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"title": "An Amy Sherald Exhibition Is Coming to SFMOMA in November",
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"content": "\u003cfigure id=\"attachment_13955298\" class=\"wp-caption aligncenter\" style=\"max-width: 2039px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-scaled.jpg\" alt=\"portrait of woman in turquoise dress against turquoise background\" width=\"2039\" height=\"2560\" class=\"size-full wp-image-13955298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-scaled.jpg 2039w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-800x1004.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1020x1280.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-768x964.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1224x1536.jpg 1224w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1632x2048.jpg 1632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1920x2410.jpg 1920w\" sizes=\"(max-width: 2039px) 100vw, 2039px\">\u003cfigcaption class=\"wp-caption-text\">Amy Sherald, ‘Breonna Taylor,’ 2020. \u003ccite>(Photo by Joseph Hyde; Courtesy the artist and Hauser & Wirth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if you don’t know Amy Sherald’s name, you’ll immediately recognize her work: larger-than-life oil paintings of Black subjects set against colorful backgrounds, their skin rendered in shades of gray. \u003c/p>\n\u003cp>You’ll remember her \u003ca href=\"https://www.kqed.org/arts/13824229/paintings-of-barack-and-michelle-obama-unveiled-at-portrait-gallery\">official portrait of First Lady Michelle Obama\u003c/a> for the National Portrait Gallery, unveiled the same year Kehinde Wiley painted President Barack Obama. In it, the first lady is seated elegantly in a modernist-printed gown, calmly gazing directly out of the canvas.\u003c/p>\n\u003cp>Equally recognizable is \u003ca href=\"https://www.vanityfair.com/culture/2020/08/amy-sherald-on-making-breonna-taylors-cover-portrait\">her painting of Breonna Taylor\u003c/a>, which appeared on the September 2020 cover of \u003ci>Vanity Fair\u003c/i>, featuring Taylor in an ethereal turquoise dress designed specifically for this posthumous portrait.\u003c/p>\n\u003cp>Both those paintings — and about 50 others made since 2007 — will be included in \u003ci>Amy Sherald: American Sublime\u003c/i>, the New York artist’s first mid-career survey, on view at the \u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a> Nov. 16, 2024–March 9, 2025. From San Francisco, the exhibition will travel on to the Whitney Museum of American Art in New York. \u003c/p>\n\u003cfigure id=\"attachment_13955290\" class=\"wp-caption aligncenter\" style=\"max-width: 1929px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-scaled.jpg\" alt=\"Two grayscale figures kiss in dramatic pose wearing sailor-like clothes against blue background\" width=\"1929\" height=\"2560\" class=\"size-full wp-image-13955290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-scaled.jpg 1929w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-800x1062.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1020x1354.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-768x1019.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1157x1536.jpg 1157w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1543x2048.jpg 1543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1920x2549.jpg 1920w\" sizes=\"(max-width: 1929px) 100vw, 1929px\">\u003cfigcaption class=\"wp-caption-text\">Amy Sherald, ‘For Love, and for Country,’ 2022. \u003ccite>(Photo by Joseph Hyde; Courtesy the artist and Hauser & Wirth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curated by Sarah Roberts, SFMOMA’s curator and head of painting and sculpture, the exhibition will contextualize Sherald’s work within the canon of American realist and figurative painting, touching on her references to photography, Romanticism and iconic images from U.S. history. (On that last point, Sherald has painted a version of Alfred Eisenstaedt’ 1945 photograph \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/V-J_Day_in_Times_Square\">V-J Day in Times Square\u003c/a>\u003c/i>, swapping the white heterosexual pair for a Black male couple in Navy-adjacent clothing.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When I visited Sherald’s 2019 exhibition at Hauser & Wirth, the gallery was absolutely packed with visitors — all eager to take in her straightforward yet effortlessly meticulous paintings. Costuming is crucial to her work: figures are rendered in impeccably stylish outfits, then detached from reality against solid-hued backgrounds. Her buoyant use of color further emphasizes the \u003ca href=\"https://en.wikipedia.org/wiki/Grisaille\">grisaille tones\u003c/a> of her subjects’ skin. \u003c/p>\n\u003cp>This desaturation is the oddest of Sherald’s aesthetic moves, and the results are arresting. Part \u003ci>Pleasantville\u003c/i>, part hand-tinted photograph, it’s an effort on her part to highlight race as a construct, along with other calcified notions of gender, religion and social status. Come November, we’ll get plenty of opportunity to mull over all the issues her work touches on — and how she manages, with such care, to capture the essential qualities of her subjects.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Amy Sherald: American Sublime’ will be on view at the San Francisco Museum of Modern Art Nov. 16, 2024–March 9, 2025.\u003c/i>\u003c/p>\n\n",
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In it, the first lady is seated elegantly in a modernist-printed gown, calmly gazing directly out of the canvas.\u003c/p>\n\u003cp>Equally recognizable is \u003ca href=\"https://www.vanityfair.com/culture/2020/08/amy-sherald-on-making-breonna-taylors-cover-portrait\">her painting of Breonna Taylor\u003c/a>, which appeared on the September 2020 cover of \u003ci>Vanity Fair\u003c/i>, featuring Taylor in an ethereal turquoise dress designed specifically for this posthumous portrait.\u003c/p>\n\u003cp>Both those paintings — and about 50 others made since 2007 — will be included in \u003ci>Amy Sherald: American Sublime\u003c/i>, the New York artist’s first mid-career survey, on view at the \u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a> Nov. 16, 2024–March 9, 2025. From San Francisco, the exhibition will travel on to the Whitney Museum of American Art in New York. \u003c/p>\n\u003cfigure id=\"attachment_13955290\" class=\"wp-caption aligncenter\" style=\"max-width: 1929px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-scaled.jpg\" alt=\"Two grayscale figures kiss in dramatic pose wearing sailor-like clothes against blue background\" width=\"1929\" height=\"2560\" class=\"size-full wp-image-13955290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-scaled.jpg 1929w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-800x1062.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1020x1354.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-768x1019.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1157x1536.jpg 1157w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1543x2048.jpg 1543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1920x2549.jpg 1920w\" sizes=\"(max-width: 1929px) 100vw, 1929px\">\u003cfigcaption class=\"wp-caption-text\">Amy Sherald, ‘For Love, and for Country,’ 2022. \u003ccite>(Photo by Joseph Hyde; Courtesy the artist and Hauser & Wirth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curated by Sarah Roberts, SFMOMA’s curator and head of painting and sculpture, the exhibition will contextualize Sherald’s work within the canon of American realist and figurative painting, touching on her references to photography, Romanticism and iconic images from U.S. history. (On that last point, Sherald has painted a version of Alfred Eisenstaedt’ 1945 photograph \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/V-J_Day_in_Times_Square\">V-J Day in Times Square\u003c/a>\u003c/i>, swapping the white heterosexual pair for a Black male couple in Navy-adjacent clothing.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I visited Sherald’s 2019 exhibition at Hauser & Wirth, the gallery was absolutely packed with visitors — all eager to take in her straightforward yet effortlessly meticulous paintings. Costuming is crucial to her work: figures are rendered in impeccably stylish outfits, then detached from reality against solid-hued backgrounds. Her buoyant use of color further emphasizes the \u003ca href=\"https://en.wikipedia.org/wiki/Grisaille\">grisaille tones\u003c/a> of her subjects’ skin. \u003c/p>\n\u003cp>This desaturation is the oddest of Sherald’s aesthetic moves, and the results are arresting. Part \u003ci>Pleasantville\u003c/i>, part hand-tinted photograph, it’s an effort on her part to highlight race as a construct, along with other calcified notions of gender, religion and social status. Come November, we’ll get plenty of opportunity to mull over all the issues her work touches on — and how she manages, with such care, to capture the essential qualities of her subjects.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Amy Sherald: American Sublime’ will be on view at the San Francisco Museum of Modern Art Nov. 16, 2024–March 9, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Oakland, 'Dalit Dreamlands' Envisions an Anti-Caste Future",
"headTitle": "In Oakland, ‘Dalit Dreamlands’ Envisions an Anti-Caste Future | KQED",
"content": "\u003cp>In 2022, \u003ca href=\"https://www.instagram.com/meowingmanu/?hl=en\">Manu Kaur\u003c/a> experienced severe hopelessness and depression, to the point of being hospitalized. Kaur, who is Punjabi and Dalit – the latter being a term used to describe the most oppressed people in India’s caste system — comes from a family with a lot of intergenerational trauma. “And as a result, there’s just a lot of mental health issues,” Kaur says. “Depression runs deep.”\u003c/p>\n\u003cp>After Kaur recovered, they decided to host a birthday party to celebrate their life. “It was very queer. It was very trans. It was very rooted in joy and celebration,” Kaur says. “It gave me so much more purpose. And it kind of just showed me like, if I can do that for myself, then I can also do it for [the] community.”\u003c/p>\n\u003cfigure id=\"attachment_13955198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955198\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-800x800.jpg\" alt=\"A painting of a man wearing glasses with raised fists around him.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A painting titled ‘Babasaheb Ambedkar with Ambedkarites raising their voices’ by artist Jay Sagathia. \u003ccite>(Jay Sagathia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so they did. Through an Emerging Curators Program with the \u003ca href=\"https://www.aawaa.net/\">Asian American Women Artists Association\u003c/a>, Kaur curated \u003ca href=\"https://www.aawaa.net/dalit-dreamlands\">\u003ci>Dalit Dreamlands: Towards an Anti-Caste Future\u003c/i>\u003c/a>, a multimedia exhibition spotlighting over 30 artists from Dalit, Adivasi (tribes indigenous to South Asia), Afro-Indian, Indo-Fijian, Indo-Caribbean and Muslim communities.\u003c/p>\n\u003cfigure id=\"attachment_13955199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955199\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-800x1000.jpg\" alt=\"A profile shot of a non-binary person with their eyes closed wearing a light blue turban.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-scaled.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of ‘Dalit Dreamlands’ curator Manu Kaur. \u003ccite>(Simrah Farrukh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening April 6 during \u003ca href=\"https://en.wikipedia.org/wiki/Dalit_History_Month#:~:text=Dalit%20History%20Month%20is%20an,Ambedkar.\">Dalit History Month\u003c/a>, the exhibition showcases \u003ca href=\"https://www.instagram.com/dalitdreamlands/\">artists working in digital art, painting, fashion design, film and more\u003c/a>. Kaur is featured in the exhibition, as well, in family photographs by photographer \u003ca href=\"https://www.instagram.com/simrahfarrukh/\">Simrah Farrukh\u003c/a>.\u003c/p>\n\u003cp>“It was the first time that my family and I had professional photos taken of us, like, ever. And so that was so meaningful to me because my family doesn’t often get to be celebrated,” Kaur says. “And now to have them exhibited in a gallery space feels so incredible to me.”\u003c/p>\n\u003cfigure id=\"attachment_13955196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955196\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-800x1000.jpg\" alt=\"An elder man wearing a turban sits in front of a wall with two paintings on it.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1639x2048.jpg 1639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-scaled.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portrait of Manu Kaur’s maternal grandfather, who they call Papi ji. \u003ccite>(Simrah Farrukh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kaur hopes the exhibition will educate people on what being Dalit means; “There’s no one ‘look’ to being Dalit,” Kaur says. They also hope it represents the community’s reclamation of the term – which literally translates to “broken” in Sanskrit – and how the community is advocating for a more just future. Kaur says that’s why calling the exhibition \u003ci>Dalit Dreamlands\u003c/i> felt right.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The way I would say it in Punjabi is ‘Begampura,’ which is supposed to be this utopian land, free of caste, free of discrimination,” Kaur says. The term was coined by Guru Ravidas, the ancient Indian poet, centuries ago. “And so I’m taking that and making it this big umbrella, which is like queer and trans and Dalit and pro-Black, pro-Palestine – all of those things. And so the name stuck because it feels like it’s a dream that I’m making reality.”\u003c/p>\n\u003cfigure id=\"attachment_13955197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955197\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-800x1000.jpg\" alt=\"A profile shot of a person draped in a decorative gold top against a blue background.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1228x1536.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1920x2401.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-scaled.jpg 2047w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A self-portrait of Seema Hari. In addition to being in the exhibition, Hari is one of the DJs at the opening night dance party. \u003ccite>(Seema Hari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Dalit Dreamlands: Towards an Anti-Caste Future’ is on view April 6–June 10 at the \u003ca href=\"https://oacc.cc/\">Oakland Asian Cultural Center\u003c/a> (388 9th St. Suite 290, Oakland) and \u003ca href=\"https://www.artogether.org/\">ARTogether\u003c/a> (1200 Harrison St., Oakland). A Zindagi Dance Party follows the opening receptions on April 6 at 7th West (1255 7th St, Oakland). \u003ca href=\"https://lu.ma/dalitdreamlands\">All exhibition and party details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2022, \u003ca href=\"https://www.instagram.com/meowingmanu/?hl=en\">Manu Kaur\u003c/a> experienced severe hopelessness and depression, to the point of being hospitalized. Kaur, who is Punjabi and Dalit – the latter being a term used to describe the most oppressed people in India’s caste system — comes from a family with a lot of intergenerational trauma. “And as a result, there’s just a lot of mental health issues,” Kaur says. “Depression runs deep.”\u003c/p>\n\u003cp>After Kaur recovered, they decided to host a birthday party to celebrate their life. “It was very queer. It was very trans. It was very rooted in joy and celebration,” Kaur says. “It gave me so much more purpose. And it kind of just showed me like, if I can do that for myself, then I can also do it for [the] community.”\u003c/p>\n\u003cfigure id=\"attachment_13955198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955198\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-800x800.jpg\" alt=\"A painting of a man wearing glasses with raised fists around him.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Babasaheb_JaySagathia-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A painting titled ‘Babasaheb Ambedkar with Ambedkarites raising their voices’ by artist Jay Sagathia. \u003ccite>(Jay Sagathia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so they did. Through an Emerging Curators Program with the \u003ca href=\"https://www.aawaa.net/\">Asian American Women Artists Association\u003c/a>, Kaur curated \u003ca href=\"https://www.aawaa.net/dalit-dreamlands\">\u003ci>Dalit Dreamlands: Towards an Anti-Caste Future\u003c/i>\u003c/a>, a multimedia exhibition spotlighting over 30 artists from Dalit, Adivasi (tribes indigenous to South Asia), Afro-Indian, Indo-Fijian, Indo-Caribbean and Muslim communities.\u003c/p>\n\u003cfigure id=\"attachment_13955199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955199\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-800x1000.jpg\" alt=\"A profile shot of a non-binary person with their eyes closed wearing a light blue turban.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Curator_ManuKaur-scaled.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of ‘Dalit Dreamlands’ curator Manu Kaur. \u003ccite>(Simrah Farrukh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening April 6 during \u003ca href=\"https://en.wikipedia.org/wiki/Dalit_History_Month#:~:text=Dalit%20History%20Month%20is%20an,Ambedkar.\">Dalit History Month\u003c/a>, the exhibition showcases \u003ca href=\"https://www.instagram.com/dalitdreamlands/\">artists working in digital art, painting, fashion design, film and more\u003c/a>. Kaur is featured in the exhibition, as well, in family photographs by photographer \u003ca href=\"https://www.instagram.com/simrahfarrukh/\">Simrah Farrukh\u003c/a>.\u003c/p>\n\u003cp>“It was the first time that my family and I had professional photos taken of us, like, ever. And so that was so meaningful to me because my family doesn’t often get to be celebrated,” Kaur says. “And now to have them exhibited in a gallery space feels so incredible to me.”\u003c/p>\n\u003cfigure id=\"attachment_13955196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955196\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-800x1000.jpg\" alt=\"An elder man wearing a turban sits in front of a wall with two paintings on it.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1639x2048.jpg 1639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ManuKaur_5-scaled.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portrait of Manu Kaur’s maternal grandfather, who they call Papi ji. \u003ccite>(Simrah Farrukh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kaur hopes the exhibition will educate people on what being Dalit means; “There’s no one ‘look’ to being Dalit,” Kaur says. They also hope it represents the community’s reclamation of the term – which literally translates to “broken” in Sanskrit – and how the community is advocating for a more just future. Kaur says that’s why calling the exhibition \u003ci>Dalit Dreamlands\u003c/i> felt right.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The way I would say it in Punjabi is ‘Begampura,’ which is supposed to be this utopian land, free of caste, free of discrimination,” Kaur says. The term was coined by Guru Ravidas, the ancient Indian poet, centuries ago. “And so I’m taking that and making it this big umbrella, which is like queer and trans and Dalit and pro-Black, pro-Palestine – all of those things. And so the name stuck because it feels like it’s a dream that I’m making reality.”\u003c/p>\n\u003cfigure id=\"attachment_13955197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955197\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-800x1000.jpg\" alt=\"A profile shot of a person draped in a decorative gold top against a blue background.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1228x1536.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-1920x2401.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DJ_Seema_Hari-scaled.jpg 2047w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A self-portrait of Seema Hari. In addition to being in the exhibition, Hari is one of the DJs at the opening night dance party. \u003ccite>(Seema Hari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Dalit Dreamlands: Towards an Anti-Caste Future’ is on view April 6–June 10 at the \u003ca href=\"https://oacc.cc/\">Oakland Asian Cultural Center\u003c/a> (388 9th St. Suite 290, Oakland) and \u003ca href=\"https://www.artogether.org/\">ARTogether\u003c/a> (1200 Harrison St., Oakland). A Zindagi Dance Party follows the opening receptions on April 6 at 7th West (1255 7th St, Oakland). \u003ca href=\"https://lu.ma/dalitdreamlands\">All exhibition and party details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Workers at Oakland’s Creative Growth Form a Union",
