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"title": "BAMPFA’s Great Migration Show Brings Nuance to a History Shared by Millions",
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"content": "\u003cp>My mother was six years old when her family migrated west from Tallahassee, Florida in 1954. She was one of approximately six million Black people who moved out of the American South to Western, Northern and Midwestern states in the era known as \u003ca href=\"https://www.archives.gov/research/african-americans/migrations/great-migration\">the Great Migration\u003c/a>. My grandfather, a physician who had limited opportunities in the Jim Crow South, moved the family to Porterville, California in the Central Valley. They lived in Palo Alto for five or so years before ultimately settling in Southern California.\u003c/p>\n\u003cp>Those facts of my family’s migration story were front of mind as I walked through the new exhibition \u003ca href=\"https://bampfa.org/program/movement-every-direction-legacies-great-migration\">\u003ci>A Movement in Every Direction: Legacies of the Great Migration\u003c/i>\u003c/a>, on view at the Berkeley Art Museum and Pacific Film Archive through Sept. 22, 2024.\u003c/p>\n\u003cp>Translating this epic American story of the Great Migration, which has so many facets and truths (and warranted \u003ca href=\"http://warmth.isabelwilkerson.com/\">622 pages from scholar Isabel Wilkerson\u003c/a>), into a walkable, visual experience is a feat. \u003ci>A Movement in Every Direction\u003c/i>, which was co-organized by the Mississippi Museum of Art and the Baltimore Museum of Art and features 12 artists, beautifully showcases how this is a shared history for millions, with very intricate, individual stories.\u003c/p>\n\u003cfigure id=\"attachment_13955970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13955970 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-800x288.jpg\" alt=\"Charcoal drawing depicting various Black people.\" width=\"800\" height=\"288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-800x288.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1020x367.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-160x58.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-768x276.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1536x552.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-2048x736.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1920x690.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Pruitt, ‘A Song for Travelers,’ 2022; Charcoal, conté, and pastel on paper, mounted onto four aluminum panels. \u003ccite>(Courtesy of Adam Reich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert Pruitt’s large-scale charcoal drawing \u003ci>A Song for Travelers\u003c/i> (2022) feels emblematic of that intricacy — both in the craft of the piece and the story it tells. Pruitt draws inspiration from his personal archive (a family reunion photo from the 1970s) and the historical archive of his hometown Houston to depict a community of past and present-day figures offering gifts to a traveler.\u003c/p>\n\u003cp>The longer you look at this piece, the more detail is revealed. Noticing each gift elicits the bright-eyed feel of answering the question “Where’s Waldo?” It’s a feast for the eyes and the spirit, as one can imagine sitting in the traveler’s seat, receiving the support of the ancestors and community members.\u003c/p>\n\u003cfigure id=\"attachment_13955972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13955972 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-800x534.jpg\" alt=\"Two woven textiles hang on a white wall\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Akea Brionne, ‘School Children’ (left) and ‘Porch Sittin’ (right) from the series ‘An Ode To (You)’all,’ 2022; Jacquard tapestry, poly-fil, rhinestones. \u003ccite>(Courtesy the artist; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The intricacy of stories is also evident in the detailed stitching of Akea Brionne’s tapestries for her installation \u003ci>An Ode to (You)’all\u003c/i> (2022), which reflects on Black maternal family structures through the lives of her great-grandmother and great-aunts. The textiles are eye-catching. By transforming old family photographs into jacquard weavings, which she bedazzles with sparkly embellishments, Akea Brionne honors the women who helped her family move north from Mississippi.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some artists, like Torkwase Dyson, take a more abstract approach to the topic. Dyson, who researched plantation economies and Black liberation theory for her piece \u003ci>Way Over There Inside Me (A Festival of Inches)\u003c/i> (2022), says the abstract sculpture reflects how Black people “bend space to have life” throughout history. Dyson’s trapezoidal shapes, made of smoky glass, steel and aluminum, indeed invoke a number of musings about space, place and time; I was reminded of sci-fi-like portals to other locations or dimensions.