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"content": "\u003cp>The impetus behind Kija Lucas’ ongoing project, \u003ca href=\"https://www.themst.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of Sentimental Taxonomy\u003c/a> was a desire to understand our stubborn attachments to our material surroundings. “I started wondering about why we hold on to the things we hold on to,” the artist says. \u003c/p>\n\u003cp>Lucas has staged the itinerant and stridently egalitarian project in Pittsburgh, Tulsa, upstate New York and now in her native Bay Area, at the \u003ca href=\"http://www.artsatciis.org/kija-lucas-the-museum-of-sentimental-taxonomy\" rel=\"noopener noreferrer\" target=\"_blank\">California Institute of Integral Studies\u003c/a>, and welcomes any and all who want to join in. Through self-selected “sentimental” objects, participants explore the knots of emotion, memory, and materiality that shape our lives, ever expanding Lucas’ own understanding of how—and what kind of—stuff can be meaningful.\u003c/p>\n\u003cp>“Museum”—or a related term, “archive”—may call up ideas of formal, institutional collections of objects that curators organize so as to convey knowledge. Both terms are also rightly linked to cultural appropriation, disastrous historic \u003ca href=\"https://www.tolerance.org/magazine/what-is-settlercolonialism\" target=\"_blank\" rel=\"noopener noreferrer\">settler-colonial\u003c/a> projects, and the sale or outright theft of objects and artifacts. Lucas is wary of these associations. Her use of “museum” evokes respect for the objects that are temporarily in her care (regardless of their monetary value), and for their owners.\u003c/p>\n\u003cfigure id=\"attachment_13885984\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885984\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_0201-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_0201-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_0201-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_0201-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_0201-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_0201-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_0201-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_0201-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_0201-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Kija Lucas’ ‘Museum of Sentimental Taxonomy’ at the California Institute of Integral Studies, 2020. \u003ccite>(Deirdre Visser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The process begins as Lucas asks participants to complete a basic questionnaire, requesting name, age, city where they live, and a few words about the object(s). Lucas then photographs the participants’ offerings, capturing their physical qualities as best she can. Well after a session ends, she arranges the individual images in Photoshop to produce a single composite photograph and shares with participants the image link on her website. \u003c/p>\n\u003cp>In the early stages, Lucas created composite images using objects that she photographed in the same location, i.e. Pittsburgh or Tulsa. Over time, she abandoned that method and grouped images based on an intuitive aesthetic impulse. What we see, then, is a collection of unrelated items representing stories of which we know neither the beginning nor the end.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the current installation, the large-format photographs are suspended from grommets in the Institute’s Mission Street windows, or wall mounted, or laid out in elegant, blonde wood vitrines constructed by CIIS curator and master woodworker \u003ca href=\"https://www.deirdrevisser.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Deirdre Visser\u003c/a>. The objects are as diverse as the emotions they arouse: a collection of action figures, or a stuffed bear, may evoke happy childhood memories. A miniature statue of the Virgin Mary may activate one’s faith, or membership in a global spiritual community. \u003c/p>\n\u003cp>Still other items—a newspaper headline reporting Nelson Mandela’s 1994 presidential election, or Elvis Presley’s death in 1977—denote someone’s personal investment in events that shape our collective cultural life and history. Overall, the photographs read as a visual account of a relatable human urge to invest otherwise imperfect memories in stable, tangible forms.\u003c/p>\n\u003cfigure id=\"attachment_13885975\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/4.-Drawer7.jpg\" alt=\"\" width=\"2400\" height=\"1700\" class=\"size-full wp-image-13885975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/4.-Drawer7.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/4.-Drawer7-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/4.