"headTitle": "Workers at Oakland’s Creative Growth Form a Union | KQED",
"content": "\u003cp>Only four months in, 2024 is turning into a banner year for organizing in the Bay Area arts world. Just weeks after OMCA Workers United received \u003ca href=\"https://www.kqed.org/arts/13954144/omca-voluntarily-recognizes-union-of-omca-workers-united\">voluntary recognition of their union\u003c/a> from the Oakland Museum of California, staff at the Oakland arts center \u003ca href=\"https://creativegrowth.org/\">Creative Growth\u003c/a> are asking for the same.\u003c/p>\n\u003cp>[aside postID='arts_13954144,arts_13951003']Creative Growth United, also affiliated with the American Federation of State, County and Municipal Employees (AFSCME) Council 57, would cover an estimated 34 workers, including art facilitators and instructors, program coordinators, gallery staff and other direct-service providers. The union would represent around 85% of Creative Growth employees.\u003c/p>\n\u003cp>Founded 50 years ago, Creative Growth was created by Elias Katz and Florence Ludins-Katz to support artists with disabilities, many of them newly deinstitutionalized from California hospitals. Today, the nonprofit is the city’s second-largest arts organization, working with over 140 artists in a variety of media; providing artistic support, materials and space; mounting exhibitions; and facilitating both loans and sales.\u003c/p>\n\u003cp>The union delivered their letter by email to Interim Executive Director Tom di Maria and the Creative Growth Board of Trustees on Tuesday morning, requesting voluntary recognition. “I want to express our positive stance towards our staff’s desire to form a union,” di Maria wrote in an email to KQED. “We learned of this development just hours ago and have already reached out to the union to initiate a conversation. We are currently awaiting their response. I believe that this step reflects our collective commitment to fostering an open, respectful, and supportive work environment.” \u003c/p>\n\u003cfigure id=\"attachment_13954784\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED.jpg\" alt=\"Hand holding red hair dryer over navy shirt with hand drawn logo\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Creative Growth’s Jim McAuley dries a screen-printed Creative Growth United shirt during a pre-announcement print party. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In December 2023, 34 staff members signed a letter to Creative Growth expressing concern over the organization’s hiring practices. “Most recently, a management position was created and filled without our being aware of any outreach or equitable process, or even the fact that this position existed,” the letter reads, warning of the pitfalls of hiring friends, partners or people from “our usual circles.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Creative Growth’s previous executive director, Ginger Shulick Porcella, left in January 2024, after just a year in the position.\u003c/p>\n\u003cp>Ariel Cooper, who has worked at Creative Growth for just over a year, was one of the first people to join the organizing effort. “I had only been working there for a few months, but it was pretty clear that there was a lot of chaos,” she says. “There had been a lot of turnover at the managerial and directorial level over the last several years.”\u003c/p>\n\u003cp>Among the issues the union will bring to the bargaining table are “more equitable hiring and pay practices” and standardized benefits, today’s letter states.\u003c/p>\n\u003cp>“So much of hiring stems from volunteering — so, free labor — and really low-paid substituting,” says Soph Alvarez, who speaks from direct experience of this path to full-time employment. “Either you have to sacrifice your financial stability, or you simply just have the means, and it changes the demographics of who can work there.”\u003c/p>\n\u003cfigure id=\"attachment_13954782\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954782\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED.jpg\" alt=\"two people lean over screen as one of them pulls ink down in busy shop\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Creative Growth’s Steph Kudisch, center, demonstrates screen printing to Daisy Jaberi, right, as Creative Growth United members gear up for the announcement of their union. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At stake, Alvarez says, is Creative Growth’s ability to represent the diversity of Oakland’s community and its artists.\u003c/p>\n\u003cp>Raising wages, both Alvarez and Cooper note, can also create stability for the artists, who form close bonds with instructors and facilitators. “Turnover really impacts the artists,” Alvarez says. “It can be really dysregulating, and it can really shake them up when people leave.”\u003c/p>\n\u003cp>In addition to tangible points like staff and artist representation on the board, the union aims to negotiate based on the principles of disability justice; the Boycott, Divestment, Sanctions (BDS) movement; and the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI).\u003c/p>\n\u003cp>Creative Growth workers recently joined staff at Richmond’s NIAD (Nurturing Independence through Artistic Development) and San Francisco’s Creativity Explored to form \u003ca href=\"https://www.instagram.com/pass_for_a_free_palestine/\">Progressive Art Studio Staff for a Free Palestine\u003c/a> (PASS), which calls for a permanent ceasefire in Gaza.\u003c/p>\n\u003cfigure id=\"attachment_13954780\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED.jpg\" alt=\"Red and purple buttons in a pile\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Freshly made Creative Growth United pins sit on a table at Art Hazelwood’s studio in Richmond. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The union announcement comes at a high profile time for the organization. \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/creative-growth-the-house-that-art-built/\">Creative Growth: The House That Art Built\u003c/a>\u003c/i>, opens at the San Francisco Museum of Modern Art on April 6, along with a mural by Creative Growth artist William Scott. Last fall, SFMOMA announced the acquisition of over 100 works by artists associated with Creative Growth in an “unprecedented partnership.”\u003c/p>\n\u003cp>Union members will hold a “solidarity rally” outside the museum during the April 6 opening, distributing “We Support Creative Growth United” pins and other symbols of support.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s really important for us to recognize the achievement that Creative Growth has been around for 50 years,” Alvarez says. “Hopefully through this union, we can make it last another 50.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Only four months in, 2024 is turning into a banner year for organizing in the Bay Area arts world. Just weeks after OMCA Workers United received \u003ca href=\"https://www.kqed.org/arts/13954144/omca-voluntarily-recognizes-union-of-omca-workers-united\">voluntary recognition of their union\u003c/a> from the Oakland Museum of California, staff at the Oakland arts center \u003ca href=\"https://creativegrowth.org/\">Creative Growth\u003c/a> are asking for the same.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Creative Growth United, also affiliated with the American Federation of State, County and Municipal Employees (AFSCME) Council 57, would cover an estimated 34 workers, including art facilitators and instructors, program coordinators, gallery staff and other direct-service providers. The union would represent around 85% of Creative Growth employees.\u003c/p>\n\u003cp>Founded 50 years ago, Creative Growth was created by Elias Katz and Florence Ludins-Katz to support artists with disabilities, many of them newly deinstitutionalized from California hospitals. Today, the nonprofit is the city’s second-largest arts organization, working with over 140 artists in a variety of media; providing artistic support, materials and space; mounting exhibitions; and facilitating both loans and sales.\u003c/p>\n\u003cp>The union delivered their letter by email to Interim Executive Director Tom di Maria and the Creative Growth Board of Trustees on Tuesday morning, requesting voluntary recognition. “I want to express our positive stance towards our staff’s desire to form a union,” di Maria wrote in an email to KQED. “We learned of this development just hours ago and have already reached out to the union to initiate a conversation. We are currently awaiting their response. I believe that this step reflects our collective commitment to fostering an open, respectful, and supportive work environment.” \u003c/p>\n\u003cfigure id=\"attachment_13954784\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED.jpg\" alt=\"Hand holding red hair dryer over navy shirt with hand drawn logo\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-019-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Creative Growth’s Jim McAuley dries a screen-printed Creative Growth United shirt during a pre-announcement print party. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In December 2023, 34 staff members signed a letter to Creative Growth expressing concern over the organization’s hiring practices. “Most recently, a management position was created and filled without our being aware of any outreach or equitable process, or even the fact that this position existed,” the letter reads, warning of the pitfalls of hiring friends, partners or people from “our usual circles.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Creative Growth’s previous executive director, Ginger Shulick Porcella, left in January 2024, after just a year in the position.\u003c/p>\n\u003cp>Ariel Cooper, who has worked at Creative Growth for just over a year, was one of the first people to join the organizing effort. “I had only been working there for a few months, but it was pretty clear that there was a lot of chaos,” she says. “There had been a lot of turnover at the managerial and directorial level over the last several years.”\u003c/p>\n\u003cp>Among the issues the union will bring to the bargaining table are “more equitable hiring and pay practices” and standardized benefits, today’s letter states.\u003c/p>\n\u003cp>“So much of hiring stems from volunteering — so, free labor — and really low-paid substituting,” says Soph Alvarez, who speaks from direct experience of this path to full-time employment. “Either you have to sacrifice your financial stability, or you simply just have the means, and it changes the demographics of who can work there.”\u003c/p>\n\u003cfigure id=\"attachment_13954782\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954782\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED.jpg\" alt=\"two people lean over screen as one of them pulls ink down in busy shop\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Creative Growth’s Steph Kudisch, center, demonstrates screen printing to Daisy Jaberi, right, as Creative Growth United members gear up for the announcement of their union. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At stake, Alvarez says, is Creative Growth’s ability to represent the diversity of Oakland’s community and its artists.\u003c/p>\n\u003cp>Raising wages, both Alvarez and Cooper note, can also create stability for the artists, who form close bonds with instructors and facilitators. “Turnover really impacts the artists,” Alvarez says. “It can be really dysregulating, and it can really shake them up when people leave.”\u003c/p>\n\u003cp>In addition to tangible points like staff and artist representation on the board, the union aims to negotiate based on the principles of disability justice; the Boycott, Divestment, Sanctions (BDS) movement; and the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI).\u003c/p>\n\u003cp>Creative Growth workers recently joined staff at Richmond’s NIAD (Nurturing Independence through Artistic Development) and San Francisco’s Creativity Explored to form \u003ca href=\"https://www.instagram.com/pass_for_a_free_palestine/\">Progressive Art Studio Staff for a Free Palestine\u003c/a> (PASS), which calls for a permanent ceasefire in Gaza.\u003c/p>\n\u003cfigure id=\"attachment_13954780\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED.jpg\" alt=\"Red and purple buttons in a pile\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240323-CREATIVEGROWTH-JY-002-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Freshly made Creative Growth United pins sit on a table at Art Hazelwood’s studio in Richmond. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The union announcement comes at a high profile time for the organization. \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/creative-growth-the-house-that-art-built/\">Creative Growth: The House That Art Built\u003c/a>\u003c/i>, opens at the San Francisco Museum of Modern Art on April 6, along with a mural by Creative Growth artist William Scott. Last fall, SFMOMA announced the acquisition of over 100 works by artists associated with Creative Growth in an “unprecedented partnership.”\u003c/p>\n\u003cp>Union members will hold a “solidarity rally” outside the museum during the April 6 opening, distributing “We Support Creative Growth United” pins and other symbols of support.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s really important for us to recognize the achievement that Creative Growth has been around for 50 years,” Alvarez says. “Hopefully through this union, we can make it last another 50.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Artistry of SF Ballet’s ‘Dos Mujeres’ Begins at the Curtain",
"headTitle": "The Artistry of SF Ballet’s ‘Dos Mujeres’ Begins at the Curtain | KQED",
"content": "\u003cp>When audiences make their way into the War Memorial Opera House for San Francisco Ballet’s \u003ci>\u003ca href=\"https://www.sfballet.org/productions/dos-mujeres/\">Dos Mujeres\u003c/a>\u003c/i>, a double-bill presentation of Arielle Smith’s \u003ci>Carmen\u003c/i> (a world premiere) and Annabelle Lopez Ochoa’s \u003ci>Broken Wings\u003c/i>, they will rest their eyes upon a very different kind of curtain.\u003c/p>\n\u003cp>Instead of gold velvet drapery, they’ll be looking at a 30-by-60-foot mural on canvas, a hand-painted translation of a textile piece created by Oakland artist \u003ca href=\"https://www.instagram.com/mariaguzmancapron/\">Maria A. Guzmán Capron\u003c/a>.\u003c/p>\n\u003cp>Far in advance of opening night — with warehouse space at a premium — SF Ballet’s scenic artists put the finishing touches on the piece, before all 229 pounds of the painting were folded up to await its eventual unveiling on April 4. (Even this is a big to-do, involving scissor-lifts and hours of steaming.)\u003c/p>\n\u003cp>Walking across the painted canvas surface in early February, Capron was thrilled to take in the dense design of trompe-l’oeil patterns and colored stitching. “It is a wild experience because I never get to do that with my work, to feel really immersed by it,” she said. “It makes me feel more part of it in some way, like I am \u003ci>in\u003c/i> it.”\u003c/p>\n\u003cfigure id=\"attachment_13951445\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951445\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED.jpg\" alt=\"Two people talk, one gestures with arms in front of brightly painted large canvas on floor\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Capron talks with Charge Scenic Artist Robert Burg in the SF Ballet’s San Francisco scene shop in February 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s the way we feel about everything we work on,” agreed Robert Burg, charge scenic artist for SF Ballet. “There’s a very personal connection to the pieces we work on, especially the backdrops we paint.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burg, along with Scenic Artists David Dunn and Garrett Lowe, translated Capron’s 43-by-48-inch textile piece into mural form, tracing the images out in charcoal on paper, priming the massive stapled-down canvas, then creating stencils and special tools to more accurately capture the depth and texture of the original work.\u003c/p>\n\u003cp>The three men stood over the canvas for about a month, a print-out in one hand and a paintbrush attached to a long stick in the other, rendering cotton, satins and lace at a monumental scale.\u003c/p>\n\u003cp>One specially made tool, a notched foam roller, was the result of weeks of pondering how to get Capron’s stitches just right. “When we came up with the idea, it worked even better than we thought,” Burg said.\u003c/p>\n\u003cfigure id=\"attachment_13954565\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut.jpg\" alt=\"circular foam roller with notches cut into it traces a dotted line across a painted canvas\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scenic artist demonstrates how a foam roller was used to create the ‘stitching’ in Capron’s mural. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dunn concurred: “It just was such a satisfying kind of way to finish.”\u003c/p>\n\u003cp>(“I always say, nobody ever loved a tool on a stick as much as David,” Burg said.)\u003c/p>\n\u003cp>The mural is a merger of the shop’s classic scenic art techniques and SF Ballet’s new direction under Artistic Director Tamara Rojo. “This is just a fun project for us because it’s a little outside of our usual scope of old architecture,” Burg said, describing their traditional fare as “somebody’s cottage or palace.”\u003c/p>\n\u003cp>“But our company is doing \u003ca href=\"https://www.kqed.org/arts/13950883/mere-mortals-sf-ballet-tamara-rojo-floating-points-aszure-barton\">a lot of unusual and new stuff these days\u003c/a>, which is wonderful because it’s about keeping the art alive,” he added.\u003c/p>\n\u003cp>Capron was given a video of rehearsals of \u003ci>Carmen\u003c/i>, and footage from previous performances of \u003ci>Broken Wings\u003c/i>. Her figures’ overlapping stance, tangled below and heart-shaped above, comes from \u003ci>Carmen\u003c/i>’s choreography. The swirl of flowers that surrounds them is an homage to the twirling skirts of the dancers in \u003ci>Broken Wings\u003c/i>, a ballet about the life of Frida Kahlo.\u003c/p>\n\u003cfigure id=\"attachment_13951444\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951444\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED.jpg\" alt=\"Print-outs of mural design propped on stand in front of the painted mural\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Print-outs of Capron’s textile collage sit on a table near a large-scale version made by scenic artists in the SF Ballet warehouse. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fitting for a ballet about a visual artist to so involve the work of other visual artists. After the San Francisco Opera moved their scene shop to Burlingame, and American Conservatory Theater closed theirs, SF Ballet now runs the last scene shop in San Francisco, in a cavernous yet unassuming warehouse off Cesar Chavez Street.\u003c/p>\n\u003cp>The Ballet’s scenic artists are committed to their trade — and the responsibilities that come with this role, which involves painting the backdrops, built scenery, furniture and props for several new productions a year, along with maintenance on older productions being revived.\u003c/p>\n\u003cp>“Most of what we use to do this job are things we were able to purchase locally,” Dunn said. “Robert prioritizes that. We really are trying to support local businesses and the arts because we need them, right? And they need us.”\u003c/p>\n\u003cp>For Capron, this commission required releasing her work into a completely foreign process — very different from overseeing studio assistants. “They have so much knowledge already on their own that just the first time I came, I was like, ‘Oh, I feel in great hands,’ you know?” she said. “I don’t even feel like I have to worry in any way.”\u003c/p>\n\u003cp>On April 4, she plans to be in the Opera House audience, seeing her piece from its proper vantage point alongside her family. But as Burg warns, “It’s never going to look bigger to us than it does now.