\u003c/p>\n\u003cfigure id=\"attachment_13955974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955974\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-800x446.jpg\" alt=\"Trapezoidal figures connected by bent metal bars displayed in the corner of a musuem.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1536x855.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-2048x1140.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1920x1069.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Torkwase Dyson, ‘Way Over There Inside Me (A Festival of Inches),’ 2022; Painted steel, glass, painted aluminum, dry-erase marker. \u003ccite>(Courtesy the artist and Pace Gallery; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition is anchored by some big names (that were, admittedly, the first to catch my eye when the exhibition was announced). Carrie Mae Weems, Theaster Gates and Mark Bradford all contribute powerful new works. I never miss an opportunity to see Bradford’s work and his mural-sized installation – which duplicates a 1913 “WANTED” ad inviting Black families to join a Jim Crow-free settlement in New Mexico – doesn’t disappoint.\u003c/p>\n\u003cp>Weems’s video installation, titled \u003ci>Leave! Leave Now!\u003c/i> (2022), is simultaneously haunting and gorgeous. In it, Weems narrates what she knows of her grandfather’s journey to Chicago after he was presumed dead following an attack by a white mob in 1936. She also asks questions about the things she doesn’t know: “What was those early years like for you? When did you become a union organizer?”\u003c/p>\n\u003cfigure id=\"attachment_13955971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-800x534.jpg\" alt=\"A black and white digital image floats in front of a slightly open red curtain\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Mae Weems, ‘Leave! Leave Now!,’ 2022; Single-channel digital video (color, sound) installation with mixed media, 25 min. \u003ccite>(Courtesy the artist and Jack Shainman Gallery, New York; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leaving the exhibition, I too felt moved to ask more questions about my family’s migration story. I called my mother, realizing I’d never heard the specific reason they landed in Porterville first. “My father got a resident physician job at Porterville State Hospital [now Porterville Developmental Center] and the job came with a house,” she told me.\u003c/p>\n\u003cp>I won’t be surprised if other Black Californians are prompted to reflect on how and when their family members first arrived in the state after experiencing \u003ci>A Movement in Every Direction\u003c/i>. In fact, they’re invited to, via an interactive component where visitors can record memories about their family’s migration story to join a growing archive. (The program notes that more than 300,000 Black people arrived in the Bay Area during the Great Migration.)\u003c/p>\n\u003cp>For everyone who visits, the show and archive are a reminder of how strong the Black American spirit is — and how it continuously strives, in both life and in art.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘A Movement in Every Direction: Legacies of the Great Migration’ is on view through Sept. 22, 2024 at the Berkeley Art Museum and Pacific Film Archive (2155 Center St.). \u003ca href=\"https://bampfa.org/program/movement-every-direction-legacies-great-migration\">Find more details and information here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My mother was six years old when her family migrated west from Tallahassee, Florida in 1954. She was one of approximately six million Black people who moved out of the American South to Western, Northern and Midwestern states in the era known as \u003ca href=\"https://www.archives.gov/research/african-americans/migrations/great-migration\">the Great Migration\u003c/a>. My grandfather, a physician who had limited opportunities in the Jim Crow South, moved the family to Porterville, California in the Central Valley. They lived in Palo Alto for five or so years before ultimately settling in Southern California.\u003c/p>\n\u003cp>Those facts of my family’s migration story were front of mind as I walked through the new exhibition \u003ca href=\"https://bampfa.org/program/movement-every-direction-legacies-great-migration\">\u003ci>A Movement in Every Direction: Legacies of the Great Migration\u003c/i>\u003c/a>, on view at the Berkeley Art Museum and Pacific Film Archive through Sept. 22, 2024.\u003c/p>\n\u003cp>Translating this epic American story of the Great Migration, which has so many facets and truths (and warranted \u003ca href=\"http://warmth.isabelwilkerson.com/\">622 pages from scholar Isabel Wilkerson\u003c/a>), into a walkable, visual experience is a feat. \u003ci>A Movement in Every Direction\u003c/i>, which was co-organized by the Mississippi Museum of Art and the Baltimore Museum of Art and features 12 artists, beautifully showcases how this is a shared history for millions, with very intricate, individual stories.