-Drawer7-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/4.-Drawer7-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/4.-Drawer7-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/4.-Drawer7-1536x1088.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/4.-Drawer7-2048x1451.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/4.-Drawer7-1920x1360.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Kija Lucas, ‘Museum of Sentimental Taxonomy (untitled)’; Photographed and printed 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is pleasure in that emotional or monetary investment. In his 1968 book \u003ci>The System of Objects\u003c/i> (\u003ci>Le Système des objets\u003c/i>), French sociologist Jean Baudrillard argues that much of our love of collecting stems from scarcity, or depriving someone else the pleasure of possessing an object. He also writes of the physical and psychological burden that comes from collecting material items. \u003c/p>\n\u003cp>As I write this, I wonder about the MoST participants and how they manage the simultaneous satisfaction and dread embodied in these objects, and how I manage such psychological extremes. I wonder what it would feel like to be free of material entanglements, or if what Milan Kundera described in \u003ci>The Unbearable Lightness of Being\u003c/i> as “an absolute absence of burden” would be too much?\u003c/p>\n\u003cp>Lucas’ project blurs photography’s already ambiguous relationship to truth or narrative purity by blending the individual stories and personal mythology embodied in the objects. I found that ambiguity unexpectedly comforting. It feels good to know that the often inarticulable feelings we harbor for the totems we collect are wholly relatable, perhaps all too human. \u003ci>Museum of Sentimental Taxonomy\u003c/i> opens at an achingly poignant moment as twin plagues—COVID 19 and systemic racism—command a long-overdue reckoning with numerous broken social support systems. \u003c/p>\n\u003cp>For every life lost to either viral or social contagion, treasured belongings like those we see in Lucas’ photographs are left to survivors to organize or give away, their sentimental meaning dying along with people who treasured them—or living on in their inheritors.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Museum of Sentimental Taxonomy’ is on view at California Institute of Integral Studies (CIIS) through Dec. 15, 2020. Thirty minute, one-on-one exhibition tours may be scheduled by emailing \u003ca href=\"mailto:arts@ciis.edu\" target=\"_blank\" rel=\"noopener noreferrer\">arts@ciis.edu\u003c/a>. \u003ca href=\"http://www.artsatciis.org/kija-lucas-the-museum-of-sentimental-taxonomy\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The impetus behind Kija Lucas’ ongoing project, \u003ca href=\"https://www.themst.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of Sentimental Taxonomy\u003c/a> was a desire to understand our stubborn attachments to our material surroundings. “I started wondering about why we hold on to the things we hold on to,” the artist says. \u003c/p>\n\u003cp>Lucas has staged the itinerant and stridently egalitarian project in Pittsburgh, Tulsa, upstate New York and now in her native Bay Area, at the \u003ca href=\"http://www.artsatciis.org/kija-lucas-the-museum-of-sentimental-taxonomy\" rel=\"noopener noreferrer\" target=\"_blank\">California Institute of Integral Studies\u003c/a>, and welcomes any and all who want to join in. Through self-selected “sentimental” objects, participants explore the knots of emotion, memory, and materiality that shape our lives, ever expanding Lucas’ own understanding of how—and what kind of—stuff can be meaningful.\u003c/p>\n\u003cp>“Museum”—or a related term, “archive”—may call up ideas of formal, institutional collections of objects that curators organize so as to convey knowledge. Both terms are also rightly linked to cultural appropriation, disastrous historic \u003ca href=\"https://www.tolerance.org/magazine/what-is-settlercolonialism\" target=\"_blank\" rel=\"noopener noreferrer\">settler-colonial\u003c/a> projects, and the sale or outright theft of objects and artifacts. Lucas is wary of these associations. Her use of “museum” evokes respect for the objects that are temporarily in her care (regardless of their monetary value), and for their owners.