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>San Francisco Ballet’s ‘Dos Mujeres’ takes place at the War Memorial Opera House (301 Van Ness Ave., San Francisco) April 4–14. \u003ca href=\"https://www.sfballet.org/productions/dos-mujeres/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When audiences make their way into the War Memorial Opera House for San Francisco Ballet’s \u003ci>\u003ca href=\"https://www.sfballet.org/productions/dos-mujeres/\">Dos Mujeres\u003c/a>\u003c/i>, a double-bill presentation of Arielle Smith’s \u003ci>Carmen\u003c/i> (a world premiere) and Annabelle Lopez Ochoa’s \u003ci>Broken Wings\u003c/i>, they will rest their eyes upon a very different kind of curtain.\u003c/p>\n\u003cp>Instead of gold velvet drapery, they’ll be looking at a 30-by-60-foot mural on canvas, a hand-painted translation of a textile piece created by Oakland artist \u003ca href=\"https://www.instagram.com/mariaguzmancapron/\">Maria A. Guzmán Capron\u003c/a>.\u003c/p>\n\u003cp>Far in advance of opening night — with warehouse space at a premium — SF Ballet’s scenic artists put the finishing touches on the piece, before all 229 pounds of the painting were folded up to await its eventual unveiling on April 4. (Even this is a big to-do, involving scissor-lifts and hours of steaming.)\u003c/p>\n\u003cp>Walking across the painted canvas surface in early February, Capron was thrilled to take in the dense design of trompe-l’oeil patterns and colored stitching. “It is a wild experience because I never get to do that with my work, to feel really immersed by it,” she said. “It makes me feel more part of it in some way, like I am \u003ci>in\u003c/i> it.”\u003c/p>\n\u003cfigure id=\"attachment_13951445\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951445\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED.jpg\" alt=\"Two people talk, one gestures with arms in front of brightly painted large canvas on floor\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Capron talks with Charge Scenic Artist Robert Burg in the SF Ballet’s San Francisco scene shop in February 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s the way we feel about everything we work on,” agreed Robert Burg, charge scenic artist for SF Ballet. “There’s a very personal connection to the pieces we work on, especially the backdrops we paint.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burg, along with Scenic Artists David Dunn and Garrett Lowe, translated Capron’s 43-by-48-inch textile piece into mural form, tracing the images out in charcoal on paper, priming the massive stapled-down canvas, then creating stencils and special tools to more accurately capture the depth and texture of the original work.\u003c/p>\n\u003cp>The three men stood over the canvas for about a month, a print-out in one hand and a paintbrush attached to a long stick in the other, rendering cotton, satins and lace at a monumental scale.\u003c/p>\n\u003cp>One specially made tool, a notched foam roller, was the result of weeks of pondering how to get Capron’s stitches just right. “When we came up with the idea, it worked even better than we thought,” Burg said.\u003c/p>\n\u003cfigure id=\"attachment_13954565\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut.jpg\" alt=\"circular foam roller with notches cut into it traces a dotted line across a painted canvas\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scenic artist demonstrates how a foam roller was used to create the ‘stitching’ in Capron’s mural. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dunn concurred: “It just was such a satisfying kind of way to finish.”\u003c/p>\n\u003cp>(“I always say, nobody ever loved a tool on a stick as much as David,” Burg said.)\u003c/p>\n\u003cp>The mural is a merger of the shop’s classic scenic art techniques and SF Ballet’s new direction under Artistic Director Tamara Rojo. “This is just a fun project for us because it’s a little outside of our usual scope of old architecture,” Burg said, describing their traditional fare as “somebody’s cottage or palace.”\u003c/p>\n\u003cp>“But our company is doing \u003ca href=\"https://www.kqed.org/arts/13950883/mere-mortals-sf-ballet-tamara-rojo-floating-points-aszure-barton\">a lot of unusual and new stuff these days\u003c/a>, which is wonderful because it’s about keeping the art alive,” he added.\u003c/p>\n\u003cp>Capron was given a video of rehearsals of \u003ci>Carmen\u003c/i>, and footage from previous performances of \u003ci>Broken Wings\u003c/i>. Her figures’ overlapping stance, tangled below and heart-shaped above, comes from \u003ci>Carmen\u003c/i>’s choreography. The swirl of flowers that surrounds them is an homage to the twirling skirts of the dancers in \u003ci>Broken Wings\u003c/i>, a ballet about the life of Frida Kahlo.\u003c/p>\n\u003cfigure id=\"attachment_13951444\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951444\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED.jpg\" alt=\"Print-outs of mural design propped on stand in front of the painted mural\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Print-outs of Capron’s textile collage sit on a table near a large-scale version made by scenic artists in the SF Ballet warehouse. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fitting for a ballet about a visual artist to so involve the work of other visual artists. After the San Francisco Opera moved their scene shop to Burlingame, and American Conservatory Theater closed theirs, SF Ballet now runs the last scene shop in San Francisco, in a cavernous yet unassuming warehouse off Cesar Chavez Street.\u003c/p>\n\u003cp>The Ballet’s scenic artists are committed to their trade — and the responsibilities that come with this role, which involves painting the backdrops, built scenery, furniture and props for several new productions a year, along with maintenance on older productions being revived.\u003c/p>\n\u003cp>“Most of what we use to do this job are things we were able to purchase locally,” Dunn said. “Robert prioritizes that. We really are trying to support local businesses and the arts because we need them, right? And they need us.”\u003c/p>\n\u003cp>For Capron, this commission required releasing her work into a completely foreign process — very different from overseeing studio assistants. “They have so much knowledge already on their own that just the first time I came, I was like, ‘Oh, I feel in great hands,’ you know?” she said. “I don’t even feel like I have to worry in any way.”\u003c/p>\n\u003cp>On April 4, she plans to be in the Opera House audience, seeing her piece from its proper vantage point alongside her family. But as Burg warns, “It’s never going to look bigger to us than it does now.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>San Francisco Ballet’s ‘Dos Mujeres’ takes place at the War Memorial Opera House (301 Van Ness Ave., San Francisco) April 4–14. \u003ca href=\"https://www.sfballet.org/productions/dos-mujeres/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What’s Going on at San Francisco’s Mexican Museum?",
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"headTitle": "What’s Going on at San Francisco’s Mexican Museum? | KQED",
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"content": "\u003cp>Last week, San Francisco’s city auditor released a \u003ca href=\"https://www.sf.gov/sites/default/files/2024-03/OCII-RED%20The%20Mexican%20Museum%20Audit%20-%20Final%20Report%2003.21.24.pdf\">bombshell report\u003c/a> on San Francisco’s \u003ca href=\"https://www.mexicanmuseum.org/\">Mexican Museum\u003c/a>, claiming the 49-year-old nonprofit has misused city grant funds and made little progress on fundraising to reopen.\u003c/p>\n\u003cp>The museum, meanwhile, says it “respectfully disagrees with much of the purported conclusions.” \u003c/p>\n\u003cp>To even an average observer, the Mexican Museum has had noticeable troubles. It has been without a director since 2015, and without a home since 2018, when it left Fort Mason Center after falling behind on rent. Its new building at the corner of Third and Mission, adjacent to the Contemporary Jewish Museum, SFMOMA and other cultural institutions, remains empty. \u003c/p>\n\u003cp>The audit’s findings, based on a yearlong investigation requested by Supervisor Aaron Peskin, raise questions about the museum’s ability to fundraise for or manage planned interior improvements at 706 Mission St., a city-owned space at the base of a luxury condo building. \u003c/p>\n\u003cp>Despite the findings, and a subsequent \u003ca href=\"https://www.sfchronicle.com/sf/article/s-f-mexican-museum-audit-19324002.php\">\u003ci>San Francisco Chronicle\u003c/i> story\u003c/a>, the museum, currently without dedicated fundraising staff, is determined to open the first phase of its space by the end of 2025. To do so, its board chair Andrew M. Kluger said in an interview with KQED, requires the cooperation of the city. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Supporting and clearing a path for the museum is a no-brainer for the city,” board secretary Xóchitl Castañeda told KQED. “It’s going to be a win-win situation.”\u003c/p>\n\u003cfigure id=\"attachment_13955001\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05.jpg\" alt=\"\" width=\"1500\" height=\"1000\" class=\"size-full wp-image-13955001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the Mexican Museum’s planned interior improvements. \u003ccite>(Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The history of the Mexican Museum’s move downtown\u003c/h2>\n\u003cp>The Mexican Museum was founded in 1975 at the corner of Folsom and 15th Streets by the late artist Peter Rodriguez. In 1982, it moved to Fort Mason Center, where it remained for 36 years, amassing a collection of over 16,500 objects, mostly through donations. \u003c/p>\n\u003cp>Museum holdings span 2,500 years of history, from pre-Hispanic objects to contemporary artworks. The museum is dedicated to “the complexity and richness of Latino art and culture throughout the Americas.” \u003c/p>\n\u003cp>[aside postID='arts_13654906']The Mexican Museum has had periods of instability over the past three decades. A planned move to the Yerba Buena neighborhood to join the city’s other major cultural institutions has been in the works since 1993. In the mid-’90s, the museum was rocked by major staff turnover, accusations of misspent grant funds and lackluster fundraising for the planned move. \u003c/p>\n\u003cp>Then, in 2017, a \u003ca href=\"https://www.kqed.org/arts/13654906/mexican-museum-defends-collection-over-authenticity-concerns\">report commissioned by the museum board\u003c/a> found that only 83 of 2,000 artifacts from the museum’s pre-Hispanic collection could be authenticated. But those 80-some objects, the museum argued in a subsequent press release, are “significant and rare — one piece in the collection being so unique that nothing like it exists in Mexico.” \u003c/p>\n\u003cp>Since leaving Fort Mason in 2018, the collection has been in storage. The museum finally took possession of the first four floors of 706 Mission in July 2023. \u003c/p>\n\u003ch2>Were grant funds misused?\u003c/h2>\n\u003cp>The city audit, officially titled “The Mexican Museum Has Not Demonstrated That It Can Meet the City’s Contractual Obligations, and OCII Has Not Effectively Enforced the Museum’s Grant Agreement” has two main findings: misuse of city grant funds and fundraising shortfalls.\u003c/p>\n\u003cp>In 2010, the museum entered into a $10.6 million grant agreement with the city’s \u003ca href=\"https://sfocii.org/homepage-landing\">Office of Community Investment and Infrastructure\u003c/a> (OCII) — funds meant to go towards “predevelopment and interior improvements” at the new location. \u003c/p>\n\u003cp>Only $4 million of that grant has been spent, but the grant agreement expires June 14, 2024, leaving the museum less than three months to spend the remaining $6.6 million. (During the period of the audit, which began in March 2022, the museum says OCII paused all grant reimbursements.)\u003c/p>\n\u003cfigure id=\"attachment_13955004\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A.jpg\" alt=\"\" width=\"900\" height=\"600\" class=\"size-full wp-image-13955004\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-768x512.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of planned gallery space in the Mexican Museum. \u003ccite>(Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The audit found that the museum has spent nearly $1 million of that grant on “ineligible and questionable activities,” including duplicate expenses, artwork storage and staff salaries. But a response from OCII tempers those findings, explaining that “some level of funding for [the museum’s] current operations was necessary to ‘benefit’ the proposed project in the former Yerba Buena Center Project Area.”\u003c/p>\n\u003cp>In other words, OCII argues, the grant \u003ci>should\u003c/i> cover things like storage and some operational costs — so that there might still \u003ci>be\u003c/i> a museum to move into 706 Mission.\u003c/p>\n\u003cp>For their part, the Mexican Museum says “all budgets and scope of work were not only approved by OCII staff, but also by the OCII commission.” Its representatives refute one duplicate expense and acknowledge the other as a clerical error “out of hundreds of submittals to OCII.”\u003c/p>\n\u003ch2>Does the museum have adequate funds to reopen?\u003c/h2>\n\u003cp>The audit found that the museum has raised only 2% of the nearly $49.8 million it’s estimated to need to reopen. But the museum says this is an old number, and that the new, lower estimate for construction is actually $38 million.\u003c/p>\n\u003cp>By their calculations, the museum says it still has $19.9 million left to raise. But it has made some progress in its search for new funding sources. “We’re the only museum outside of the Republic of Mexico that was granted a tax deductible status” by Mexico, says board chair Andrew Kluger. That means Mexican companies and individuals can donate up to 7% of the taxes they owe to the museum as a write-off.\u003c/p>\n\u003cp>The museum has employed a fundraising consultant through the end of 2024, and a representative says the museum has received over $200,000 in cash contributions in the past month.\u003c/p>\n\u003cp>Castañeda admits fundraising for the museum has an uphill journey to her dream goal of $100 million. “I need an army of people to help us,” she says. “You know, how many of the museums today — and I’m not just talking about construction, but operations — are in the red area? We need 10 pesos, $10, you know? Any contribution is welcome and will add to our dream of $100 million.”\u003c/p>\n\u003cfigure id=\"attachment_13955002\" class=\"wp-caption aligncenter\" style=\"max-width: 1901px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit.jpg\" alt=\"Composite image with empty building at left and gallery renderings at right\" width=\"1901\" height=\"1814\" class=\"size-full wp-image-13955002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit.jpg 1901w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-800x763.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-1020x973.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-768x733.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-1536x1466.jpg 1536w\" sizes=\"(max-width: 1901px) 100vw, 1901px\">\u003cfigcaption class=\"wp-caption-text\">An exhibit included in the audit, showing the museum premises in July 2023 (left) and design plans (right). \u003ccite>(City Services Auditor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Why hasn’t the museum started construction?\n\u003c/h2>\u003cp>The Mexican Museum has a 66-year-lease with the city on the first four floors of 706 Mission (with the option to extend another 33 years), for what breaks down to about ¢.02 a year. But all interior improvements on the 48,000 square-foot space — turning the shell of the building into a climate-controlled art institution — are on the museum. So far, it has made no material progress on those improvements.\u003c/p>\n\u003cp>The museum received keys to the space in July 2023. That was after a lawsuit over a missing staircase was dismissed, with the museum and the city agreeing to work out their differences. The space was built without a public staircase connecting two floors of the museum, as originally planned.\u003c/p>\n\u003cp>As the \u003cem>\u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2023/07/24/mexican-museum-lawsuit-dismissed-audit-s-f.html\">San Francisco Business Times\u003c/a>\u003c/em> reported last year, the city acknowledged that it had intentionally not built the staircase, saying it “planned to sublease only half the space to the Mexican Museum due to growing concerns that the museum’s financial health would not allow it to build out the entire 48,000 square feet as envisioned.”\u003c/p>\n\u003cp>What also hindered interior improvements, the museum says, was the audit itself. “We are all prepared to construct,” says Castañeda. “This audit was impeding us from doing a lot of things … and now we are being blamed for not doing that.”\u003c/p>\n\u003cp>While museum representatives say the OCII’s pause on grant reimbursement did not prevent them from approaching donors over the past year, the audit did cast a shadow over fundraising efforts, causing some donors to put certain time and milestone requirements on their pledges.\u003c/p>\n\u003ch2>What happens now?\u003c/h2>\n\u003cp>The museum says it now needs the support of OCII. In order for their contractors to submit permit applications, it needs to know that OCII will reimburse those expenses.\u003c/p>\n\u003cp>The Controller’s Office will continue to monitor the museum’s progress, following up every six months on the implementation of their recommendations for record-keeping and grant disbursal. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Meanwhile, the Mexican Museum’s representatives affirm that its rightful place is downtown, alongside institutions like the Yerba Buena Center for the Arts and the Museum of the African Diaspora. “We want to decolonize this idea of a museum, traditionally, that is for the elite,” Castañeda says. “This museum is for everybody.”\u003c/p>\n\n",