\u003c/p>\n\u003cfigure id=\"attachment_13955970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13955970 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-800x288.jpg\" alt=\"Charcoal drawing depicting various Black people.\" width=\"800\" height=\"288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-800x288.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1020x367.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-160x58.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-768x276.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1536x552.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-2048x736.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1920x690.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Pruitt, ‘A Song for Travelers,’ 2022; Charcoal, conté, and pastel on paper, mounted onto four aluminum panels. \u003ccite>(Courtesy of Adam Reich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert Pruitt’s large-scale charcoal drawing \u003ci>A Song for Travelers\u003c/i> (2022) feels emblematic of that intricacy — both in the craft of the piece and the story it tells. Pruitt draws inspiration from his personal archive (a family reunion photo from the 1970s) and the historical archive of his hometown Houston to depict a community of past and present-day figures offering gifts to a traveler.\u003c/p>\n\u003cp>The longer you look at this piece, the more detail is revealed. Noticing each gift elicits the bright-eyed feel of answering the question “Where’s Waldo?” It’s a feast for the eyes and the spirit, as one can imagine sitting in the traveler’s seat, receiving the support of the ancestors and community members.\u003c/p>\n\u003cfigure id=\"attachment_13955972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13955972 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-800x534.jpg\" alt=\"Two woven textiles hang on a white wall\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Akea Brionne, ‘School Children’ (left) and ‘Porch Sittin’ (right) from the series ‘An Ode To (You)’all,’ 2022; Jacquard tapestry, poly-fil, rhinestones. \u003ccite>(Courtesy the artist; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The intricacy of stories is also evident in the detailed stitching of Akea Brionne’s tapestries for her installation \u003ci>An Ode to (You)’all\u003c/i> (2022), which reflects on Black maternal family structures through the lives of her great-grandmother and great-aunts. The textiles are eye-catching. By transforming old family photographs into jacquard weavings, which she bedazzles with sparkly embellishments, Akea Brionne honors the women who helped her family move north from Mississippi.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some artists, like Torkwase Dyson, take a more abstract approach to the topic. Dyson, who researched plantation economies and Black liberation theory for her piece \u003ci>Way Over There Inside Me (A Festival of Inches)\u003c/i> (2022), says the abstract sculpture reflects how Black people “bend space to have life” throughout history. Dyson’s trapezoidal shapes, made of smoky glass, steel and aluminum, indeed invoke a number of musings about space, place and time; I was reminded of sci-fi-like portals to other locations or dimensions.\u003c/p>\n\u003cfigure id=\"attachment_13955974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955974\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-800x446.jpg\" alt=\"Trapezoidal figures connected by bent metal bars displayed in the corner of a musuem.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1536x855.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-2048x1140.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1920x1069.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Torkwase Dyson, ‘Way Over There Inside Me (A Festival of Inches),’ 2022; Painted steel, glass, painted aluminum, dry-erase marker. \u003ccite>(Courtesy the artist and Pace Gallery; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition is anchored by some big names (that were, admittedly, the first to catch my eye when the exhibition was announced). Carrie Mae Weems, Theaster Gates and Mark Bradford all contribute powerful new works. I never miss an opportunity to see Bradford’s work and his mural-sized installation – which duplicates a 1913 “WANTED” ad inviting Black families to join a Jim Crow-free settlement in New Mexico – doesn’t disappoint.\u003c/p>\n\u003cp>Weems’s video installation, titled \u003ci>Leave! Leave Now!\u003c/i> (2022), is simultaneously haunting and gorgeous. In it, Weems narrates what she knows of her grandfather’s journey to Chicago after he was presumed dead following an attack by a white mob in 1936. She also asks questions about the things she doesn’t know: “What was those early years like for you? When did you become a union organizer?”