\u003c/p>\n\u003cfigure id=\"attachment_13885984\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885984\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_0201-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_0201-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_0201-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_0201-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_0201-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_0201-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_0201-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_0201-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_0201-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Kija Lucas’ ‘Museum of Sentimental Taxonomy’ at the California Institute of Integral Studies, 2020. \u003ccite>(Deirdre Visser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The process begins as Lucas asks participants to complete a basic questionnaire, requesting name, age, city where they live, and a few words about the object(s). Lucas then photographs the participants’ offerings, capturing their physical qualities as best she can. Well after a session ends, she arranges the individual images in Photoshop to produce a single composite photograph and shares with participants the image link on her website. \u003c/p>\n\u003cp>In the early stages, Lucas created composite images using objects that she photographed in the same location, i.e. Pittsburgh or Tulsa. Over time, she abandoned that method and grouped images based on an intuitive aesthetic impulse. What we see, then, is a collection of unrelated items representing stories of which we know neither the beginning nor the end.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the current installation, the large-format photographs are suspended from grommets in the Institute’s Mission Street windows, or wall mounted, or laid out in elegant, blonde wood vitrines constructed by CIIS curator and master woodworker \u003ca href=\"https://www.deirdrevisser.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Deirdre Visser\u003c/a>. The objects are as diverse as the emotions they arouse: a collection of action figures, or a stuffed bear, may evoke happy childhood memories. A miniature statue of the Virgin Mary may activate one’s faith, or membership in a global spiritual community. \u003c/p>\n\u003cp>Still other items—a newspaper headline reporting Nelson Mandela’s 1994 presidential election, or Elvis Presley’s death in 1977—denote someone’s personal investment in events that shape our collective cultural life and history. Overall, the photographs read as a visual account of a relatable human urge to invest otherwise imperfect memories in stable, tangible forms.\u003c/p>\n\u003cfigure id=\"attachment_13885975\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/4.-Drawer7.jpg\" alt=\"\" width=\"2400\" height=\"1700\" class=\"size-full wp-image-13885975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/4.-Drawer7.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/4.-Drawer7-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/4.-Drawer7-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/4.-Drawer7-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/4.-Drawer7-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/4.-Drawer7-1536x1088.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/4.-Drawer7-2048x1451.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/4.-Drawer7-1920x1360.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Kija Lucas, ‘Museum of Sentimental Taxonomy (untitled)’; Photographed and printed 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is pleasure in that emotional or monetary investment. In his 1968 book \u003ci>The System of Objects\u003c/i> (\u003ci>Le Système des objets\u003c/i>), French sociologist Jean Baudrillard argues that much of our love of collecting stems from scarcity, or depriving someone else the pleasure of possessing an object. He also writes of the physical and psychological burden that comes from collecting material items. \u003c/p>\n\u003cp>As I write this, I wonder about the MoST participants and how they manage the simultaneous satisfaction and dread embodied in these objects, and how I manage such psychological extremes. I wonder what it would feel like to be free of material entanglements, or if what Milan Kundera described in \u003ci>The Unbearable Lightness of Being\u003c/i> as “an absolute absence of burden” would be too much?\u003c/p>\n\u003cp>Lucas’ project blurs photography’s already ambiguous relationship to truth or narrative purity by blending the individual stories and personal mythology embodied in the objects. I found that ambiguity unexpectedly comforting. It feels good to know that the often inarticulable feelings we harbor for the totems we collect are wholly relatable, perhaps all too human. \u003ci>Museum of Sentimental Taxonomy\u003c/i> opens at an achingly poignant moment as twin plagues—COVID 19 and systemic racism—command a long-overdue reckoning with numerous broken social support systems. \u003c/p>\n\u003cp>For every life lost to either viral or social contagion, treasured belongings like those we see in Lucas’ photographs are left to survivors to organize or give away, their sentimental meaning dying along with people who treasured them—or living on in their inheritors.