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"headline": "What’s Going on at San Francisco’s Mexican Museum?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, San Francisco’s city auditor released a \u003ca href=\"https://www.sf.gov/sites/default/files/2024-03/OCII-RED%20The%20Mexican%20Museum%20Audit%20-%20Final%20Report%2003.21.24.pdf\">bombshell report\u003c/a> on San Francisco’s \u003ca href=\"https://www.mexicanmuseum.org/\">Mexican Museum\u003c/a>, claiming the 49-year-old nonprofit has misused city grant funds and made little progress on fundraising to reopen.\u003c/p>\n\u003cp>The museum, meanwhile, says it “respectfully disagrees with much of the purported conclusions.” \u003c/p>\n\u003cp>To even an average observer, the Mexican Museum has had noticeable troubles. It has been without a director since 2015, and without a home since 2018, when it left Fort Mason Center after falling behind on rent. Its new building at the corner of Third and Mission, adjacent to the Contemporary Jewish Museum, SFMOMA and other cultural institutions, remains empty. \u003c/p>\n\u003cp>The audit’s findings, based on a yearlong investigation requested by Supervisor Aaron Peskin, raise questions about the museum’s ability to fundraise for or manage planned interior improvements at 706 Mission St., a city-owned space at the base of a luxury condo building. \u003c/p>\n\u003cp>Despite the findings, and a subsequent \u003ca href=\"https://www.sfchronicle.com/sf/article/s-f-mexican-museum-audit-19324002.php\">\u003ci>San Francisco Chronicle\u003c/i> story\u003c/a>, the museum, currently without dedicated fundraising staff, is determined to open the first phase of its space by the end of 2025. To do so, its board chair Andrew M. Kluger said in an interview with KQED, requires the cooperation of the city. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Supporting and clearing a path for the museum is a no-brainer for the city,” board secretary Xóchitl Castañeda told KQED. “It’s going to be a win-win situation.”\u003c/p>\n\u003cfigure id=\"attachment_13955001\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05.jpg\" alt=\"\" width=\"1500\" height=\"1000\" class=\"size-full wp-image-13955001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the Mexican Museum’s planned interior improvements. \u003ccite>(Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The history of the Mexican Museum’s move downtown\u003c/h2>\n\u003cp>The Mexican Museum was founded in 1975 at the corner of Folsom and 15th Streets by the late artist Peter Rodriguez. In 1982, it moved to Fort Mason Center, where it remained for 36 years, amassing a collection of over 16,500 objects, mostly through donations. \u003c/p>\n\u003cp>Museum holdings span 2,500 years of history, from pre-Hispanic objects to contemporary artworks. The museum is dedicated to “the complexity and richness of Latino art and culture throughout the Americas.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Mexican Museum has had periods of instability over the past three decades. A planned move to the Yerba Buena neighborhood to join the city’s other major cultural institutions has been in the works since 1993. In the mid-’90s, the museum was rocked by major staff turnover, accusations of misspent grant funds and lackluster fundraising for the planned move. \u003c/p>\n\u003cp>Then, in 2017, a \u003ca href=\"https://www.kqed.org/arts/13654906/mexican-museum-defends-collection-over-authenticity-concerns\">report commissioned by the museum board\u003c/a> found that only 83 of 2,000 artifacts from the museum’s pre-Hispanic collection could be authenticated. But those 80-some objects, the museum argued in a subsequent press release, are “significant and rare — one piece in the collection being so unique that nothing like it exists in Mexico.” \u003c/p>\n\u003cp>Since leaving Fort Mason in 2018, the collection has been in storage. The museum finally took possession of the first four floors of 706 Mission in July 2023. \u003c/p>\n\u003ch2>Were grant funds misused?\u003c/h2>\n\u003cp>The city audit, officially titled “The Mexican Museum Has Not Demonstrated That It Can Meet the City’s Contractual Obligations, and OCII Has Not Effectively Enforced the Museum’s Grant Agreement” has two main findings: misuse of city grant funds and fundraising shortfalls.\u003c/p>\n\u003cp>In 2010, the museum entered into a $10.6 million grant agreement with the city’s \u003ca href=\"https://sfocii.org/homepage-landing\">Office of Community Investment and Infrastructure\u003c/a> (OCII) — funds meant to go towards “predevelopment and interior improvements” at the new location. \u003c/p>\n\u003cp>Only $4 million of that grant has been spent, but the grant agreement expires June 14, 2024, leaving the museum less than three months to spend the remaining $6.6 million. (During the period of the audit, which began in March 2022, the museum says OCII paused all grant reimbursements.)\u003c/p>\n\u003cfigure id=\"attachment_13955004\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A.jpg\" alt=\"\" width=\"900\" height=\"600\" class=\"size-full wp-image-13955004\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-768x512.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of planned gallery space in the Mexican Museum. \u003ccite>(Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The audit found that the museum has spent nearly $1 million of that grant on “ineligible and questionable activities,” including duplicate expenses, artwork storage and staff salaries. But a response from OCII tempers those findings, explaining that “some level of funding for [the museum’s] current operations was necessary to ‘benefit’ the proposed project in the former Yerba Buena Center Project Area.”\u003c/p>\n\u003cp>In other words, OCII argues, the grant \u003ci>should\u003c/i> cover things like storage and some operational costs — so that there might still \u003ci>be\u003c/i> a museum to move into 706 Mission.\u003c/p>\n\u003cp>For their part, the Mexican Museum says “all budgets and scope of work were not only approved by OCII staff, but also by the OCII commission.” Its representatives refute one duplicate expense and acknowledge the other as a clerical error “out of hundreds of submittals to OCII.”\u003c/p>\n\u003ch2>Does the museum have adequate funds to reopen?\u003c/h2>\n\u003cp>The audit found that the museum has raised only 2% of the nearly $49.8 million it’s estimated to need to reopen. But the museum says this is an old number, and that the new, lower estimate for construction is actually $38 million.\u003c/p>\n\u003cp>By their calculations, the museum says it still has $19.9 million left to raise. But it has made some progress in its search for new funding sources. “We’re the only museum outside of the Republic of Mexico that was granted a tax deductible status” by Mexico, says board chair Andrew Kluger. That means Mexican companies and individuals can donate up to 7% of the taxes they owe to the museum as a write-off.\u003c/p>\n\u003cp>The museum has employed a fundraising consultant through the end of 2024, and a representative says the museum has received over $200,000 in cash contributions in the past month.\u003c/p>\n\u003cp>Castañeda admits fundraising for the museum has an uphill journey to her dream goal of $100 million. “I need an army of people to help us,” she says. “You know, how many of the museums today — and I’m not just talking about construction, but operations — are in the red area? We need 10 pesos, $10, you know? Any contribution is welcome and will add to our dream of $100 million.”\u003c/p>\n\u003cfigure id=\"attachment_13955002\" class=\"wp-caption aligncenter\" style=\"max-width: 1901px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit.jpg\" alt=\"Composite image with empty building at left and gallery renderings at right\" width=\"1901\" height=\"1814\" class=\"size-full wp-image-13955002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit.jpg 1901w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-800x763.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-1020x973.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-768x733.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-1536x1466.jpg 1536w\" sizes=\"(max-width: 1901px) 100vw, 1901px\">\u003cfigcaption class=\"wp-caption-text\">An exhibit included in the audit, showing the museum premises in July 2023 (left) and design plans (right). \u003ccite>(City Services Auditor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Why hasn’t the museum started construction?\n\u003c/h2>\u003cp>The Mexican Museum has a 66-year-lease with the city on the first four floors of 706 Mission (with the option to extend another 33 years), for what breaks down to about ¢.02 a year. But all interior improvements on the 48,000 square-foot space — turning the shell of the building into a climate-controlled art institution — are on the museum. So far, it has made no material progress on those improvements.\u003c/p>\n\u003cp>The museum received keys to the space in July 2023. That was after a lawsuit over a missing staircase was dismissed, with the museum and the city agreeing to work out their differences. The space was built without a public staircase connecting two floors of the museum, as originally planned.\u003c/p>\n\u003cp>As the \u003cem>\u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2023/07/24/mexican-museum-lawsuit-dismissed-audit-s-f.html\">San Francisco Business Times\u003c/a>\u003c/em> reported last year, the city acknowledged that it had intentionally not built the staircase, saying it “planned to sublease only half the space to the Mexican Museum due to growing concerns that the museum’s financial health would not allow it to build out the entire 48,000 square feet as envisioned.”\u003c/p>\n\u003cp>What also hindered interior improvements, the museum says, was the audit itself. “We are all prepared to construct,” says Castañeda. “This audit was impeding us from doing a lot of things … and now we are being blamed for not doing that.”\u003c/p>\n\u003cp>While museum representatives say the OCII’s pause on grant reimbursement did not prevent them from approaching donors over the past year, the audit did cast a shadow over fundraising efforts, causing some donors to put certain time and milestone requirements on their pledges.\u003c/p>\n\u003ch2>What happens now?\u003c/h2>\n\u003cp>The museum says it now needs the support of OCII. In order for their contractors to submit permit applications, it needs to know that OCII will reimburse those expenses.\u003c/p>\n\u003cp>The Controller’s Office will continue to monitor the museum’s progress, following up every six months on the implementation of their recommendations for record-keeping and grant disbursal. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, the Mexican Museum’s representatives affirm that its rightful place is downtown, alongside institutions like the Yerba Buena Center for the Arts and the Museum of the African Diaspora. “We want to decolonize this idea of a museum, traditionally, that is for the elite,” Castañeda says. “This museum is for everybody.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sculptor Richard Serra, the ‘Poet of Iron,’ Dies at 85",
"headTitle": "Sculptor Richard Serra, the ‘Poet of Iron,’ Dies at 85 | KQED",
"content": "\u003cp>Famed American artist and sculptor Richard Serra, known for turning curving walls of rusting steel and other malleable materials into large-scale pieces of outdoor artwork that are now dotted across the world, died Tuesday at his home in Long Island, New York. He was 85.\u003c/p>\n\u003cp>Considered one of his generation’s most preeminent sculptors, the San Francisco native originally studied painting at Yale University but turned to sculpting in the 1960s, inspired by trips to Europe.\u003c/p>\n\u003cp>His death was confirmed Tuesday night by his lawyer, John Silberman, whose firm is based in New York. He said the cause of death was pneumonia.\u003c/p>\n\u003cp>Known by his colleagues as the “poet of iron,” Serra became world-renowned for his large-scale steel structures, such as monumental arcs, spirals and ellipses. He was closely identified with the minimalist movement of the 1970s.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">\u003c/a>\u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">Watch Richard Serra construct a huge sculpture in San Francisco’s Mission Bay\u003c/a> and at \u003ca href=\"https://www.youtube.com/watch?v=GnWljMmmWMw\">Sonoma County’s Oliver Ranch\u003c/a> in \u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">this KQED episode\u003c/a> of ‘Spark’.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Serra’s work started to gain public attention in 1981, when he installed a 120-foot-long (36.5-meter-long) and 12-foot-high (3.6-meter-high) curving wall of raw steel that splits the Federal Plaza in New York City. The sculpture, called “Tilted Arc,” generated swift backlash from people who work there and a fierce demand that it should be removed. The sculpture was later taken down, but Serra’s popularity in the New York art scene had been cemented.\u003c/p>\n\u003cfigure id=\"attachment_13954852\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra.jpg\" alt=\"\" width=\"1440\" height=\"960\" class=\"size-full wp-image-13954852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-768x512.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Famed American sculptor Richard Serra poses next to ‘Sequence’ during the press preview of “Richard Serra Sculpture: Forty Years” at the Museum of Modern Art, May 29, 2007, in New York. Serra, known for turning curving walls of rusting steel and other malleable materials into large-scale pieces of outdoor artwork that are now dotted across the world, died Tuesday, March 26, 2024, at his home in Long Island, N.Y. He was 85. \u003ccite>(AP Photo/Mary Altaffer, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of Serra’s large-scale works are welded in Cor-Ten steel, but he also worked with other nontraditional materials such as rubber, latex, neon — as well as molten lead, which Serra threw against a wall or floor to create his “Splash” series in his early career.\u003c/p>\n\u003cp>His works have been installed in landscapes and included in the collections of museums across the world, from The Museum of Modern Art in New York to the deserts of Qatar. From 2016 to 2018, his interactive, labyrinth-like sculpture \u003cem>Sequence\u003c/em> resided in a publicly accessible ground floor of San Francisco’s Museum of Modern Art. \u003c/p>\n\u003cp>In 2005, eight major works by Serra were installed permanently at the Guggenheim Museum in Spain. Carmen Jimenez, the exhibition organizer, said Serra was “beyond doubt the most important living sculptor.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Born to a Russian-Jewish mother and a Spanish father in San Francisco, Serra was the second of three sons in the family. He started drawing at a young age and was inspired by the time he spent at a shipyard where his father worked as a pipefitter. Before his turn to sculpting, Serra worked in steel foundries to help finance his education at the Berkeley and Santa Barbara campuses of the University of California. He then went on to Yale, where he graduated in 1964.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Famed American artist and sculptor Richard Serra, known for turning curving walls of rusting steel and other malleable materials into large-scale pieces of outdoor artwork that are now dotted across the world, died Tuesday at his home in Long Island, New York. He was 85.\u003c/p>\n\u003cp>Considered one of his generation’s most preeminent sculptors, the San Francisco native originally studied painting at Yale University but turned to sculpting in the 1960s, inspired by trips to Europe.\u003c/p>\n\u003cp>His death was confirmed Tuesday night by his lawyer, John Silberman, whose firm is based in New York. He said the cause of death was pneumonia.\u003c/p>\n\u003cp>Known by his colleagues as the “poet of iron,” Serra became world-renowned for his large-scale steel structures, such as monumental arcs, spirals and ellipses. He was closely identified with the minimalist movement of the 1970s.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">\u003c/a>\u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">Watch Richard Serra construct a huge sculpture in San Francisco’s Mission Bay\u003c/a> and at \u003ca href=\"https://www.youtube.com/watch?v=GnWljMmmWMw\">Sonoma County’s Oliver Ranch\u003c/a> in \u003ca href=\"https://ww2.kqed.org/spark/richard-serra/\">this KQED episode\u003c/a> of ‘Spark’.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Serra’s work started to gain public attention in 1981, when he installed a 120-foot-long (36.5-meter-long) and 12-foot-high (3.6-meter-high) curving wall of raw steel that splits the Federal Plaza in New York City. The sculpture, called “Tilted Arc,” generated swift backlash from people who work there and a fierce demand that it should be removed. The sculpture was later taken down, but Serra’s popularity in the New York art scene had been cemented.\u003c/p>\n\u003cfigure id=\"attachment_13954852\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra.jpg\" alt=\"\" width=\"1440\" height=\"960\" class=\"size-full wp-image-13954852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/serra-768x512.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Famed American sculptor Richard Serra poses next to ‘Sequence’ during the press preview of “Richard Serra Sculpture: Forty Years” at the Museum of Modern Art, May 29, 2007, in New York. Serra, known for turning curving walls of rusting steel and other malleable materials into large-scale pieces of outdoor artwork that are now dotted across the world, died Tuesday, March 26, 2024, at his home in Long Island, N.Y. He was 85. \u003ccite>(AP Photo/Mary Altaffer, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of Serra’s large-scale works are welded in Cor-Ten steel, but he also worked with other nontraditional materials such as rubber, latex, neon — as well as molten lead, which Serra threw against a wall or floor to create his “Splash” series in his early career.\u003c/p>\n\u003cp>His works have been installed in landscapes and included in the collections of museums across the world, from The Museum of Modern Art in New York to the deserts of Qatar. From 2016 to 2018, his interactive, labyrinth-like sculpture \u003cem>Sequence\u003c/em> resided in a publicly accessible ground floor of San Francisco’s Museum of Modern Art. \u003c/p>\n\u003cp>In 2005, eight major works by Serra were installed permanently at the Guggenheim Museum in Spain. Carmen Jimenez, the exhibition organizer, said Serra was “beyond doubt the most important living sculptor.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Born to a Russian-Jewish mother and a Spanish father in San Francisco, Serra was the second of three sons in the family. He started drawing at a young age and was inspired by the time he spent at a shipyard where his father worked as a pipefitter. Before his turn to sculpting, Serra worked in steel foundries to help finance his education at the Berkeley and Santa Barbara campuses of the University of California. He then went on to Yale, where he graduated in 1964.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tennessee made history on Thursday, becoming the first U.S. state to sign off on legislation to protect musicians from unauthorized artificial intelligence impersonation.\u003c/p>\n\u003cp>“Tennessee is the music capital of the world, & we’re leading the nation with historic protections for Tennessee artists & songwriters against emerging AI technology,” Gov. Bill Lee \u003ca href=\"https://www.facebook.com/GovBillLee/posts/pfbid028sw61e5jvPuXr92Gm8khqz325gmrUQxYk8Kkdp5pJMjYuaSW6CvEQZVXwkcmL65zl\">announced on social media\u003c/a>.\u003c/p>\n\u003cp>The Ensuring Likeness Voice and Image Security Act, or ELVIS Act, is an updated version of the state’s old right of publicity law. While the old law protected an artist’s name, photograph or likeness, the new legislation includes AI-specific protections. \u003c/p>\n\u003cp>[aside postID='arts_13928457']Once the law takes effect on July 1, people will be prohibited from using AI to mimic an artist’s voice without permission.\u003c/p>\n\u003cp>Lee signed the bill inside Robert’s Western World, the famed Nashville honky tonk, where he was gathered with country music superstars Chris Janson and Luke Bryan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“What an amazing precedent for Tennessee to get in front of this,” Bryan told the crowd. \u003c/p>\n\u003cp>“To know that our state protects us and what we’re about and what we worked so hard for is just a testament to how great this state is.”\u003c/p>\n\u003cp>Tennessee has long been known as a musical powerhouse state, from country to blues music. The state has been a launching pad for the careers of some of the country’s biggest superstars, including Elvis Presley, Dolly Parton, BB King, and Taylor Swift. \u003c/p>\n\u003cp>[aside postID='arts_13952796']The state’s music industry supports more than 61,000 jobs and hosts more than 4,500 music venues, according to the governor’s office. \u003c/p>\n\u003cp>“From Beale Street to Broadway, to Bristol and beyond, Tennessee is known for our rich artistic heritage that tells the story of our great state,” said Lee in a press release \u003ca href=\"https://www.tn.gov/governor/news/2024/1/10/tennessee-first-in-the-nation-to-address-ai-impact-on-music-industry.html\">about\u003c/a> the bill when it was introduced in January. \u003c/p>\n\u003cp>“As the technology landscape evolves with artificial intelligence, I thank the General Assembly for its partnership in creating legal protection for our best-in-class artists and songwriters.” \u003c/p>\n\u003cp>Lawmakers have been struggling to keep up with the rapid acceleration of AI technology, as it continues to impact multiple industries. In the music industry, songwriters, singers, and producers have expressed concerns about the current lack of protections over things like copyrights and intellectual property.\u003c/p>\n\u003cp>[aside postID='mindshift_63390']Last year, music fans responded with \u003ca href=\"https://www.npr.org/2023/04/21/1171032649/ai-music-heart-on-my-sleeve-drake-the-weeknd\">disbelief\u003c/a> after an anonymous TikTok user used AI to simulate the voices of artists Drake and The Weeknd to create the viral song “Heart on My Sleeve.” The artists’ label owner Universal Music Group invoked copyright violation to get the song removed from platforms including TikTok, Spotify and YouTube. \u003c/p>\n\u003cp>While largely viewed as a threat, producers have also been using the technology to make some impressive breakthroughs. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It was AI tools that made it possible for The Beatles to release what they’ve referred to as their \u003ca href=\"https://www.npr.org/2023/11/07/1197955845/all-songs-considered-draft-11-07-2023\">final\u003c/a> song, “Now and Then,” which was published in November 2023. The artist Grimes has also \u003ca href=\"https://www.npr.org/2023/04/24/1171738670/grimes-ai-songs-voice\">encouraged\u003c/a> the use of AI in song making, going as far to encourage creators to use AI-generated versions of her voice to make new music, offering to split 50% royalties on any successful hits. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2024 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tennessee+becomes+the+first+state+to+protect+musicians+and+other+artists+against+AI&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tennessee made history on Thursday, becoming the first U.S. state to sign off on legislation to protect musicians from unauthorized artificial intelligence impersonation.\u003c/p>\n\u003cp>“Tennessee is the music capital of the world, & we’re leading the nation with historic protections for Tennessee artists & songwriters against emerging AI technology,” Gov. Bill Lee \u003ca href=\"https://www.facebook.com/GovBillLee/posts/pfbid028sw61e5jvPuXr92Gm8khqz325gmrUQxYk8Kkdp5pJMjYuaSW6CvEQZVXwkcmL65zl\">announced on social media\u003c/a>.\u003c/p>\n\u003cp>The Ensuring Likeness Voice and Image Security Act, or ELVIS Act, is an updated version of the state’s old right of publicity law. While the old law protected an artist’s name, photograph or likeness, the new legislation includes AI-specific protections. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Last year, music fans responded with \u003ca href=\"https://www.npr.org/2023/04/21/1171032649/ai-music-heart-on-my-sleeve-drake-the-weeknd\">disbelief\u003c/a> after an anonymous TikTok user used AI to simulate the voices of artists Drake and The Weeknd to create the viral song “Heart on My Sleeve.” The artists’ label owner Universal Music Group invoked copyright violation to get the song removed from platforms including TikTok, Spotify and YouTube. \u003c/p>\n\u003cp>While largely viewed as a threat, producers have also been using the technology to make some impressive breakthroughs. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It was AI tools that made it possible for The Beatles to release what they’ve referred to as their \u003ca href=\"https://www.npr.org/2023/11/07/1197955845/all-songs-considered-draft-11-07-2023\">final\u003c/a> song, “Now and Then,” which was published in November 2023. The artist Grimes has also \u003ca href=\"https://www.npr.org/2023/04/24/1171738670/grimes-ai-songs-voice\">encouraged\u003c/a> the use of AI in song making, going as far to encourage creators to use AI-generated versions of her voice to make new music, offering to split 50% royalties on any successful hits. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2024 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tennessee+becomes+the+first+state+to+protect+musicians+and+other+artists+against+AI&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "san-jose-rapper-plocz-dioramas",