\u003c/p>\n\u003cfigure id=\"attachment_13955971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-800x534.jpg\" alt=\"A black and white digital image floats in front of a slightly open red curtain\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Mae Weems, ‘Leave! Leave Now!,’ 2022; Single-channel digital video (color, sound) installation with mixed media, 25 min. \u003ccite>(Courtesy the artist and Jack Shainman Gallery, New York; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leaving the exhibition, I too felt moved to ask more questions about my family’s migration story. I called my mother, realizing I’d never heard the specific reason they landed in Porterville first. “My father got a resident physician job at Porterville State Hospital [now Porterville Developmental Center] and the job came with a house,” she told me.\u003c/p>\n\u003cp>I won’t be surprised if other Black Californians are prompted to reflect on how and when their family members first arrived in the state after experiencing \u003ci>A Movement in Every Direction\u003c/i>. In fact, they’re invited to, via an interactive component where visitors can record memories about their family’s migration story to join a growing archive. (The program notes that more than 300,000 Black people arrived in the Bay Area during the Great Migration.)\u003c/p>\n\u003cp>For everyone who visits, the show and archive are a reminder of how strong the Black American spirit is — and how it continuously strives, in both life and in art.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘A Movement in Every Direction: Legacies of the Great Migration’ is on view through Sept. 22, 2024 at the Berkeley Art Museum and Pacific Film Archive (2155 Center St.). \u003ca href=\"https://bampfa.org/program/movement-every-direction-legacies-great-migration\">Find more details and information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Three Local Artists Win SFMOMA’s SECA Art Award",
"headTitle": "Three Local Artists Win SFMOMA’s SECA Art Award | KQED",
"content": "\u003cp>The San Francisco Museum of Modern Art has announced the three winners of the 2024 SECA Art Award: Lauren D’Amato, Angela Hennesy and Rupy C. Tut. The artists will have an exhibition at the museum Dec. 14, 2024–May 25, 2025 accompanied by a publication. \u003c/p>\n\u003cp>Curated by Maria Castro, assistant curator of painting and sculpture, and Shana Lopes, assistant curator of photography, this year’s SECA awardees were narrowed down from a list of \u003ca href=\"https://www.kqed.org/arts/13940467/sfmoma-announces-16-finalists-for-the-seca-art-award\">16 finalists\u003c/a> after studio visits and a month of deliberation. The resulting exhibition, on the museum’s second floor, will give each artist an entire gallery for the presentation of new and recent work.\u003c/p>\n\u003cp>And what will that work be? Expect precise paintings, commanding sculptural installations and detailed scenes on paper and linen.\u003c/p>\n\u003cfigure id=\"attachment_13955876\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1.jpg\" alt='wide painting of diamond shapes with lettering \"star market\" reflected back and forth' width=\"2400\" height=\"1075\" class=\"size-full wp-image-13955876\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-800x358.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-1020x457.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-768x344.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-1536x688.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-2048x917.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-1920x860.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Lauren D’Amato, ‘Star Market,’ 2024. \u003ccite>(Yubo Dong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.laurendamato.com/\">Lauren D’Amato\u003c/a>, trained as a sign painter and pinstriper, has developed a crisp and text-filled painting style that pays homage to the signage of everyday city life. She renders the ghostly remnants of businesses as if seen through car windows, semi-obscured by shining chrome. A \u003ca href=\"https://houseofseiko.info/complete_machine\">recent show\u003c/a> at San Francisco’s House of Seiko included a mechanized sculpture of rusty metal, painted glass and a slowly spinning hubcap.\u003c/p>\n\u003cp>\u003ca href=\"https://www.angelahennessy.com/\">Angela Hennessy\u003c/a>’s deeply meditative art, often installed in black-walled exhibition spaces, uses the gestures of domestic labor (wrapping, stitching, braiding) to construct somber, intricate sculptures. Her material lists are often long, including elements like the artist’s own hair, gold leaf and twist ties. Her large-scale mourning wreaths, hanging textiles and tall standing sculptures touch on the artist’s personal experience of gun violence (she survived a gunshot wound in 2015) and her work as a hospice volunteer. \u003c/p>\n\u003cfigure id=\"attachment_13955873\" class=\"wp-caption aligncenter\" style=\"max-width: 1766px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024.jpg\" alt=\"painting of white-clad person under greenery covered umbrella perched on globe\" width=\"1766\" height=\"2500\" class=\"size-full wp-image-13955873\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024.jpg 1766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-800x1133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-1020x1444.