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Museum of Sentimental Taxonomy’ is on view at California Institute of Integral Studies (CIIS) through Dec. 15, 2020. Thirty minute, one-on-one exhibition tours may be scheduled by emailing \u003ca href=\"mailto:arts@ciis.edu\" target=\"_blank\" rel=\"noopener noreferrer\">arts@ciis.edu\u003c/a>. \u003ca href=\"http://www.artsatciis.org/kija-lucas-the-museum-of-sentimental-taxonomy\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Future Artifacts Gaze Back in Erica Deeman’s ‘Familiar Stranger’",
"headTitle": "Future Artifacts Gaze Back in Erica Deeman’s ‘Familiar Stranger’ | KQED",
"content": "\u003cp>This time last year, I’d just published an annual, obligatory “10 Art Shows to See this Fall”-type story, previewing the exhibitions and events to look forward to in the months ahead. Early September is the start of the visual art year, a prime slot for an artist and an exciting moment for the people who love to look at their work. It’s time to flit from opening to opening, celebrating new shows and reconnecting with old friends.\u003c/p>\n\u003cp>As with so many things, that won’t be the case in 2020. Our museums are still closed indefinitely. Smaller capacity venues now schedule visits by appointment or shift their exhibitions to online viewing rooms. When we do see art these days, we are alone: half holding our breaths as we try to limit our time indoors or else hunched over computers, clicking through digital images. Which is a shame, because some of these shows deserve the buzz and enthusiasm that comes from in-person, communal art experiences.\u003c/p>\n\u003cp>In a coronavirus-free 2020, San Francisco artist \u003ca href=\"http://www.ericadeeman.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Erica Deeman\u003c/a> would have had a packed, conversation-filled opening on Aug. 25, but instead, \u003ci>\u003ca href=\"http://www.anthonymeierfinearts.com/exhibitions/erica-deeman\" rel=\"noopener noreferrer\" target=\"_blank\">Familiar Stranger\u003c/a>\u003c/i>, her show at Anthony Meier Fine Arts, is simply open. In the stately mansion at 1969 California Street, Deeman’s clay works read like specimens, their irregular edges contained within the deep profile of rectangular white frames. Upon closer inspection, the obsidian-black sculptures reveal Deeman’s own face looking out. \u003ci>Familiar Stranger\u003c/i> is 15 self-portraits, each uniquely shaped by Deeman’s hands. \u003c/p>\n\u003cfigure id=\"attachment_13886106\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Deeman_AMFA_exhibition_2020_installation_image_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13886106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Deeman_AMFA_exhibition_2020_installation_image_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Deeman_AMFA_exhibition_2020_installation_image_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Deeman_AMFA_exhibition_2020_installation_image_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Deeman_AMFA_exhibition_2020_installation_image_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Deeman_AMFA_exhibition_2020_installation_image_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Familiar Stranger’ at Anthony Meier Fine Arts, San Francisco, 2020. \u003ccite>(Courtesy the artist and Anthony Meier Fine Arts; photo by Christopher Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The space between Deeman’s flesh-and-blood self and the wobbly, organic lumps of clay lining the gallery walls is filled by both technology and manual labor, a push and pull reminiscent of the past six months: intense physicality paired with digital remove.\u003c/p>\n\u003cp>The body of work (pun always intended) began during a residency at the Headlands, and draws from Deeman’s experience photographing objects in the Smithsonian’s National Museum of African American History and Culture for the \u003ci>New York Times Magazine\u003c/i>’s \u003ca href=\"https://www.nytimes.com/interactive/2019/08/14/magazine/1619-america-slavery.html\" rel=\"noopener noreferrer\" target=\"_blank\">1619 Project\u003c/a>. In an interview with Essence Harden that accompanies the exhibition materials, Deeman talks about her relationship to these objects linked to slavery, some of them so fragile they could only spend a limited amount of time under lights. Among the images she captured for the \u003ci>Times\u003c/i>: iron shackles sized for children; a 19th-century tool for cutting sugar cane; and a daguerreotype of an enslaved woman. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The assignment left her thinking of permanence. “As a culture, I ask, what will we leave to be remembered by?” Deeman says to Harden. The sculptures in \u003ci>Familiar Stranger\u003c/i> come at the question of creating lasting signifiers of Deeman’s presence in two ways—by becoming solid, and by multiplying. Using 3D printing, she translated black-and-white photographic self-portraits into molds, pressing Cassius Obsidian clay into them. (Look closely and the layer lines of the 3D prints are visible in the details of Deeman’s faces, along with mineral flecks of light in the dark clay.) Peeling the clay out of the molds distorts and fragments her face. In one, we get just her nose and eyes. \u003c/p>\n\u003cfigure id=\"attachment_13886105\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/DEEM516_Deeman_Untitled_12_Self-Portrait_2020_framed-view_1200.jpg\" alt=\"\" width=\"1200\" height=\"1417\" class=\"size-full wp-image-13886105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DEEM516_Deeman_Untitled_12_Self-Portrait_2020_framed-view_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DEEM516_Deeman_Untitled_12_Self-Portrait_2020_framed-view_1200-800x945.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DEEM516_Deeman_Untitled_12_Self-Portrait_2020_framed-view_1200-1020x1204.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DEEM516_Deeman_Untitled_12_Self-Portrait_2020_framed-view_1200-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DEEM516_Deeman_Untitled_12_Self-Portrait_2020_framed-view_1200-768x907.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Erica Deeman, ‘Untitled 12 (Self Portrait),’ 2020; Cassius Obsidian clay, unique in a series. \u003ccite>(Courtesy the artist and Anthony Meier Fine Arts; photo by Christopher Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The repetition of subject matter, material and presentation (the show is hung with military precision) reinforces the variations in Deeman’s expressions and manner of self-presentation. This multitude of selves is an idea she also found in Stuart Hall’s autobiography (the show’s namesake), \u003ci>\u003ca href=\"https://www.dukeupress.edu/familiar-stranger\" rel=\"noopener noreferrer\" target=\"_blank\">Familiar Stranger: A Life Between Two Islands\u003c/a>\u003c/i>. Deeman likens her formal similarities to Hall’s writings on a shared cultural identity within the Black diaspora; the irregularities then become representations of individual experience.\u003c/p>\n\u003cp>Under smoke-filled skies, during the loneliness of solo viewing, \u003ci>Familiar Stranger\u003c/i> attains its stated goal of achieving “artifact” status—as all activities now feel like something done in another time, at a remove from the world we once knew. Aiding in this somber interpretation is the Benjamin Moore “\u003ca href=\"https://www.benjaminmoore.com/en-us/color-overview/find-your-color/color/CSP-1045/wet-clay?color=CSP-1045\" rel=\"noopener noreferrer\" target=\"_blank\">Wet Clay\u003c/a>” color of the gallery’s walls (the paint name almost too perfect), a hue chosen for its Headlands-like ambiance: damp, mossy and a little utilitarian. \u003c/p>\n\u003cp>Moving around the perimeters of the gallery, gazing into Deeman’s smooshed clay faces, I thought of the Shroud of Turin. I thought about the hollows left by those who perished at Pompeii. Both are inverses, like Deeman’s molds, that have been used over centuries to extrapolate different forms of knowledge. These antecedents to Deeman’s work also hold space for mystery, just as the accretion of Deeman’s self-portraits will never fully capture or accurately represent the artist. We have little control over how the future will interpret this time. We can only be, as Deeman is, incredibly purposeful about the things we leave to be remembered by.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/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>‘Familiar Stranger’ is on view at Anthony Meier Fine Arts (1969 California Street, San Francisco) through Oct. 2. \u003ca href=\"http://www.anthonymeierfinearts.com/exhibitions/erica-deeman\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This time last year, I’d just published an annual, obligatory “10 Art Shows to See this Fall”-type story, previewing the exhibitions and events to look forward to in the months ahead. Early September is the start of the visual art year, a prime slot for an artist and an exciting moment for the people who love to look at their work. It’s time to flit from opening to opening, celebrating new shows and reconnecting with old friends.