"title": "This San Jose Rapper Recreates Bay Area Streets in Hyper-Realistic Dioramas",
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"content": "\u003cp>Growing up in South San Jose without a car, Alejandro Aroz spent decades interacting with and memorizing the textures of its innumerable street corners.\u003c/p>\n\u003cp>When you traverse the Bay Area on foot, you notice everything from a different angle: the weeds sprouting through concrete, discarded blunt guts; the familiar person roaming your block. You gain a deeper understanding, if not appreciation, for it all.\u003c/p>\n\u003cp>[aside postID='arts_13952796']“I’ve been on foot my whole life, looking at my environment, and there’s so much in the Bay Area’s streets to look at,” the 32-year-old says. “I’m always taking notes, observing, bringing that into attention.”\u003c/p>\n\u003cp>By day, Aroz — who is Mexican American, Native American and Filipino — works as a sheet metal estimator, with a client list that includes tech companies, BART and the Golden State Warriors. But once he clocks out, he transforms into his artistic alter ego: \u003ca href=\"https://www.instagram.com/_p.locz_/?hl=en\">P.LOCZ\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954434\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/A7F48BC4-F76D-43CE-B4BA-991292A83EBF.jpg\" alt=\"A man in a black hoodie and cap holds a small diorama of an art gallery storefront, standing in front of the same art gallery in real life\" width=\"720\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/A7F48BC4-F76D-43CE-B4BA-991292A83EBF.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/A7F48BC4-F76D-43CE-B4BA-991292A83EBF-160x157.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">P.LOCZ stands in front of San Jose’s 1 Culture Gallery with his replica of the storefront. The artist largely credits the gallery for his breakout success. \u003ccite>(Courtesy P.LOCZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As P.LOCZ, Aroz raps, produces and illustrates. But most impressively — and unlike any other Bay Area rapper — he makes intricate dioramas as a proud “miniaturist.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Miniature art is really my lane,” he says. “With Bay Area music, there’s so many people trying to get to the top, you won’t always make it very far. But being in my own lane without anyone else in it, it was like ‘Woah, let me chase this instead of something everyone else is chasing.’”\u003c/p>\n\u003cp>Ever seen a diorama as a school project or in a museum exhibit? That’s what P.LOCZ does, except that his miniaturism is sprinkled with hella Bay Area game and street-level savvy that showcases the region’s most underappreciated communities, public figures, landmarks and cultural institutions.\u003c/p>\n\u003cp>[aside postID='arts_13953330']There’s \u003ca href=\"https://www.instagram.com/p/Cv3h9MZOGrx/\">the Barrio Lomas tribute\u003c/a> he made after being invited to the San Jose Chicano group’s reunion and learning about their history. There’s also \u003ca href=\"https://www.instagram.com/p/Csb_gFcrjai/\">the Del Monte water tower\u003c/a>, from the San Jose cannery where his grandmother once worked, which was shown at an exhibit honoring cannery workers.\u003c/p>\n\u003cp>Perhaps his most well-known work to date is a miniaturized depiction of a \u003ca href=\"https://www.instagram.com/p/C28E7JevDki/?img_index=1\">mural honoring The Jacka on 94th and MacArthur\u003c/a> in East Oakland, which he was commissioned to create for \u003ca href=\"https://www.kqed.org/arts/13951091/the-jacka-art-experience-documentary\">The Jacka’s tribute art show\u003c/a> in January.\u003c/p>\n\u003cp>What P.LOCZ does requires patience, intense technical skill and a granular attunement to detail. He visits every site, measures every angle and meticulously calculates the proper scale and sizing. Then, he incorporates the lowriders, graffiti and even sidewalk erosion to bring his dioramas to life.\u003c/p>\n\u003cfigure id=\"attachment_13954431\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954431\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/292AABB1-A0DA-4B66-A37F-A99FD13D58AD.jpg\" alt=\"a miniature replica of Wienerschnitzel is displayed in front of an actual Wienerschnitzel\" width=\"720\" height=\"689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/292AABB1-A0DA-4B66-A37F-A99FD13D58AD.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/292AABB1-A0DA-4B66-A37F-A99FD13D58AD-160x153.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">At his daughter’s request, P.LOCZ’s made a miniature replica of Wienerschnitzel near Roosevelt Park in San Jose. \u003ccite>(Courtesy P.LOCZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His miniaturist work began in 2019, right before the pandemic, when he and his now 11-year-old daughter entered a contest for model car building. They placed second, inspiring P.LOCZ to elevate his craft.\u003c/p>\n\u003cp>When he asked his daughter what they should do next, she suggested \u003ca href=\"https://www.instagram.com/p/C0YMw2FOTBS/?img_index=1\">the Wienerschnitzel near Roosevelt Park\u003c/a> in San Jose that they often visited together. It became their first first-place model of miniature art.\u003c/p>\n\u003cp>“Now we win first place every time,” he says. “I do it for my daughter.”\u003c/p>\n\u003cp>[aside postID='arts_13951001']\u003ca href=\"https://www.instagram.com/1culture_/\">1 Culture Gallery\u003c/a> discovered him shortly afterward. P.LOCZ credits \u003ca href=\"https://www.kqed.org/arts/13923743/1culture-gallery-san-jose-graffiti-murals-andrew-espino\">the community-rooted San Jose gallery\u003c/a> and their co-owner, Andrew Espino, for pushing him to reach his maximum output. The gallery began featuring him as a regular artist, and encouraged him to pursue miniaturism more seriously.\u003c/p>\n\u003cp>Recently, P.LOCZ’s work was exhibited at the California Automobile Museum in Sacramento — where he spent a few years as an adolescent before moving back to San Jose — for their special exhibit \u003ca href=\"https://www.calautomuseum.org/special-exhibit-lowriders\">\u003ci>The Art of Lowriding\u003c/i>\u003c/a>. Titled “Boulevard of Dreams,” the portrayal honors San Jose’s Willow Street, the home of \u003ca href=\"https://www.instagram.com/lowridermagazine/?hl=en\">\u003ci>Lowrider \u003c/i>\u003cem>Magazine\u003c/em>\u003c/a>, which originated at San Jose State University in 1977 partially as a result of the Chicano Rights Movement. “I wanted to make sure that’s known,” he says. “It’s a big part of our history here.”\u003c/p>\n\u003cfigure id=\"attachment_13954430\" class=\"wp-caption alignnone\" style=\"max-width: 1079px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954430\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156.jpg\" alt=\"an artist stands with his family and an art gallery owner after receiving a check for winning first place in an art contest\" width=\"1079\" height=\"1394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156.jpg 1079w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156-800x1034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156-1020x1318.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156-768x992.jpg 768w\" sizes=\"(max-width: 1079px) 100vw, 1079px\">\u003cfigcaption class=\"wp-caption-text\">P.LOCZ (center left) stands with his partner, his daughter and Andrew Espino (far left) after winning first place in an art competition. \u003ccite>(Courtesy P.LOCZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of his most controversially received pieces depicts a Chicano playing handball and being accosted by a San Jose police officer, who has his gun drawn. The piece was inspired by real-life experiences that he’s witnessed of community members being wrongly identified by SJPD officers, he says.\u003c/p>\n\u003cp>After finishing, he knew he had to incorporate his city. So went to the actual handball court and asked a local resident to tag it.\u003c/p>\n\u003cp>“My art,” he explains, “is to represent voices that aren’t always heard.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003ci>P.LOCZ’s miniature art can be found at galleries and museums around the Bay Area. \u003c/i>\u003cem>For more, see \u003ca href=\"https://www.instagram.com/_p.locz_/?hl=en\">his Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "With a granular attention to detail, P.LOCZ’s miniature art honors his city’s cultural history.",
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"title": "This San Jose Rapper Recreates Bay Area Streets in Hyper-Realistic Dioramas | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up in South San Jose without a car, Alejandro Aroz spent decades interacting with and memorizing the textures of its innumerable street corners.\u003c/p>\n\u003cp>When you traverse the Bay Area on foot, you notice everything from a different angle: the weeds sprouting through concrete, discarded blunt guts; the familiar person roaming your block. You gain a deeper understanding, if not appreciation, for it all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I’ve been on foot my whole life, looking at my environment, and there’s so much in the Bay Area’s streets to look at,” the 32-year-old says. “I’m always taking notes, observing, bringing that into attention.”\u003c/p>\n\u003cp>By day, Aroz — who is Mexican American, Native American and Filipino — works as a sheet metal estimator, with a client list that includes tech companies, BART and the Golden State Warriors. But once he clocks out, he transforms into his artistic alter ego: \u003ca href=\"https://www.instagram.com/_p.locz_/?hl=en\">P.LOCZ\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954434\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/A7F48BC4-F76D-43CE-B4BA-991292A83EBF.jpg\" alt=\"A man in a black hoodie and cap holds a small diorama of an art gallery storefront, standing in front of the same art gallery in real life\" width=\"720\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/A7F48BC4-F76D-43CE-B4BA-991292A83EBF.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/A7F48BC4-F76D-43CE-B4BA-991292A83EBF-160x157.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">P.LOCZ stands in front of San Jose’s 1 Culture Gallery with his replica of the storefront. The artist largely credits the gallery for his breakout success. \u003ccite>(Courtesy P.LOCZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As P.LOCZ, Aroz raps, produces and illustrates. But most impressively — and unlike any other Bay Area rapper — he makes intricate dioramas as a proud “miniaturist.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Miniature art is really my lane,” he says. “With Bay Area music, there’s so many people trying to get to the top, you won’t always make it very far. But being in my own lane without anyone else in it, it was like ‘Woah, let me chase this instead of something everyone else is chasing.’”\u003c/p>\n\u003cp>Ever seen a diorama as a school project or in a museum exhibit? That’s what P.LOCZ does, except that his miniaturism is sprinkled with hella Bay Area game and street-level savvy that showcases the region’s most underappreciated communities, public figures, landmarks and cultural institutions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s \u003ca href=\"https://www.instagram.com/p/Cv3h9MZOGrx/\">the Barrio Lomas tribute\u003c/a> he made after being invited to the San Jose Chicano group’s reunion and learning about their history. There’s also \u003ca href=\"https://www.instagram.com/p/Csb_gFcrjai/\">the Del Monte water tower\u003c/a>, from the San Jose cannery where his grandmother once worked, which was shown at an exhibit honoring cannery workers.\u003c/p>\n\u003cp>Perhaps his most well-known work to date is a miniaturized depiction of a \u003ca href=\"https://www.instagram.com/p/C28E7JevDki/?img_index=1\">mural honoring The Jacka on 94th and MacArthur\u003c/a> in East Oakland, which he was commissioned to create for \u003ca href=\"https://www.kqed.org/arts/13951091/the-jacka-art-experience-documentary\">The Jacka’s tribute art show\u003c/a> in January.\u003c/p>\n\u003cp>What P.LOCZ does requires patience, intense technical skill and a granular attunement to detail. He visits every site, measures every angle and meticulously calculates the proper scale and sizing. Then, he incorporates the lowriders, graffiti and even sidewalk erosion to bring his dioramas to life.\u003c/p>\n\u003cfigure id=\"attachment_13954431\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954431\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/292AABB1-A0DA-4B66-A37F-A99FD13D58AD.jpg\" alt=\"a miniature replica of Wienerschnitzel is displayed in front of an actual Wienerschnitzel\" width=\"720\" height=\"689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/292AABB1-A0DA-4B66-A37F-A99FD13D58AD.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/292AABB1-A0DA-4B66-A37F-A99FD13D58AD-160x153.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">At his daughter’s request, P.LOCZ’s made a miniature replica of Wienerschnitzel near Roosevelt Park in San Jose. \u003ccite>(Courtesy P.LOCZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His miniaturist work began in 2019, right before the pandemic, when he and his now 11-year-old daughter entered a contest for model car building. They placed second, inspiring P.LOCZ to elevate his craft.\u003c/p>\n\u003cp>When he asked his daughter what they should do next, she suggested \u003ca href=\"https://www.instagram.com/p/C0YMw2FOTBS/?img_index=1\">the Wienerschnitzel near Roosevelt Park\u003c/a> in San Jose that they often visited together. It became their first first-place model of miniature art.\u003c/p>\n\u003cp>“Now we win first place every time,” he says. “I do it for my daughter.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.instagram.com/1culture_/\">1 Culture Gallery\u003c/a> discovered him shortly afterward. P.LOCZ credits \u003ca href=\"https://www.kqed.org/arts/13923743/1culture-gallery-san-jose-graffiti-murals-andrew-espino\">the community-rooted San Jose gallery\u003c/a> and their co-owner, Andrew Espino, for pushing him to reach his maximum output. The gallery began featuring him as a regular artist, and encouraged him to pursue miniaturism more seriously.\u003c/p>\n\u003cp>Recently, P.LOCZ’s work was exhibited at the California Automobile Museum in Sacramento — where he spent a few years as an adolescent before moving back to San Jose — for their special exhibit \u003ca href=\"https://www.calautomuseum.org/special-exhibit-lowriders\">\u003ci>The Art of Lowriding\u003c/i>\u003c/a>. Titled “Boulevard of Dreams,” the portrayal honors San Jose’s Willow Street, the home of \u003ca href=\"https://www.instagram.com/lowridermagazine/?hl=en\">\u003ci>Lowrider \u003c/i>\u003cem>Magazine\u003c/em>\u003c/a>, which originated at San Jose State University in 1977 partially as a result of the Chicano Rights Movement. “I wanted to make sure that’s known,” he says. “It’s a big part of our history here.”\u003c/p>\n\u003cfigure id=\"attachment_13954430\" class=\"wp-caption alignnone\" style=\"max-width: 1079px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954430\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156.jpg\" alt=\"an artist stands with his family and an art gallery owner after receiving a check for winning first place in an art contest\" width=\"1079\" height=\"1394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156.jpg 1079w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156-800x1034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156-1020x1318.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/3C4A0F16-713E-47D6-B897-DA92CBF26156-768x992.jpg 768w\" sizes=\"(max-width: 1079px) 100vw, 1079px\">\u003cfigcaption class=\"wp-caption-text\">P.LOCZ (center left) stands with his partner, his daughter and Andrew Espino (far left) after winning first place in an art competition. \u003ccite>(Courtesy P.LOCZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of his most controversially received pieces depicts a Chicano playing handball and being accosted by a San Jose police officer, who has his gun drawn. The piece was inspired by real-life experiences that he’s witnessed of community members being wrongly identified by SJPD officers, he says.\u003c/p>\n\u003cp>After finishing, he knew he had to incorporate his city. So went to the actual handball court and asked a local resident to tag it.\u003c/p>\n\u003cp>“My art,” he explains, “is to represent voices that aren’t always heard.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003ci>P.LOCZ’s miniature art can be found at galleries and museums around the Bay Area. \u003c/i>\u003cem>For more, see \u003ca href=\"https://www.instagram.com/_p.locz_/?hl=en\">his Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "photographer-david-johnson-obituary-san-francisco-black-culture",
"title": "Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97",
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"headTitle": "Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97 | KQED",