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-768x1087.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-1085x1536.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-1447x2048.jpg 1447w\" sizes=\"(max-width: 1766px) 100vw, 1766px\">\u003cfigcaption class=\"wp-caption-text\">Rupy C. Tut, ‘A Place Dear to Me,’ 2024. \u003ccite>(Photo by Phillip Maisel; Courtesy of the artist and Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.rupyctut.com/\">Rupy C. Tut\u003c/a>’s vibrant paintings on linen and hemp paper borrow from the language of calligraphy and traditional Indian painting to depict women in dense, lush landscapes. In action and in repose, they often blend into their natural surroundings, Tut’s tiny brushstrokes embellishing fabric and foliage with the same lively intensity.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>The 2024 SECA Art Award exhibition will take place at the San Francisco Museum of Modern Art Dec. 14, 2024–May 25, 2025.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Museum of Modern Art has announced the three winners of the 2024 SECA Art Award: Lauren D’Amato, Angela Hennesy and Rupy C. Tut. The artists will have an exhibition at the museum Dec. 14, 2024–May 25, 2025 accompanied by a publication. \u003c/p>\n\u003cp>Curated by Maria Castro, assistant curator of painting and sculpture, and Shana Lopes, assistant curator of photography, this year’s SECA awardees were narrowed down from a list of \u003ca href=\"https://www.kqed.org/arts/13940467/sfmoma-announces-16-finalists-for-the-seca-art-award\">16 finalists\u003c/a> after studio visits and a month of deliberation. The resulting exhibition, on the museum’s second floor, will give each artist an entire gallery for the presentation of new and recent work.\u003c/p>\n\u003cp>And what will that work be? Expect precise paintings, commanding sculptural installations and detailed scenes on paper and linen.\u003c/p>\n\u003cfigure id=\"attachment_13955876\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1.jpg\" alt='wide painting of diamond shapes with lettering \"star market\" reflected back and forth' width=\"2400\" height=\"1075\" class=\"size-full wp-image-13955876\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-800x358.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-1020x457.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-768x344.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-1536x688.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-2048x917.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1_Lauren-DAmato-Star-Market-2024-1-1920x860.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Lauren D’Amato, ‘Star Market,’ 2024. \u003ccite>(Yubo Dong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.laurendamato.com/\">Lauren D’Amato\u003c/a>, trained as a sign painter and pinstriper, has developed a crisp and text-filled painting style that pays homage to the signage of everyday city life. She renders the ghostly remnants of businesses as if seen through car windows, semi-obscured by shining chrome. A \u003ca href=\"https://houseofseiko.info/complete_machine\">recent show\u003c/a> at San Francisco’s House of Seiko included a mechanized sculpture of rusty metal, painted glass and a slowly spinning hubcap.\u003c/p>\n\u003cp>\u003ca href=\"https://www.angelahennessy.com/\">Angela Hennessy\u003c/a>’s deeply meditative art, often installed in black-walled exhibition spaces, uses the gestures of domestic labor (wrapping, stitching, braiding) to construct somber, intricate sculptures. Her material lists are often long, including elements like the artist’s own hair, gold leaf and twist ties. Her large-scale mourning wreaths, hanging textiles and tall standing sculptures touch on the artist’s personal experience of gun violence (she survived a gunshot wound in 2015) and her work as a hospice volunteer. \u003c/p>\n\u003cfigure id=\"attachment_13955873\" class=\"wp-caption aligncenter\" style=\"max-width: 1766px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024.jpg\" alt=\"painting of white-clad person under greenery covered umbrella perched on globe\" width=\"1766\" height=\"2500\" class=\"size-full wp-image-13955873\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024.jpg 1766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-800x1133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-1020x1444.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-768x1087.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-1085x1536.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3_Rupy-C.-Tut-A-Place-Dear-to-Me-2024-1447x2048.jpg 1447w\" sizes=\"(max-width: 1766px) 100vw, 1766px\">\u003cfigcaption class=\"wp-caption-text\">Rupy C. Tut, ‘A Place Dear to Me,’ 2024. \u003ccite>(Photo by Phillip Maisel; Courtesy of the artist and Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.rupyctut.com/\">Rupy C. Tut\u003c/a>’s vibrant paintings on linen and hemp paper borrow from the language of calligraphy and traditional Indian painting to depict women in dense, lush landscapes. In action and in repose, they often blend into their natural surroundings, Tut’s tiny brushstrokes embellishing fabric and foliage with the same lively intensity.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>The 2024 SECA Art Award exhibition will take place at the San Francisco Museum of Modern Art Dec. 14, 2024–May 25, 2025.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Indigenous Artists Sell Work to Benefit Emergency Assistance Efforts in Gaza",