\u003c/p>\n\u003cp>As with so many things, that won’t be the case in 2020. Our museums are still closed indefinitely. Smaller capacity venues now schedule visits by appointment or shift their exhibitions to online viewing rooms. When we do see art these days, we are alone: half holding our breaths as we try to limit our time indoors or else hunched over computers, clicking through digital images. Which is a shame, because some of these shows deserve the buzz and enthusiasm that comes from in-person, communal art experiences.\u003c/p>\n\u003cp>In a coronavirus-free 2020, San Francisco artist \u003ca href=\"http://www.ericadeeman.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Erica Deeman\u003c/a> would have had a packed, conversation-filled opening on Aug. 25, but instead, \u003ci>\u003ca href=\"http://www.anthonymeierfinearts.com/exhibitions/erica-deeman\" rel=\"noopener noreferrer\" target=\"_blank\">Familiar Stranger\u003c/a>\u003c/i>, her show at Anthony Meier Fine Arts, is simply open. In the stately mansion at 1969 California Street, Deeman’s clay works read like specimens, their irregular edges contained within the deep profile of rectangular white frames. Upon closer inspection, the obsidian-black sculptures reveal Deeman’s own face looking out. \u003ci>Familiar Stranger\u003c/i> is 15 self-portraits, each uniquely shaped by Deeman’s hands. \u003c/p>\n\u003cfigure id=\"attachment_13886106\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Deeman_AMFA_exhibition_2020_installation_image_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13886106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Deeman_AMFA_exhibition_2020_installation_image_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Deeman_AMFA_exhibition_2020_installation_image_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Deeman_AMFA_exhibition_2020_installation_image_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Deeman_AMFA_exhibition_2020_installation_image_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Deeman_AMFA_exhibition_2020_installation_image_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Familiar Stranger’ at Anthony Meier Fine Arts, San Francisco, 2020. \u003ccite>(Courtesy the artist and Anthony Meier Fine Arts; photo by Christopher Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The space between Deeman’s flesh-and-blood self and the wobbly, organic lumps of clay lining the gallery walls is filled by both technology and manual labor, a push and pull reminiscent of the past six months: intense physicality paired with digital remove.\u003c/p>\n\u003cp>The body of work (pun always intended) began during a residency at the Headlands, and draws from Deeman’s experience photographing objects in the Smithsonian’s National Museum of African American History and Culture for the \u003ci>New York Times Magazine\u003c/i>’s \u003ca href=\"https://www.nytimes.com/interactive/2019/08/14/magazine/1619-america-slavery.html\" rel=\"noopener noreferrer\" target=\"_blank\">1619 Project\u003c/a>. In an interview with Essence Harden that accompanies the exhibition materials, Deeman talks about her relationship to these objects linked to slavery, some of them so fragile they could only spend a limited amount of time under lights. Among the images she captured for the \u003ci>Times\u003c/i>: iron shackles sized for children; a 19th-century tool for cutting sugar cane; and a daguerreotype of an enslaved woman. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The assignment left her thinking of permanence. “As a culture, I ask, what will we leave to be remembered by?” Deeman says to Harden. The sculptures in \u003ci>Familiar Stranger\u003c/i> come at the question of creating lasting signifiers of Deeman’s presence in two ways—by becoming solid, and by multiplying. Using 3D printing, she translated black-and-white photographic self-portraits into molds, pressing Cassius Obsidian clay into them. (Look closely and the layer lines of the 3D prints are visible in the details of Deeman’s faces, along with mineral flecks of light in the dark clay.) Peeling the clay out of the molds distorts and fragments her face. In one, we get just her nose and eyes. \u003c/p>\n\u003cfigure id=\"attachment_13886105\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/DEEM516_Deeman_Untitled_12_Self-Portrait_2020_framed-view_1200.jpg\" alt=\"\" width=\"1200\" height=\"1417\" class=\"size-full wp-image-13886105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DEEM516_Deeman_Untitled_12_Self-Portrait_2020_framed-view_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DEEM516_Deeman_Untitled_12_Self-Portrait_2020_framed-view_1200-800x945.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DEEM516_Deeman_Untitled_12_Self-Portrait_2020_framed-view_1200-1020x1204.