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"content": "\u003cp>David Johnson generally wasn’t interested in people posing for his camera.\u003c/p>\n\u003cp>As the photographer and civil rights activist put it in a \u003ca href=\"https://www.youtube.com/watch?v=u0Lcv7xyh-w\">2017 interview\u003c/a> at the University of California, Berkeley: “A big smiling photograph? That wasn’t my style.”\u003c/p>\n\u003cp>Johnson died at his home in Greenbrae, north of San Francisco, earlier this month. According to his stepdaughter, he was suffering from advanced dementia and had pneumonia. He was 97 years old.\u003c/p>\n\u003cp>[aside postID='arts_13950886']Johnson was the first Black student of the famous nature \u003ca href=\"https://www.npr.org/sections/pictureshow/2011/10/07/141149616/retracing-the-steps-of-ansel-adams\">photographer Ansel Adams\u003c/a> and became known as one of the foremost chroniclers of San Francisco’s Black urban culture.\u003c/p>\n\u003cp>In one of his most famous images, shot early in his career in 1946, Johnson depicts a street corner in San Francisco’s Fillmore District — once a hub for the city’s thriving Black community \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">until redevelopment later in the century\u003c/a> forced nearly all of them out.\u003c/p>\n\u003cfigure id=\"attachment_13954239\" class=\"wp-caption aligncenter\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg\" alt=\"Black-and-white photograph of busy street corner with pedestrian, car and bus traffic\" width=\"2016\" height=\"2560\" class=\"size-full wp-image-13954239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1613x2048.jpg 1613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1920x2438.jpg 1920w\" sizes=\"(max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">‘Looking South on Fillmore, 1946,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image has energetic angles and stark contrasts of light and shadow. And it’s shot from above. In the UC Berkeley interview, Johnson said he clambered up four stories on a nearby construction scaffold to get it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I focused my camera and took one photograph,” Johnson said. “I was kind of anxious to get this little job over with and go back down to the ground.”\u003c/p>\n\u003ch3>A tough childhood\u003c/h3>\n\u003cp>Johnson was born in 1926 in Jacksonville, Florida, to an impoverished single mother who handed her baby off to be raised by a cousin.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.kqed.org/forum/201307251030/photographer-david-johnson-capturing-san-franciscos-black-community-in-the-1940s-and-50s\">2013 interview\u003c/a> with KQED, Johnson said he got his first camera by selling magazine subscriptions door-to-door.\u003c/p>\n\u003cp>“I just started snapping pictures around the neighborhood. And I got kind of fascinated with that,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13954237\" class=\"wp-caption aligncenter\" style=\"max-width: 1758px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg\" alt=\"Portrait of older person sitting in front of framed photo of young person\" width=\"1758\" height=\"2560\" class=\"size-full wp-image-13954237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg 1758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-800x1165.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1020x1485.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-768x1118.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1055x1536.jpg 1055w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1407x2048.jpg 1407w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1920x2796.jpg 1920w\" sizes=\"(max-width: 1758px) 100vw, 1758px\">\u003cfigcaption class=\"wp-caption-text\">David Johnson in 2023 with one of his photographs, ‘Clarence,’ at an award luncheon at UC Berkeley honoring the photographer. \u003ccite>(Peg Skorpinski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson was drafted into the U.S. Navy right out of high school. He was stationed in San Francisco, where he fell in love with the city, and was then sent to the Philippines for the remainder of World War II. After returning, he wanted to develop his photography skills in college.\u003c/p>\n\u003cp>It was 1946, and budding photographers were clamoring to get into the program that master lensman Adams had just launched at the California School of Fine Arts in San Francisco (later known as the San Francisco Art Institute). Its star-studded faculty included Minor White, Imogen Cunningham, Edward Weston and Dorothea Lange.\u003c/p>\n\u003ch3>San Francisco-bound\u003c/h3>\n\u003cp>Johnson wanted in. So he sent Adams a letter.\u003c/p>\n\u003cp>“I wrote to Ansel and said, ‘I’m interested in studying photography. I have the GI Bill. And I would like for you to evaluate my [application].’ Ansel wrote me back and said, ‘There are no vacancies in the class,’” he told KQED.\u003c/p>\n\u003cp>But a student dropped out, making room for Johnson.\u003c/p>\n\u003cp>He hopped on a segregated train that took him from Jacksonville to San Francisco. After living in Adams’ house for a while, he eventually found a low-rent room in the Fillmore District and started taking lots of photos.\u003c/p>\n\u003cfigure id=\"attachment_13954240\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg\" alt=\"Signed black-and-white photograph of woman posing with children on a stage\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13954240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Eartha Kitt with Neighborhood Children, 1947,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of these images appeared decades later in a \u003ca href=\"https://www.youtube.com/watch?v=a8h2meDtdm8&t=186s\">KQED documentary\u003c/a> about the Fillmore’s status — and eventual demise — as one of the country’s most vibrant Black neighborhoods.\u003c/p>\n\u003cp>[aside postID='news_11957757']“He would go to the clubs in the evenings, take incredible photographs of musicians,” said Christine Hult-Lewis, the pictorial curator of special collections at UC Berkeley’s Bancroft Library, which houses the \u003ca href=\"https://search.library.berkeley.edu/discovery/fulldisplay?context=L&vid=01UCS_BER:UCB&search_scope=DN_and_CI&tab=Default_UCLibrarySearch&docid=alma991036750439706532\">David Johnson archive\u003c/a>. “He had very easy relationships with people in the barbershops and the folks in the churches and folks on the streets.”\u003c/p>\n\u003cp>Johnson said his college instructors encouraged these pursuits.\u003c/p>\n\u003cp>“Growing up, most of the photographs I have seen of Black people were just not very complimentary,” he told KQED. “I said, ‘My photographs will have Black people photographed in a dignified manner.’”\u003c/p>\n\u003ch3>Documenting street life, famous figures and civil rights\u003c/h3>\n\u003cp>Hult-Lewis said that as a freelance press photographer, Johnson took candid photos of Black celebrities who came to town, such as Nat King Cole, Paul Robeson and Langston Hughes.\u003c/p>\n\u003cfigure id=\"attachment_13954241\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg\" alt=\"Black-and-white photo of a man signing a book held by another person\" width=\"2560\" height=\"2197\" class=\"size-full wp-image-13954241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-800x687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1020x876.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1536x1318.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-2048x1758.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1920x1648.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Nat King Cole at Fairmont Hotel, 1949,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he used his camera to spark conversations about civil rights.\u003c/p>\n\u003cp>“There’s one really iconic photograph of a woman listening to a speech and she’s got kind of a dubious look on her face, but in her glasses are reflected the American flag,” Hult-Lewis said. “There’s another incredible photograph of a young African American boy sitting, holding an American flag in the embrace of a sculpture of Abraham Lincoln.”\u003c/p>\n\u003cp>Johnson also often participated in direct political action. He attended the 1963 March on Washington, and organized the first Black caucus at the University of California, San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13954242\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg\" alt=\"Black-and-white photo of American flag reflected in woman's glasses in a crowd\" width=\"1896\" height=\"2560\" class=\"size-full wp-image-13954242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1020x1377.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-768x1037.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1137x1536.jpg 1137w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1516x2048.jpg 1516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1920x2593.jpg 1920w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">‘Reflections in Glasses, 1963,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was part of a group that successfully sued the San Francisco Unified School District to compel them to more fully desegregate the schools,” Hult-Lewis said.\u003c/p>\n\u003cp>Johnson never became a big name like his teacher Adams. By the 1980s he’d stopped taking photos altogether.\u003c/p>\n\u003cp>But interest in Johnson’s work has grown in recent years, as cities across the country grapple with the negative impacts that urban redevelopment can have. His work is in the collection of major institutions, including the \u003ca href=\"https://www.sfmoma.org/artist/David_S._Johnson/\">San Francisco Museum of Modern Art\u003c/a>, and was the subject of a \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/david-johnson-zone-1945-1965\">solo exhibition\u003c/a> at San Francisco City Hall in 2022.\u003c/p>\n\u003cp>“The photographs tell life, life as it was then, life that cannot be duplicated or recreated in today,” Johnson’s wife, Jacqueline Sue, told KQED in 2013. “It’s a marker of history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2024 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Johnson generally wasn’t interested in people posing for his camera.\u003c/p>\n\u003cp>As the photographer and civil rights activist put it in a \u003ca href=\"https://www.youtube.com/watch?v=u0Lcv7xyh-w\">2017 interview\u003c/a> at the University of California, Berkeley: “A big smiling photograph? That wasn’t my style.”\u003c/p>\n\u003cp>Johnson died at his home in Greenbrae, north of San Francisco, earlier this month. According to his stepdaughter, he was suffering from advanced dementia and had pneumonia. He was 97 years old.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Johnson was the first Black student of the famous nature \u003ca href=\"https://www.npr.org/sections/pictureshow/2011/10/07/141149616/retracing-the-steps-of-ansel-adams\">photographer Ansel Adams\u003c/a> and became known as one of the foremost chroniclers of San Francisco’s Black urban culture.\u003c/p>\n\u003cp>In one of his most famous images, shot early in his career in 1946, Johnson depicts a street corner in San Francisco’s Fillmore District — once a hub for the city’s thriving Black community \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">until redevelopment later in the century\u003c/a> forced nearly all of them out.\u003c/p>\n\u003cfigure id=\"attachment_13954239\" class=\"wp-caption aligncenter\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg\" alt=\"Black-and-white photograph of busy street corner with pedestrian, car and bus traffic\" width=\"2016\" height=\"2560\" class=\"size-full wp-image-13954239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1613x2048.jpg 1613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1920x2438.jpg 1920w\" sizes=\"(max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">‘Looking South on Fillmore, 1946,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image has energetic angles and stark contrasts of light and shadow. And it’s shot from above. In the UC Berkeley interview, Johnson said he clambered up four stories on a nearby construction scaffold to get it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I focused my camera and took one photograph,” Johnson said. “I was kind of anxious to get this little job over with and go back down to the ground.”\u003c/p>\n\u003ch3>A tough childhood\u003c/h3>\n\u003cp>Johnson was born in 1926 in Jacksonville, Florida, to an impoverished single mother who handed her baby off to be raised by a cousin.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.kqed.org/forum/201307251030/photographer-david-johnson-capturing-san-franciscos-black-community-in-the-1940s-and-50s\">2013 interview\u003c/a> with KQED, Johnson said he got his first camera by selling magazine subscriptions door-to-door.\u003c/p>\n\u003cp>“I just started snapping pictures around the neighborhood. And I got kind of fascinated with that,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13954237\" class=\"wp-caption aligncenter\" style=\"max-width: 1758px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg\" alt=\"Portrait of older person sitting in front of framed photo of young person\" width=\"1758\" height=\"2560\" class=\"size-full wp-image-13954237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg 1758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-800x1165.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1020x1485.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-768x1118.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1055x1536.jpg 1055w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1407x2048.jpg 1407w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1920x2796.jpg 1920w\" sizes=\"(max-width: 1758px) 100vw, 1758px\">\u003cfigcaption class=\"wp-caption-text\">David Johnson in 2023 with one of his photographs, ‘Clarence,’ at an award luncheon at UC Berkeley honoring the photographer. \u003ccite>(Peg Skorpinski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson was drafted into the U.S. Navy right out of high school. He was stationed in San Francisco, where he fell in love with the city, and was then sent to the Philippines for the remainder of World War II. After returning, he wanted to develop his photography skills in college.\u003c/p>\n\u003cp>It was 1946, and budding photographers were clamoring to get into the program that master lensman Adams had just launched at the California School of Fine Arts in San Francisco (later known as the San Francisco Art Institute). Its star-studded faculty included Minor White, Imogen Cunningham, Edward Weston and Dorothea Lange.\u003c/p>\n\u003ch3>San Francisco-bound\u003c/h3>\n\u003cp>Johnson wanted in. So he sent Adams a letter.\u003c/p>\n\u003cp>“I wrote to Ansel and said, ‘I’m interested in studying photography. I have the GI Bill. And I would like for you to evaluate my [application].’ Ansel wrote me back and said, ‘There are no vacancies in the class,’” he told KQED.\u003c/p>\n\u003cp>But a student dropped out, making room for Johnson.\u003c/p>\n\u003cp>He hopped on a segregated train that took him from Jacksonville to San Francisco. After living in Adams’ house for a while, he eventually found a low-rent room in the Fillmore District and started taking lots of photos.\u003c/p>\n\u003cfigure id=\"attachment_13954240\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg\" alt=\"Signed black-and-white photograph of woman posing with children on a stage\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13954240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Eartha Kitt with Neighborhood Children, 1947,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of these images appeared decades later in a \u003ca href=\"https://www.youtube.com/watch?v=a8h2meDtdm8&t=186s\">KQED documentary\u003c/a> about the Fillmore’s status — and eventual demise — as one of the country’s most vibrant Black neighborhoods.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“He would go to the clubs in the evenings, take incredible photographs of musicians,” said Christine Hult-Lewis, the pictorial curator of special collections at UC Berkeley’s Bancroft Library, which houses the \u003ca href=\"https://search.library.berkeley.edu/discovery/fulldisplay?context=L&vid=01UCS_BER:UCB&search_scope=DN_and_CI&tab=Default_UCLibrarySearch&docid=alma991036750439706532\">David Johnson archive\u003c/a>. “He had very easy relationships with people in the barbershops and the folks in the churches and folks on the streets.”\u003c/p>\n\u003cp>Johnson said his college instructors encouraged these pursuits.\u003c/p>\n\u003cp>“Growing up, most of the photographs I have seen of Black people were just not very complimentary,” he told KQED. “I said, ‘My photographs will have Black people photographed in a dignified manner.’”\u003c/p>\n\u003ch3>Documenting street life, famous figures and civil rights\u003c/h3>\n\u003cp>Hult-Lewis said that as a freelance press photographer, Johnson took candid photos of Black celebrities who came to town, such as Nat King Cole, Paul Robeson and Langston Hughes.\u003c/p>\n\u003cfigure id=\"attachment_13954241\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg\" alt=\"Black-and-white photo of a man signing a book held by another person\" width=\"2560\" height=\"2197\" class=\"size-full wp-image-13954241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-800x687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1020x876.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1536x1318.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-2048x1758.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1920x1648.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Nat King Cole at Fairmont Hotel, 1949,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he used his camera to spark conversations about civil rights.\u003c/p>\n\u003cp>“There’s one really iconic photograph of a woman listening to a speech and she’s got kind of a dubious look on her face, but in her glasses are reflected the American flag,” Hult-Lewis said. “There’s another incredible photograph of a young African American boy sitting, holding an American flag in the embrace of a sculpture of Abraham Lincoln.”\u003c/p>\n\u003cp>Johnson also often participated in direct political action. He attended the 1963 March on Washington, and organized the first Black caucus at the University of California, San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13954242\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg\" alt=\"Black-and-white photo of American flag reflected in woman's glasses in a crowd\" width=\"1896\" height=\"2560\" class=\"size-full wp-image-13954242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1020x1377.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-768x1037.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1137x1536.jpg 1137w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1516x2048.jpg 1516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1920x2593.jpg 1920w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">‘Reflections in Glasses, 1963,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was part of a group that successfully sued the San Francisco Unified School District to compel them to more fully desegregate the schools,” Hult-Lewis said.\u003c/p>\n\u003cp>Johnson never became a big name like his teacher Adams. By the 1980s he’d stopped taking photos altogether.\u003c/p>\n\u003cp>But interest in Johnson’s work has grown in recent years, as cities across the country grapple with the negative impacts that urban redevelopment can have. His work is in the collection of major institutions, including the \u003ca href=\"https://www.sfmoma.org/artist/David_S._Johnson/\">San Francisco Museum of Modern Art\u003c/a>, and was the subject of a \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/david-johnson-zone-1945-1965\">solo exhibition\u003c/a> at San Francisco City Hall in 2022.\u003c/p>\n\u003cp>“The photographs tell life, life as it was then, life that cannot be duplicated or recreated in today,” Johnson’s wife, Jacqueline Sue, told KQED in 2013. “It’s a marker of history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2024 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Embattled YBCA to Reopen Amid Censorship Accusations, CEO’s Resignation",
"headTitle": "An Embattled YBCA to Reopen Amid Censorship Accusations, CEO’s Resignation | KQED",