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"content": "\u003cp>Printmakers, protest photographers and jewelry makers will sell work this Sunday at an art show with proceeds going to the Middle East Children’s Alliance.\u003c/p>\n\u003cp>Oakland photographer Ashley Salaz and artist Nicole Gervacio say that the show, \u003cem>\u003ca href=\"https://www.instagram.com/p/C5HTmhvvJt2/?hl=en\">Artists Rising: Oakland to Palestine\u003c/a>\u003c/em>, is grounded in Indigenous artistry and solidarity with Palestine. Salaz, who is of the Coharie Tribe in North Carolina and works for local Indigenous-led organization Sogorea Te’, says there are overwhelming commonalities in the experiences of Native folks and the Palestinian people.\u003c/p>\n\u003cp>[aside postID='arts_13939726']“Palestinians have been in solidarity with us — the Native people of Turtle Island — for a very long time,” she said. “Israel cutting off food sources and cutting down the olive trees — the same was done to our ancestors here, with the mass slaughtering of buffalo and other resources that our people needed to survive.”\u003c/p>\n\u003cp>In the past few months, Salaz has photographed local demonstrations and sold her own beadwork to raise awareness and money for pro-Palestinian organizations.\u003c/p>\n\u003cp>“I do think that artists are the driving force sometimes behind getting people involved and getting people to care, especially nowadays with social media,” Salaz said. “I think art is revolutionary.”\u003c/p>\n\u003cfigure id=\"attachment_13955482\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3.jpg\" alt=\"\" width=\"1920\" height=\"1556\" class=\"size-full wp-image-13955482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-800x648.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-1020x827.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-1536x1245.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Photos by Saman Qadir, like the one above, will be on display in Oakland on April 7. \u003ccite>(Saman Qadir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those selling their work on Sunday is Saman Qadir, an East Bay photojournalist who has photographed an estimated 35 protests, from the Bay Area to Washington D.C. and Texas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Since October 7, I’ve been going to every single action in the Bay Area to document the movement,” Qadir said. “It’s the first time in my life that I’ve seen this many people from all different backgrounds together.”\u003c/p>\n\u003cp>[aside postID='arts_13940325']One four of the photos Qadir is selling on Sunday is an image of women — Palestinian and Ohlone — embracing at a demonstration at an Ohlone shellmound in January. \u003c/p>\n\u003cp>“It was incredibly heartening and so potent,” she said.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Artists Rising: Oakland to Palestine’ takes place on Sunday, April 7, at 510 Firehouse (815 Alice St., Oakland). \u003ca href=\"https://www.instagram.com/p/C5HTmhvvJt2/?hl=en\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Palestinians have been in solidarity with us — the Native people of Turtle Island — for a very long time,” she said. “Israel cutting off food sources and cutting down the olive trees — the same was done to our ancestors here, with the mass slaughtering of buffalo and other resources that our people needed to survive.”\u003c/p>\n\u003cp>In the past few months, Salaz has photographed local demonstrations and sold her own beadwork to raise awareness and money for pro-Palestinian organizations.\u003c/p>\n\u003cp>“I do think that artists are the driving force sometimes behind getting people involved and getting people to care, especially nowadays with social media,” Salaz said. “I think art is revolutionary.”\u003c/p>\n\u003cfigure id=\"attachment_13955482\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3.jpg\" alt=\"\" width=\"1920\" height=\"1556\" class=\"size-full wp-image-13955482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-800x648.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-1020x827.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-1536x1245.