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DEEM516_Deeman_Untitled_12_Self-Portrait_2020_framed-view_1200-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DEEM516_Deeman_Untitled_12_Self-Portrait_2020_framed-view_1200-768x907.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Erica Deeman, ‘Untitled 12 (Self Portrait),’ 2020; Cassius Obsidian clay, unique in a series. \u003ccite>(Courtesy the artist and Anthony Meier Fine Arts; photo by Christopher Grunder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The repetition of subject matter, material and presentation (the show is hung with military precision) reinforces the variations in Deeman’s expressions and manner of self-presentation. This multitude of selves is an idea she also found in Stuart Hall’s autobiography (the show’s namesake), \u003ci>\u003ca href=\"https://www.dukeupress.edu/familiar-stranger\" rel=\"noopener noreferrer\" target=\"_blank\">Familiar Stranger: A Life Between Two Islands\u003c/a>\u003c/i>. Deeman likens her formal similarities to Hall’s writings on a shared cultural identity within the Black diaspora; the irregularities then become representations of individual experience.\u003c/p>\n\u003cp>Under smoke-filled skies, during the loneliness of solo viewing, \u003ci>Familiar Stranger\u003c/i> attains its stated goal of achieving “artifact” status—as all activities now feel like something done in another time, at a remove from the world we once knew. Aiding in this somber interpretation is the Benjamin Moore “\u003ca href=\"https://www.benjaminmoore.com/en-us/color-overview/find-your-color/color/CSP-1045/wet-clay?color=CSP-1045\" rel=\"noopener noreferrer\" target=\"_blank\">Wet Clay\u003c/a>” color of the gallery’s walls (the paint name almost too perfect), a hue chosen for its Headlands-like ambiance: damp, mossy and a little utilitarian. \u003c/p>\n\u003cp>Moving around the perimeters of the gallery, gazing into Deeman’s smooshed clay faces, I thought of the Shroud of Turin. I thought about the hollows left by those who perished at Pompeii. Both are inverses, like Deeman’s molds, that have been used over centuries to extrapolate different forms of knowledge. These antecedents to Deeman’s work also hold space for mystery, just as the accretion of Deeman’s self-portraits will never fully capture or accurately represent the artist. We have little control over how the future will interpret this time. We can only be, as Deeman is, incredibly purposeful about the things we leave to be remembered by.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/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>‘Familiar Stranger’ is on view at Anthony Meier Fine Arts (1969 California Street, San Francisco) through Oct. 2. \u003ca href=\"http://www.anthonymeierfinearts.com/exhibitions/erica-deeman\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When the Bay Area woke up this morning, the skies were deep orange. Some saw it as a sign of the apocalypse and went \u003ca href=\"https://twitter.com/Tony_Rotundo/status/1303757877090246656\" target=\"_blank\" rel=\"noopener noreferrer\">back to bed\u003c/a>. Others played \u003ca href=\"https://www.youtube.com/watch?v=AZKcl4-tcuo\" target=\"_blank\" rel=\"noopener noreferrer\">David Bowie\u003c/a> or watched \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=gCcx85zbxz4\" target=\"_blank\" rel=\"noopener noreferrer\">Blade Runner 2049\u003c/a>\u003c/em>. Just about everyone else took \u003ca href=\"https://twitter.com/search?q=%23orangesky&src=typed_query\" target=\"_blank\" rel=\"noopener noreferrer\">photos\u003c/a>.\u003c/p>\n\u003cp>And then there’s the group of surfers at Ocean Beach who said, “You know what? Let’s hit the waves.”\u003c/p>\n\u003cfigure id=\"attachment_13886050\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886050\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1.png\" alt=\"A surfer heads to Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">A surfer heads to Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>KQED photographer Beth LaBerge caught Matt Cowdrey, Mark Paiz and Kyle Ortega in action, surfing under red-orange skies caused by wildfires in Northern California and Oregon.\u003c/p>\n\u003cfigure id=\"attachment_13886047\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886047\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4.png\" alt=\"Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These photos were taken at noon. It was a day like no other for Ocean Beach, the westernmost part of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13886048\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3.png\" alt=\"A surfer rides the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">A surfer rides the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And a day that this group of surfers won’t ever forget.