (\u003ca href=\"http://en.wikipedia.org/wiki/Clyfford_Still\" target=\"offsite\" rel=\"noopener\">Clyfford Still\u003c/a>, \u003ca href=\"http://www.artnet.com/artist/4417/edward-corbett.html\" target=\"offsite\" rel=\"noopener\">Edward Corbett,\u003c/a> or \u003ca href=\"http://www.artistsforum.com/Lobdell/\" target=\"offsite\" rel=\"noopener\">Lobdell\u003c/a>). I think I remember seeing Nathan Oliveira’s large pink and orange \u003ca href=\"http://www.marin.cc.ca.us/art107/images/OliveriaSpringNude.jpg\" target=\"offsite\" rel=\"noopener\">Spring Nude\u003c/a>, but maybe I’ve just seen it too many times over the years. I very clearly remember Mel Ramos’s \u003ca href=\"http://www.artfacts.net/artworkpics/thumbs/8288.jpg\" target=\"offsite\" rel=\"noopener\">Browned Bare\u003c/a>, which showed me what kind of artist I did not want to be. On the way home that day my grandmother bought me a set of oils, and as I sat before the still life she set up on the kitchen table I tried to make a Lobdell.\u003c/p>\n\u003cp>Other important memories: Joan Brown’s large yet intimate narrative travel paintings at Hansen Fuller Gallery, San Francisco, 1976; the huge Fauves show at SFMoMA that same year, and my first encounter with Clyfford Still soon after; Hassel Smith at Paule Anglim on Montgomery in 1977; and first seeing Agnes Martin’s \u003cb>Falling Blue\u003c/b>, around 1978, and literally feeling my life change as I stood there.\u003c/p>\n\u003cp>But I keep going back to de Kooning. I remember finding \u003ca href=\"http://www.amazon.com/Kooning-Willem/dp/0810901234/ref=sr_1_1?ie=UTF8&s=books&qid=1202797652&sr=1-1\" target=\"offsite\" rel=\"noopener\">Harold Rosenberg’s big 1974 book\u003c/a> on de Kooning in the public library not far from where I grew up around 1976, my surpise when looking through it, and how I repeatedly checked it out. \u003cb>Woman I\u003c/b> grabbed me because of the edge it walked between representation and abstraction, because of de Kooning’s assertive drawing with the brush and control of space, and because of that wonderful bar of aluminum paint holding down the right side, later confirmed in person at MoMA. It all made me want to paint, which I began and continue, and I think of de Kooning, and my grandmother, quite often.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.marjoriewoodgallery.com/exhibitions/ashley/index.html\" target=\"offsite\" rel=\"noopener\">I Made This For You\u003c/a>, \u003ca href=\"http://chrisashley.net/\" target=\"offsite\" rel=\"noopener\">Chris Ashley\u003c/a>‘s online exhibition of drawings is on view at Marjorie Wood Gallery.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/22582/love_at_first_sight_iii",
"authors": [
"29"
],
"categories": [
"arts_70"
],
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=visualarts": {
"isFetching": false,
"latestQuery": {
"from": 2388,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2478,
"relation": "eq"
},
"items": [
"arts_22767",
"arts_22763",
"arts_22743",
"arts_22719",
"arts_22716",
"arts_22714",
"arts_22681",
"arts_22683",
"arts_22638",
"arts_22608",
"arts_10303087",
"arts_22582"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_visualarts": {
"isLoading": true
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