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Photos by Saman Qadir, like the one above, will be on display in Oakland on April 7. \u003ccite>(Saman Qadir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those selling their work on Sunday is Saman Qadir, an East Bay photojournalist who has photographed an estimated 35 protests, from the Bay Area to Washington D.C. and Texas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Since October 7, I’ve been going to every single action in the Bay Area to document the movement,” Qadir said. “It’s the first time in my life that I’ve seen this many people from all different backgrounds together.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One four of the photos Qadir is selling on Sunday is an image of women — Palestinian and Ohlone — embracing at a demonstration at an Ohlone shellmound in January. \u003c/p>\n\u003cp>“It was incredibly heartening and so potent,” she said.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Artists Rising: Oakland to Palestine’ takes place on Sunday, April 7, at 510 Firehouse (815 Alice St., Oakland). \u003ca href=\"https://www.instagram.com/p/C5HTmhvvJt2/?hl=en\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "YBCA’s Experimental Film Programs Find New Homes at The Lab and CounterPulse",
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"content": "\u003cp>While Yerba Buena Center for the Arts’ screening room continues to sit dark (without any films to illuminate it), the programs originally organized by Gina Basso to accompany the \u003ci>Bay Area Now 9\u003c/i> exhibition have been busy finding other homes.\u003c/p>\n\u003cp>What could be seen as an unfortunate dispersal of all the energy YBCA might have held tight has become an opportunity to visit some of the Bay Area’s great alternative venues. In that vein, last month’s planned \u003ca href=\"https://www.kqed.org/arts/13954375/experimental-animation-shapeshifters-cinema-ybca\">expanded and experimental animation program\u003c/a> played to a packed house at Oakland’s Shapeshifters Cinema. Now, two other interrupted and withdrawn programs are reconvening at The Lab and CounterPulse.\u003c/p>\n\u003cp>First up is \u003ci>\u003ca href=\"https://www.atasite.org/?p=15368\">Untitled: Sound & Images\u003c/a>\u003c/i>, an Artists’ Television Access-curated night of expanded, ethereal cinema at The Lab on April 12. The show features \u003ci>Light Year\u003c/i>, a 16mm film work by the late, beloved artist \u003ca href=\"https://www.kqed.org/arts/13823720/paul-clipson-visionary-filmmaker-and-projectionist-dies-at-53\">Paul Clipson\u003c/a> (soundtrack by Tashi Wada) and live performances from three collaborative pairs: Lisa Mezzacappa and Anjali Sundaram, Amma Ateria and Linda Scobie, Joshua Churchill and Konrad Steiner.\u003c/p>\n\u003cp>https://vimeo.com/85962209\u003c/p>\n\u003cp>Mixing digital and analog media, each live performance includes elements of improvisation that truly make this a one-night-only experience of Bay Area film and sound art — all the more reason to be happy this planned night (originally scheduled for Feb. 24) didn’t simply disappear.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just a week later, Leah Rosenberg’s \u003ci>\u003ca href=\"https://www.sfcinematheque.org/screening/color-in-twelve-parts/\">Color in Twelve Parts\u003c/a>\u003c/i>, a piece commissioned by Basso for the \u003ci>BAN 9\u003c/i> film program, gets a triumphant, complete debut on April 21 at CounterPulse. Halted halfway through its 12-part rollout by the Feb. 15 closure of YBCA, Rosenberg’s series of monochromatic films, mise en scènes with collections of different-hued objects, marks a departure from the artist’s usual mediums of painting, sculpture and site-specific durational performances. (And cake, and drinks — \u003ca href=\"https://www.leahrosenberg.com/\">she does a lot\u003c/a>.)\u003c/p>\n\u003cp>“It really is this video version of all the themes and areas of interest she’s been involved with very deeply for over a decade,” Basso said of Rosenberg’s films last month. “They’re really beautiful and very sumptuous and they’re obviously colorful, but they’re really fun to watch because she put herself in them — all of these videos begin with her painting her studio a different color.”\u003c/p>\n\u003cp>In a neat twist, the \u003ci>Color in Twelve Parts\u003c/i> will be screened twice, with two different live soundtracks performed by artists John Davis and Kim West.\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>\u003ci>Artists’ Television Access’ ‘Untitled: sound & images’ takes place April 12, 2024, 8–10 p.m. at The Lab (2948 16th St., San Francisco). \u003ca href=\"https://www.atasite.org/?p=15368\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Leah Rosenberg’s ‘Color in Twelve Parts’ screens April 21, 2024, 7:30 p.m. at CounterPulse (80 Turk St., San Francisco). \u003ca href=\"https://www.sfcinematheque.org/screening/color-in-twelve-parts/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While Yerba Buena Center for the Arts’ screening room continues to sit dark (without any films to illuminate it), the programs originally organized by Gina Basso to accompany the \u003ci>Bay Area Now 9\u003c/i> exhibition have been busy finding other homes.