"content": "\u003cp>After \u003ca href=\"https://www.kqed.org/arts/13953032/ybca-pro-palestinian-artist-protest-censorship-allegations-boycott\">closing its galleries\u003c/a> for a month, following a Feb. 15 protest where artists modified their own artworks with pro-Palestinian messages, \u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts (YBCA)\u003c/a> made the \u003ca href=\"https://ybca.org/ban9-exhibition-reopening-announcement/\">unexpected announcement\u003c/a> Wednesday night that it will reopen its \u003ci>Bay Area Now 9\u003c/i> exhibition with the altered artworks intact — accompanied by disclaimers that they represent the artists’ views, not YBCA’s — starting Friday, March 15. [aside label='More YBCA Coverage' postid='arts_13953653,arts_13953032,arts_13952460']\u003c/p>\n\u003cp>“We invite members of our community to join us in engaging with the exhibition, considering the significance of the alterations and participating in thoughtful reflection and discourse,” reads the statement from the embattled art center’s board of directors.\u003c/p>\n\u003cp>YBCA, which receives city funding, has faced accusations of censorship from artists, \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">its own staff\u003c/a> and San Francisco Supervisor Hillary Ronen, who last week called for an April hearing about the prolonged closure.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">Interim CEO Sarah Fenske Bahat resigned\u003c/a> on March 3 as a result of the fallout, citing “antisemitic backlash” in a letter to the board of directors. The board has not yet hired a new chief executive. (Bahat and Board Chair Renuka Kher did not accept KQED’s request for an interview.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">At the Feb. 15 protest\u003c/a>, activists unfurled a Palestinian flag from a balcony overlooking the main gallery and made speeches while eight artists modified their own works in the \u003ci>Bay Area Now 9\u003c/i> exhibit, painting and draping signs with messages like “Ceasefire Now!” and “Viva Palestina.”\u003c/p>\n\u003cfigure id=\"attachment_13952457\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952457\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut.jpg\" alt=\"an overhead view of a museum gallery full of artworks, with a Palestinian flag hanging to the right\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators calling for a ceasefire in Gaza alter art during protest at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The protest occurred in response to YBCA preventing artist Lukaza Branfman-Verissimo from including the phrase “Free Palestine” in a museum marquee above Branfman-Verissimo’s outdoor mural; YBCA also rejected Jeff Cheung’s design for an outdoor piece that exclusively used the colors of the Palestinian flag (in the final work, a small grouping of red, green and black figures appear in a rainbow-colored display).\u003c/p>\n\u003cp>The eight protesting artists — who now call themselves \u003ca href=\"https://www.instagram.com/b.a.a.a.g/\">Bay Area Artists Against Genocide, or B.A.A.A.G.\u003c/a> — have presented a list of demands for YBCA. It includes a call to join the \u003ca href=\"https://bdsmovement.net/pacbi/cultural-boycott-guidelines\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI), which aims to prevent international institutions from collaborating with Israeli institutions as part of the Boycott, Divestment, Sanctions (BDS) movement.\u003c/p>\n\u003cp>The artists also called for a removal of “Zionist board members and funders.” In several subsequent statements, Fenske Bahat and YBCA’s board called the artists’ demands hateful and divisive — a charge the artists have denied.\u003c/p>\n\u003cp>“We’re fighting for the right to speak against genocide because we believe in love,” said artist Paz G. “That’s what this is about.”\u003c/p>\n\u003cfigure id=\"attachment_13952453\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952453\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut.jpg\" alt=\"A sculpture of a boat is covered in a drape of white and red, with notecards surrounding on the wooden floor below\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Art by champoy is altered during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YBCA’s reopening announcement drew mixed emotions from B.A.A.A.G. artists, who want YBCA’s board to create an advisory committee of artists so that the institution’s policies can better reflect the community. B.A.A.A.G. artists also say they were in talks about meeting with Fenske Bahat before she resigned, and that they have not yet met with the board.\u003c/p>\n\u003cp>“While we are excited, in a way, for the community to see the show … we are also wanting to make sure that we continue to pressure and hold YBCA accountable for the other demands that we have on our list,” said Branfman-Verissimo.\u003c/p>\n\u003cp>Artist Sholeh Asgary took issue with YBCA’s reopening statement, which refers to “the Israel–Hamas war.” Asgary and other artists and activists refer to Israel’s military offensive in Gaza — which has killed over 30,000 Palestinians and displaced 2.2 million more, many of whom are women and children, according to Gaza’s Ministry of Health — not as a war, but as a genocide. “Our cultural narrative is very important right now and always has been,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators chant during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before YBCA resumes its regular Wednesday–Sunday hours starting March 15, B.A.A.A.G. artists have invited the public to a March 14 event outside of YBCA from 5:30–8:30 p.m. Artists will screen print event-goers’ tote bags and T-shirts with designs by Cheung and Branfman-Verissimo, and project short films by Palestinian filmmakers onto the building in a program curated by Asgary and Dena Al-Adeeb. Films include Mona Hatoum’s \u003ci>So Much I Want to Say\u003c/i> and Jackie Reem Salloum’s \u003ci>Planet of the Arabs\u003c/i>.\u003c/p>\n\u003cp>“We’re taking back the outside of YBCA in an attempt to create a space for connection and care,” Paz G said. “We’re providing something that YBCA can’t do.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "YBCA's galleries have been closed for a month following a pro-Palestinian protest by exhibiting artists.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After \u003ca href=\"https://www.kqed.org/arts/13953032/ybca-pro-palestinian-artist-protest-censorship-allegations-boycott\">closing its galleries\u003c/a> for a month, following a Feb. 15 protest where artists modified their own artworks with pro-Palestinian messages, \u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts (YBCA)\u003c/a> made the \u003ca href=\"https://ybca.org/ban9-exhibition-reopening-announcement/\">unexpected announcement\u003c/a> Wednesday night that it will reopen its \u003ci>Bay Area Now 9\u003c/i> exhibition with the altered artworks intact — accompanied by disclaimers that they represent the artists’ views, not YBCA’s — starting Friday, March 15. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We invite members of our community to join us in engaging with the exhibition, considering the significance of the alterations and participating in thoughtful reflection and discourse,” reads the statement from the embattled art center’s board of directors.\u003c/p>\n\u003cp>YBCA, which receives city funding, has faced accusations of censorship from artists, \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">its own staff\u003c/a> and San Francisco Supervisor Hillary Ronen, who last week called for an April hearing about the prolonged closure.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">Interim CEO Sarah Fenske Bahat resigned\u003c/a> on March 3 as a result of the fallout, citing “antisemitic backlash” in a letter to the board of directors. The board has not yet hired a new chief executive. (Bahat and Board Chair Renuka Kher did not accept KQED’s request for an interview.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">At the Feb. 15 protest\u003c/a>, activists unfurled a Palestinian flag from a balcony overlooking the main gallery and made speeches while eight artists modified their own works in the \u003ci>Bay Area Now 9\u003c/i> exhibit, painting and draping signs with messages like “Ceasefire Now!” and “Viva Palestina.”\u003c/p>\n\u003cfigure id=\"attachment_13952457\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952457\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut.jpg\" alt=\"an overhead view of a museum gallery full of artworks, with a Palestinian flag hanging to the right\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators calling for a ceasefire in Gaza alter art during protest at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The protest occurred in response to YBCA preventing artist Lukaza Branfman-Verissimo from including the phrase “Free Palestine” in a museum marquee above Branfman-Verissimo’s outdoor mural; YBCA also rejected Jeff Cheung’s design for an outdoor piece that exclusively used the colors of the Palestinian flag (in the final work, a small grouping of red, green and black figures appear in a rainbow-colored display).\u003c/p>\n\u003cp>The eight protesting artists — who now call themselves \u003ca href=\"https://www.instagram.com/b.a.a.a.g/\">Bay Area Artists Against Genocide, or B.A.A.A.G.\u003c/a> — have presented a list of demands for YBCA. It includes a call to join the \u003ca href=\"https://bdsmovement.net/pacbi/cultural-boycott-guidelines\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI), which aims to prevent international institutions from collaborating with Israeli institutions as part of the Boycott, Divestment, Sanctions (BDS) movement.\u003c/p>\n\u003cp>The artists also called for a removal of “Zionist board members and funders.” In several subsequent statements, Fenske Bahat and YBCA’s board called the artists’ demands hateful and divisive — a charge the artists have denied.\u003c/p>\n\u003cp>“We’re fighting for the right to speak against genocide because we believe in love,” said artist Paz G. “That’s what this is about.”\u003c/p>\n\u003cfigure id=\"attachment_13952453\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952453\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut.jpg\" alt=\"A sculpture of a boat is covered in a drape of white and red, with notecards surrounding on the wooden floor below\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Art by champoy is altered during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YBCA’s reopening announcement drew mixed emotions from B.A.A.A.G. artists, who want YBCA’s board to create an advisory committee of artists so that the institution’s policies can better reflect the community. B.A.A.A.G. artists also say they were in talks about meeting with Fenske Bahat before she resigned, and that they have not yet met with the board.\u003c/p>\n\u003cp>“While we are excited, in a way, for the community to see the show … we are also wanting to make sure that we continue to pressure and hold YBCA accountable for the other demands that we have on our list,” said Branfman-Verissimo.\u003c/p>\n\u003cp>Artist Sholeh Asgary took issue with YBCA’s reopening statement, which refers to “the Israel–Hamas war.” Asgary and other artists and activists refer to Israel’s military offensive in Gaza — which has killed over 30,000 Palestinians and displaced 2.2 million more, many of whom are women and children, according to Gaza’s Ministry of Health — not as a war, but as a genocide. “Our cultural narrative is very important right now and always has been,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators chant during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before YBCA resumes its regular Wednesday–Sunday hours starting March 15, B.A.A.A.G. artists have invited the public to a March 14 event outside of YBCA from 5:30–8:30 p.m. Artists will screen print event-goers’ tote bags and T-shirts with designs by Cheung and Branfman-Verissimo, and project short films by Palestinian filmmakers onto the building in a program curated by Asgary and Dena Al-Adeeb. Films include Mona Hatoum’s \u003ci>So Much I Want to Say\u003c/i> and Jackie Reem Salloum’s \u003ci>Planet of the Arabs\u003c/i>.\u003c/p>\n\u003cp>“We’re taking back the outside of YBCA in an attempt to create a space for connection and care,” Paz G said. “We’re providing something that YBCA can’t do.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\u003c/div>",
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"content": "\u003cp>There’s a plethora of quirky, artistic and alternative video games to play at Day of the Devs, a free event celebrating indie games at the Midway on Sunday, March 17. From 3 to 8 p.m., the San Francisco venue will be outfitted with rows of different types of consoles, and attendees are invited to roll up any time to get in on the action.\u003c/p>\n\u003cp>Some of the games at Day of the Devs haven’t been released yet, and the event is a prime opportunity to find your next favorite before it becomes an indie darling. Highlights include Amanita Design’s \u003ca href=\"https://amanita-design.net/games/phonopolis.html\">\u003cem>Phonopolis\u003c/em>\u003c/a>, a puzzle game where the objective is to thwart an authoritarian ruler who exercises mind control over the townsfolk, rendered in 2D, steam punk-inspired animation. From a very different aesthetic universe, Blue Manchu’s \u003ca href=\"https://store.steampowered.com/app/1660840/Wild_Bastards/\">\u003cem>Wild Bastards\u003c/em>\u003c/a>, a technicolor first-person shooter set in a world of intergalactic outlaws, promises “heart-pounding” combat.\u003c/p>\n\u003cp>While some games test players’ strategy and speed, others like \u003ca href=\"https://store.steampowered.com/app/1685740/Surf_Club/\">\u003cem>Surf Club\u003c/em>\u003c/a> are more about the emotional journey. The adorably animated (think Sanrio meets \u003cem>Animal Crossing\u003c/em>), nostalgia-fueled game follows Holly, who moves back to her hometown of Olive Bay to try to reconnect with her former partner and best friend while catching waves in an idyllic seaside setting.\u003c/p>\n\u003cp>While not all recent video game news has been positive, with \u003ca href=\"https://www.polygon.com/gaming/24074767/video-game-industry-layoffs-explainer\">layoffs sweeping the industry\u003c/a>, Day of the Devs offers a space for small developers to connect IRL with their most passionate players, and for casual gamers to get to know new studios and platforms. There will be 50 games in total at the event, and many of the creators will be in attendance and available to answer questions. A selection of food trucks will be on hand so players can refuel during screen breaks, and DJ Doseone will provide a soundtrack while folks mingle.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/day-of-the-devs-2024-san-francisco-edition-in-person-celebration-tickets-797078512287?aff=oddtdtcreator\">\u003cem>Day of the Devs is free with RSVP\u003c/em>\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a plethora of quirky, artistic and alternative video games to play at Day of the Devs, a free event celebrating indie games at the Midway on Sunday, March 17. From 3 to 8 p.m., the San Francisco venue will be outfitted with rows of different types of consoles, and attendees are invited to roll up any time to get in on the action.\u003c/p>\n\u003cp>Some of the games at Day of the Devs haven’t been released yet, and the event is a prime opportunity to find your next favorite before it becomes an indie darling. Highlights include Amanita Design’s \u003ca href=\"https://amanita-design.net/games/phonopolis.html\">\u003cem>Phonopolis\u003c/em>\u003c/a>, a puzzle game where the objective is to thwart an authoritarian ruler who exercises mind control over the townsfolk, rendered in 2D, steam punk-inspired animation. From a very different aesthetic universe, Blue Manchu’s \u003ca href=\"https://store.steampowered.com/app/1660840/Wild_Bastards/\">\u003cem>Wild Bastards\u003c/em>\u003c/a>, a technicolor first-person shooter set in a world of intergalactic outlaws, promises “heart-pounding” combat.\u003c/p>\n\u003cp>While some games test players’ strategy and speed, others like \u003ca href=\"https://store.steampowered.com/app/1685740/Surf_Club/\">\u003cem>Surf Club\u003c/em>\u003c/a> are more about the emotional journey. The adorably animated (think Sanrio meets \u003cem>Animal Crossing\u003c/em>), nostalgia-fueled game follows Holly, who moves back to her hometown of Olive Bay to try to reconnect with her former partner and best friend while catching waves in an idyllic seaside setting.\u003c/p>\n\u003cp>While not all recent video game news has been positive, with \u003ca href=\"https://www.polygon.com/gaming/24074767/video-game-industry-layoffs-explainer\">layoffs sweeping the industry\u003c/a>, Day of the Devs offers a space for small developers to connect IRL with their most passionate players, and for casual gamers to get to know new studios and platforms. There will be 50 games in total at the event, and many of the creators will be in attendance and available to answer questions. A selection of food trucks will be on hand so players can refuel during screen breaks, and DJ Doseone will provide a soundtrack while folks mingle.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "a-year-long-celebration-of-james-baldwins-centennial-comes-to-oakland",
"title": "A Year-Long Celebration of James Baldwin’s Centennial Comes to Oakland",
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"content": "\u003cfigure id=\"attachment_13953478\" class=\"wp-caption aligncenter\" style=\"max-width: 2011px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-scaled.jpg\" alt=\"A colorful mixed medium image of James Baldwin, in collage form.\" width=\"2011\" height=\"2560\" class=\"size-full wp-image-13953478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-scaled.jpg 2011w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-800x1018.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-1020x1298.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-768x977.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-1207x1536.jpg 1207w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-1609x2048.jpg 1609w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-1920x2444.jpg 1920w\" sizes=\"(max-width: 2011px) 100vw, 2011px\">\u003cfigcaption class=\"wp-caption-text\">James Baldwin in collage form, part of ‘Frontline Prophet: James Baldwin,’ on display now through April 27 at Joyce Gordon Gallery in Oakland. \u003ccite>(Sabrina Nelson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than a half-century ago, the famed poet and author \u003ca href=\"https://www.kqed.org/arts/tag/james-baldwin\">James Baldwin\u003c/a> addressed major issues of the era: racism, sexism and classism. In 2024, as we still reckon with the same problems, a movement is underway to celebrate what would have been Baldwin’s 100th birthday this coming August. In doing so, artists are revisiting his astute observations, and showing how his work continues to resonate.\u003c/p>\n\u003cp>As a part of this celebration, a traveling exhibition of works by Detroit-based artist Sabrina Nelson, titled \u003ca href=\"https://www.instagram.com/p/C3orV3-Oluk/?img_index=1\" target=\"_blank\" rel=\"noopener\">\u003cem>Frontline Prophet: James Baldwin\u003c/em>\u003c/a>, is on display now through April 27 at Joyce Gordon Gallery in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13953483\" class=\"wp-caption aligncenter\" style=\"max-width: 1760px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-scaled.jpg\" alt=\"An image of James Baldwin's radiant smile and some of his words of wisdom.\" width=\"1760\" height=\"2560\" class=\"size-full wp-image-13953483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-scaled.jpg 1760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-800x1164.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-1020x1484.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-768x1117.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-1056x1536.jpg 1056w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-1408x2048.jpg 1408w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-1920x2793.jpg 1920w\" sizes=\"(max-width: 1760px) 100vw, 1760px\">\u003cfigcaption class=\"wp-caption-text\">James Baldwin’s smile: poetry in human form. \u003ccite>(Sabrina Nelson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Co-curated by \u003ca href=\"https://www.instagram.com/blublakwomyn/\" target=\"_blank\" rel=\"noopener\">Ashara Ekundayo\u003c/a> and \u003ca href=\"https://omomisha.com/\" target=\"_blank\" rel=\"noopener\">Omo Misha\u003c/a>, the exhibition centers a series of illustrations by Nelson, charting her personal journey in understanding brother Baldwin. The sketchbooks are displayed alongside paintings, poetic works on scrolls, projected videos, and more; the centerpiece is one golden sketchbook with Nelson’s first drawing of Baldwin.\u003c/p>\n\u003cp>The series began eight years ago, when Nelson was invited to Paris with poet \u003ca href=\"https://www.instagram.com/jessicacaremoor/?hl=en\" target=\"_blank\" rel=\"noopener\">jessica Care moore\u003c/a> to paint live images of James Baldwin during a plenary session at the James Baldwin Conference at the American University of Paris in 2016.\u003c/p>\n\u003cp>To plan for the trip, Nelson immersed herself in Baldwin’s work, speeches and written pieces, starting with his 1963 book \u003cem>The Fire Next Time\u003c/em>. With a comfortable amount of knowledge ahead of the conference, she realized once she arrived that she was surrounded by actual \u003cem>Baldwinites\u003c/em> — devout followers of the late poet’s work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unfazed, she sat in on the first presentation, and opened her sketchbook with Baldwin on her mind.\u003c/p>\n\u003cfigure id=\"attachment_13953856\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2207.jpg\" alt=\"Four women sit and pose for a photo at the Joyce Gordon Gallery in Oakland.\" width=\"640\" height=\"480\" class=\"size-full wp-image-13953856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2207.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2207-160x120.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jazz artist and educator Dr. Angela Wellman, art curator Ashara Ekundayo, gallery owner Joyce Gordon and interdisciplinary artist Sabrina Nelson at Joyce Gordon Gallery in Oakland. \u003ccite>(Courtesy Ashara Ekundayo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I started drawing his image, and I felt something touch me spiritually,” Nelson tells me during a video call, motioning to her forearms as she revisits the hair-raising sensation. “It was the first time I’d drawn his image.”\u003c/p>\n\u003cp>She looked around the room, checking for open windows or a sign of a breeze that might have caused goosebumps. And then, Nelson says, she addressed Baldwin’s spirit directly. “If you’re in this room, Mr. Baldwin, I don’t know you like that,” she says with a slight laugh, admitting that she was no Baldwinite.\u003c/p>\n\u003cp>Nelson, who’d studied the Yoruba faith, was clear with her request to Baldwin’s spirit: “If you’re here, and you’re trying to touch me in a spiritual way,” Nelson said, “teach me \u003cem>how to know you\u003c/em>.” \u003c/p>\n\u003cfigure id=\"attachment_13953857\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2219.jpg\" alt=\"Filmmaker Celia Peters stands in admiration of an image of James Baldwin on the wall at the Joyce Gordon Gallery.\" width=\"480\" height=\"640\" class=\"size-full wp-image-13953857\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2219.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2219-160x213.jpg 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Celia Peters admires an image of James Baldwin at Joyce Gordon Gallery. \u003ccite>(Ashara Ekundayo )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nelson continued to draw Baldwin’s image throughout her trip, but stopped for a few months when she returned to the states. In October of that same year, however, she was tasked with drawing a superhero for the month-long artist exercise known as Inktober. Nelson chose Baldwin, and instead of drawing one image per day, or 31 total, as the challenge called for, she drew 91.\u003c/p>\n\u003cp>From this body of work, she started sharing the art with high schoolers who also participated in Inktober — and soon realized that schools weren’t teaching Baldwin to their students.\u003c/p>\n\u003cp>[aside postID='arts_13953326']“When you have a prophet like James Baldwin, who said things that are relevant to this moment that we now live in,” says Nelson, pointing to issues of book bans, low literacy rates and living conditions in our cities, “we need to bring back some of these prophets so we can pay attention to what they said… that’s the story of the sketchbooks.”\u003c/p>\n\u003cp>For six years, the sketchbooks sat in a drawer in Nelson’s studio. Then, in 2022, she was visited by Ashara Ekundayo, a longtime friend. Just like Nelson, Ekundayo was born in Detroit amidst the rebellions of the 1960s. They call themselves “riot babies.”\u003c/p>\n\u003cp>“What are these doing here?” asked Ekundayo of the sketchbooks. From that one question, a multi-city tour was birthed.\u003c/p>\n\u003cfigure id=\"attachment_13953858\" class=\"wp-caption aligncenter\" style=\"max-width: 1029px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4.jpg\" alt=\"A stoic yet colorful portrait of James Baldwin starring straight ahead.\" width=\"1029\" height=\"1489\" class=\"size-full wp-image-13953858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4.jpg 1029w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4-800x1158.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4-1020x1476.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4-768x1111.jpg 768w\" sizes=\"(max-width: 1029px) 100vw, 1029px\">\u003cfigcaption class=\"wp-caption-text\">James Baldwin in stoic form. \u003ccite>(Sabrina Nelson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The traveling exhibition premiered on Aug. 2, 2023 — Baldwin’s 99th birthday — in Harlem, New York, where he was born. It was shown at New Orleans’ African-American Museum before coming to Oakland’s Joyce Gordon Gallery. It’ll spend the early summer months at the Blanc Gallery in Chicago before closing at Detroit’s Charles H. Wright Museum on August 2, 2024 — what would have been Baldwin’s 100th birthday.\u003c/p>\n\u003cp>[aside postID='arts_13952570']The exhibition is intentionally being shown in cities significant to Baldwin — where he lived or made speeches, says Ekundayo. “We began in Harlem where (Baldwin) was born, and are going to end in Detroit,” says Ekundayo, noting that it’s one of the last American cities in which Baldwin lived before he moved back to Paris, where he passed in 1987.\u003c/p>\n\u003cp>Baldwin has several connections to the Bay Area. He hosted the 1964 documentary film \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=J9UG9nJ2E9U\">Take This Hammer\u003c/a>\u003c/em>, a study of Black San Francisco at the time, filmed by KQED. In the ’70s, Baldwin spoke at \u003ca href=\"https://avplayer.lib.berkeley.edu/Video-Public-MRC/(mrc)00018\" target=\"_blank\" rel=\"noopener\">UC Berkeley\u003c/a> and \u003ca href=\"https://californiarevealed.org/do/a2bf356f-9353-4977-a2e8-e90f80cd764b\" target=\"_blank\" rel=\"noopener\">Berkeley High School\u003c/a>. A decade prior, he spoke at Oakland’s \u003ca href=\"https://archive.org/details/copl_000050/copl_000050_t01_a_access.mp3\" target=\"_blank\" rel=\"noopener\">Castlemont High School\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J9UG9nJ2E9U\u003c/p>\n\u003cp>It’s those touch points, specifically Baldwin’s visit to Castlemont, that makes this exhibition in Oakland important, says Ekundayo. Supported by the African American Library and Museum of Oakland and the Alameda County Behavioral Health Department, the Oakland stop also has a political education aspect to it, she adds.\u003c/p>\n\u003cp>In September of this year, in a bit of a full-circle moment, Nelson will show a totally new body of work as part of the James Baldwin Centennial Festival at the American University of Paris. It’ll be another chance for Nelson to reconnect with Baldwin’s spirit — that is, if he hasn’t been traveling with her this whole time.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sabrina Nelson’s \u003ca href=\"https://www.instagram.com/p/C3orV3-Oluk/?img_index=1\" target=\"_blank\" rel=\"noopener\">\u003cem>Frontline Prophet: James Baldwin\u003c/em>\u003c/a> runs now through April 27 at Joyce Gordon Gallery in Oakland; \u003ca href=\"https://www.instagram.com/p/C3orV3-Oluk/?img_index=1\">details here\u003c/a>. A ‘Wine, Words & Baldwin’ event with Oakland Poet Laureate \u003ca href=\"https://www.instagram.com/wordslanger/?hl=en\">Ayodele Nzinga\u003c/a> and the Lower Bottom Playaz takes place March 30 at the BAM House in Oakland; \u003ca href=\"https://www.onthestage.tickets/show/the-lower-bottom-playaz/65e68812958d7713fe8238e5\">details here\u003c/a>. ‘Winter in America: The SpeakEasy – Bold, Black & Brilliant: The Baldwin Edition’ takes place April 3 at Joyce Gordon Gallery; \u003ca href=\"https://www.instagram.com/joycegordongallery/?hl=en\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953478\" class=\"wp-caption aligncenter\" style=\"max-width: 2011px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-scaled.jpg\" alt=\"A colorful mixed medium image of James Baldwin, in collage form.\" width=\"2011\" height=\"2560\" class=\"size-full wp-image-13953478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-scaled.jpg 2011w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-800x1018.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-1020x1298.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-768x977.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-1207x1536.jpg 1207w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-1609x2048.jpg 1609w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1-Sabrina-Collage-1920x2444.jpg 1920w\" sizes=\"(max-width: 2011px) 100vw, 2011px\">\u003cfigcaption class=\"wp-caption-text\">James Baldwin in collage form, part of ‘Frontline Prophet: James Baldwin,’ on display now through April 27 at Joyce Gordon Gallery in Oakland. \u003ccite>(Sabrina Nelson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than a half-century ago, the famed poet and author \u003ca href=\"https://www.kqed.org/arts/tag/james-baldwin\">James Baldwin\u003c/a> addressed major issues of the era: racism, sexism and classism. In 2024, as we still reckon with the same problems, a movement is underway to celebrate what would have been Baldwin’s 100th birthday this coming August. In doing so, artists are revisiting his astute observations, and showing how his work continues to resonate.\u003c/p>\n\u003cp>As a part of this celebration, a traveling exhibition of works by Detroit-based artist Sabrina Nelson, titled \u003ca href=\"https://www.instagram.com/p/C3orV3-Oluk/?img_index=1\" target=\"_blank\" rel=\"noopener\">\u003cem>Frontline Prophet: James Baldwin\u003c/em>\u003c/a>, is on display now through April 27 at Joyce Gordon Gallery in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13953483\" class=\"wp-caption aligncenter\" style=\"max-width: 1760px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-scaled.jpg\" alt=\"An image of James Baldwin's radiant smile and some of his words of wisdom.\" width=\"1760\" height=\"2560\" class=\"size-full wp-image-13953483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-scaled.jpg 1760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-800x1164.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-1020x1484.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-768x1117.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-1056x1536.jpg 1056w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-1408x2048.jpg 1408w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/10-Sabrina-1920x2793.jpg 1920w\" sizes=\"(max-width: 1760px) 100vw, 1760px\">\u003cfigcaption class=\"wp-caption-text\">James Baldwin’s smile: poetry in human form. \u003ccite>(Sabrina Nelson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Co-curated by \u003ca href=\"https://www.instagram.com/blublakwomyn/\" target=\"_blank\" rel=\"noopener\">Ashara Ekundayo\u003c/a> and \u003ca href=\"https://omomisha.com/\" target=\"_blank\" rel=\"noopener\">Omo Misha\u003c/a>, the exhibition centers a series of illustrations by Nelson, charting her personal journey in understanding brother Baldwin. The sketchbooks are displayed alongside paintings, poetic works on scrolls, projected videos, and more; the centerpiece is one golden sketchbook with Nelson’s first drawing of Baldwin.\u003c/p>\n\u003cp>The series began eight years ago, when Nelson was invited to Paris with poet \u003ca href=\"https://www.instagram.com/jessicacaremoor/?hl=en\" target=\"_blank\" rel=\"noopener\">jessica Care moore\u003c/a> to paint live images of James Baldwin during a plenary session at the James Baldwin Conference at the American University of Paris in 2016.\u003c/p>\n\u003cp>To plan for the trip, Nelson immersed herself in Baldwin’s work, speeches and written pieces, starting with his 1963 book \u003cem>The Fire Next Time\u003c/em>. With a comfortable amount of knowledge ahead of the conference, she realized once she arrived that she was surrounded by actual \u003cem>Baldwinites\u003c/em> — devout followers of the late poet’s work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unfazed, she sat in on the first presentation, and opened her sketchbook with Baldwin on her mind.\u003c/p>\n\u003cfigure id=\"attachment_13953856\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2207.jpg\" alt=\"Four women sit and pose for a photo at the Joyce Gordon Gallery in Oakland.\" width=\"640\" height=\"480\" class=\"size-full wp-image-13953856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2207.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2207-160x120.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jazz artist and educator Dr. Angela Wellman, art curator Ashara Ekundayo, gallery owner Joyce Gordon and interdisciplinary artist Sabrina Nelson at Joyce Gordon Gallery in Oakland. \u003ccite>(Courtesy Ashara Ekundayo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I started drawing his image, and I felt something touch me spiritually,” Nelson tells me during a video call, motioning to her forearms as she revisits the hair-raising sensation. “It was the first time I’d drawn his image.”\u003c/p>\n\u003cp>She looked around the room, checking for open windows or a sign of a breeze that might have caused goosebumps. And then, Nelson says, she addressed Baldwin’s spirit directly. “If you’re in this room, Mr. Baldwin, I don’t know you like that,” she says with a slight laugh, admitting that she was no Baldwinite.\u003c/p>\n\u003cp>Nelson, who’d studied the Yoruba faith, was clear with her request to Baldwin’s spirit: “If you’re here, and you’re trying to touch me in a spiritual way,” Nelson said, “teach me \u003cem>how to know you\u003c/em>.” \u003c/p>\n\u003cfigure id=\"attachment_13953857\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2219.jpg\" alt=\"Filmmaker Celia Peters stands in admiration of an image of James Baldwin on the wall at the Joyce Gordon Gallery.\" width=\"480\" height=\"640\" class=\"size-full wp-image-13953857\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2219.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_2219-160x213.jpg 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Celia Peters admires an image of James Baldwin at Joyce Gordon Gallery. \u003ccite>(Ashara Ekundayo )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nelson continued to draw Baldwin’s image throughout her trip, but stopped for a few months when she returned to the states. In October of that same year, however, she was tasked with drawing a superhero for the month-long artist exercise known as Inktober. Nelson chose Baldwin, and instead of drawing one image per day, or 31 total, as the challenge called for, she drew 91.\u003c/p>\n\u003cp>From this body of work, she started sharing the art with high schoolers who also participated in Inktober — and soon realized that schools weren’t teaching Baldwin to their students.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“When you have a prophet like James Baldwin, who said things that are relevant to this moment that we now live in,” says Nelson, pointing to issues of book bans, low literacy rates and living conditions in our cities, “we need to bring back some of these prophets so we can pay attention to what they said… that’s the story of the sketchbooks.”\u003c/p>\n\u003cp>For six years, the sketchbooks sat in a drawer in Nelson’s studio. Then, in 2022, she was visited by Ashara Ekundayo, a longtime friend. Just like Nelson, Ekundayo was born in Detroit amidst the rebellions of the 1960s. They call themselves “riot babies.”\u003c/p>\n\u003cp>“What are these doing here?” asked Ekundayo of the sketchbooks. From that one question, a multi-city tour was birthed.\u003c/p>\n\u003cfigure id=\"attachment_13953858\" class=\"wp-caption aligncenter\" style=\"max-width: 1029px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4.jpg\" alt=\"A stoic yet colorful portrait of James Baldwin starring straight ahead.\" width=\"1029\" height=\"1489\" class=\"size-full wp-image-13953858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4.jpg 1029w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4-800x1158.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4-1020x1476.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-4-768x1111.jpg 768w\" sizes=\"(max-width: 1029px) 100vw, 1029px\">\u003cfigcaption class=\"wp-caption-text\">James Baldwin in stoic form. \u003ccite>(Sabrina Nelson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The traveling exhibition premiered on Aug. 2, 2023 — Baldwin’s 99th birthday — in Harlem, New York, where he was born. It was shown at New Orleans’ African-American Museum before coming to Oakland’s Joyce Gordon Gallery. It’ll spend the early summer months at the Blanc Gallery in Chicago before closing at Detroit’s Charles H. Wright Museum on August 2, 2024 — what would have been Baldwin’s 100th birthday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The exhibition is intentionally being shown in cities significant to Baldwin — where he lived or made speeches, says Ekundayo. “We began in Harlem where (Baldwin) was born, and are going to end in Detroit,” says Ekundayo, noting that it’s one of the last American cities in which Baldwin lived before he moved back to Paris, where he passed in 1987.\u003c/p>\n\u003cp>Baldwin has several connections to the Bay Area. He hosted the 1964 documentary film \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=J9UG9nJ2E9U\">Take This Hammer\u003c/a>\u003c/em>, a study of Black San Francisco at the time, filmed by KQED. In the ’70s, Baldwin spoke at \u003ca href=\"https://avplayer.lib.berkeley.edu/Video-Public-MRC/(mrc)00018\" target=\"_blank\" rel=\"noopener\">UC Berkeley\u003c/a> and \u003ca href=\"https://californiarevealed.org/do/a2bf356f-9353-4977-a2e8-e90f80cd764b\" target=\"_blank\" rel=\"noopener\">Berkeley High School\u003c/a>. A decade prior, he spoke at Oakland’s \u003ca href=\"https://archive.org/details/copl_000050/copl_000050_t01_a_access.mp3\" target=\"_blank\" rel=\"noopener\">Castlemont High School\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/J9UG9nJ2E9U'\n title='//www.youtube.com/embed/J9UG9nJ2E9U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s those touch points, specifically Baldwin’s visit to Castlemont, that makes this exhibition in Oakland important, says Ekundayo. Supported by the African American Library and Museum of Oakland and the Alameda County Behavioral Health Department, the Oakland stop also has a political education aspect to it, she adds.\u003c/p>\n\u003cp>In September of this year, in a bit of a full-circle moment, Nelson will show a totally new body of work as part of the James Baldwin Centennial Festival at the American University of Paris. It’ll be another chance for Nelson to reconnect with Baldwin’s spirit — that is, if he hasn’t been traveling with her this whole time.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sabrina Nelson’s \u003ca href=\"https://www.instagram.com/p/C3orV3-Oluk/?img_index=1\" target=\"_blank\" rel=\"noopener\">\u003cem>Frontline Prophet: James Baldwin\u003c/em>\u003c/a> runs now through April 27 at Joyce Gordon Gallery in Oakland; \u003ca href=\"https://www.instagram.com/p/C3orV3-Oluk/?img_index=1\">details here\u003c/a>. A ‘Wine, Words & Baldwin’ event with Oakland Poet Laureate \u003ca href=\"https://www.instagram.com/wordslanger/?hl=en\">Ayodele Nzinga\u003c/a> and the Lower Bottom Playaz takes place March 30 at the BAM House in Oakland; \u003ca href=\"https://www.onthestage.tickets/show/the-lower-bottom-playaz/65e68812958d7713fe8238e5\">details here\u003c/a>. ‘Winter in America: The SpeakEasy – Bold, Black & Brilliant: The Baldwin Edition’ takes place April 3 at Joyce Gordon Gallery; \u003ca href=\"https://www.instagram.com/joycegordongallery/?hl=en\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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}
},
"closealltabs": {
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"order": 1
},
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"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 />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
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"source": "WNYC"
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"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",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"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",
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"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",
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},
"link": "/radio/program/pbs-newshour",
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"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",
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"officialWebsiteLink": "/perspectives/",
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"order": 14
},
"link": "/perspectives",
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