\u003c/p>\n\u003cp>What could be seen as an unfortunate dispersal of all the energy YBCA might have held tight has become an opportunity to visit some of the Bay Area’s great alternative venues. In that vein, last month’s planned \u003ca href=\"https://www.kqed.org/arts/13954375/experimental-animation-shapeshifters-cinema-ybca\">expanded and experimental animation program\u003c/a> played to a packed house at Oakland’s Shapeshifters Cinema. Now, two other interrupted and withdrawn programs are reconvening at The Lab and CounterPulse.\u003c/p>\n\u003cp>First up is \u003ci>\u003ca href=\"https://www.atasite.org/?p=15368\">Untitled: Sound & Images\u003c/a>\u003c/i>, an Artists’ Television Access-curated night of expanded, ethereal cinema at The Lab on April 12. The show features \u003ci>Light Year\u003c/i>, a 16mm film work by the late, beloved artist \u003ca href=\"https://www.kqed.org/arts/13823720/paul-clipson-visionary-filmmaker-and-projectionist-dies-at-53\">Paul Clipson\u003c/a> (soundtrack by Tashi Wada) and live performances from three collaborative pairs: Lisa Mezzacappa and Anjali Sundaram, Amma Ateria and Linda Scobie, Joshua Churchill and Konrad Steiner.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mixing digital and analog media, each live performance includes elements of improvisation that truly make this a one-night-only experience of Bay Area film and sound art — all the more reason to be happy this planned night (originally scheduled for Feb. 24) didn’t simply disappear.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just a week later, Leah Rosenberg’s \u003ci>\u003ca href=\"https://www.sfcinematheque.org/screening/color-in-twelve-parts/\">Color in Twelve Parts\u003c/a>\u003c/i>, a piece commissioned by Basso for the \u003ci>BAN 9\u003c/i> film program, gets a triumphant, complete debut on April 21 at CounterPulse. Halted halfway through its 12-part rollout by the Feb. 15 closure of YBCA, Rosenberg’s series of monochromatic films, mise en scènes with collections of different-hued objects, marks a departure from the artist’s usual mediums of painting, sculpture and site-specific durational performances. (And cake, and drinks — \u003ca href=\"https://www.leahrosenberg.com/\">she does a lot\u003c/a>.)\u003c/p>\n\u003cp>“It really is this video version of all the themes and areas of interest she’s been involved with very deeply for over a decade,” Basso said of Rosenberg’s films last month. “They’re really beautiful and very sumptuous and they’re obviously colorful, but they’re really fun to watch because she put herself in them — all of these videos begin with her painting her studio a different color.”\u003c/p>\n\u003cp>In a neat twist, the \u003ci>Color in Twelve Parts\u003c/i> will be screened twice, with two different live soundtracks performed by artists John Davis and Kim West.\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>\u003ci>Artists’ Television Access’ ‘Untitled: sound & images’ takes place April 12, 2024, 8–10 p.m. at The Lab (2948 16th St., San Francisco). \u003ca href=\"https://www.atasite.org/?p=15368\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Leah Rosenberg’s ‘Color in Twelve Parts’ screens April 21, 2024, 7:30 p.m. at CounterPulse (80 Turk St., San Francisco). \u003ca href=\"https://www.sfcinematheque.org/screening/color-in-twelve-parts/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Amy Sherald Exhibition Is Coming to SFMOMA in November",
"headTitle": "An Amy Sherald Exhibition Is Coming to SFMOMA in November | KQED",
"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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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. 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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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"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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"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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"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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"title": "Tennessee Becomes the First State to Protect Musicians and Other Artists Against AI",
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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>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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>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>\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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"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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"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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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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