\u003c/p>\n\u003cfigure id=\"attachment_13886046\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886046\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5.png\" alt=\"Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Bay Area woke up this morning, the skies were deep orange. Some saw it as a sign of the apocalypse and went \u003ca href=\"https://twitter.com/Tony_Rotundo/status/1303757877090246656\" target=\"_blank\" rel=\"noopener noreferrer\">back to bed\u003c/a>. Others played \u003ca href=\"https://www.youtube.com/watch?v=AZKcl4-tcuo\" target=\"_blank\" rel=\"noopener noreferrer\">David Bowie\u003c/a> or watched \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=gCcx85zbxz4\" target=\"_blank\" rel=\"noopener noreferrer\">Blade Runner 2049\u003c/a>\u003c/em>. Just about everyone else took \u003ca href=\"https://twitter.com/search?q=%23orangesky&src=typed_query\" target=\"_blank\" rel=\"noopener noreferrer\">photos\u003c/a>.\u003c/p>\n\u003cp>And then there’s the group of surfers at Ocean Beach who said, “You know what? Let’s hit the waves.”\u003c/p>\n\u003cfigure id=\"attachment_13886050\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886050\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1.png\" alt=\"A surfer heads to Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">A surfer heads to Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>KQED photographer Beth LaBerge caught Matt Cowdrey, Mark Paiz and Kyle Ortega in action, surfing under red-orange skies caused by wildfires in Northern California and Oregon.\u003c/p>\n\u003cfigure id=\"attachment_13886047\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886047\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4.png\" alt=\"Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These photos were taken at noon. It was a day like no other for Ocean Beach, the westernmost part of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13886048\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3.png\" alt=\"A surfer rides the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">A surfer rides the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And a day that this group of surfers won’t ever forget.\u003c/p>\n\u003cfigure id=\"attachment_13886046\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886046\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5.png\" alt=\"Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>[dropcap]F[/dropcap]elicia Rice’s husband, Jim Schoonover, often joked that the house they rented in the Santa Cruz mountains was really a one-bedroom apartment above her business, \u003ca href=\"https://movingpartspress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Moving Parts Press\u003c/a>.\u003c/p>\n\u003cp>Over the 25 years the family lived there, the book artist, publisher and former UC Santa Cruz administrator filled the downstairs with three vintage letterpresses, 190 cases of metal type and her personal collection of limited-run poetry and art books she’d published since starting her business in 1977. Paintings by her parents, artists who worked closely with the apprentices of Frida Kahlo and Diego Rivera, were lovingly kept there, as well as irreplaceable ancestry records and family photos.\u003c/p>\n\u003cp>The Schoonover Rices’ younger son, Will, the Oakland music producer \u003ca href=\"https://waxroof.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Wax Roof\u003c/a>, grew up in that house from the age of seven, watching his mother juggle the many roles involved in turning a niche art form into a thriving business. (His older brother, Gabe, was already in his late teens when the family moved there from Santa Cruz proper.) Felicia’s creative hustle inspired Will’s path toward guitar, trumpet, piano and music production for stand-out Bay Area hip-hop artists like \u003ca href=\"https://www.kqed.org/arts/13869513/rexx-life-raj-father-figure-3-empire\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> and Caleborate.\u003c/p>\n\u003cp>The Schoonover Rices’ woodsy home in the small, secluded community of Bonny Doon was sacred to three generations of creatives—but more than that, it held the memories that shaped them as people, as artists and as a family. And now it’s gone, along with the 1,000 structures burned in the CZU Lightning Complex Fire.\u003c/p>\n\u003cp>“The one thing that brings tears to my eyes is my community,” says Felicia. “My neighborhood is completely devastated. Everything is ash on the ground.”\u003c/p>\n\u003cfigure id=\"attachment_13885811\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885811\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/AfterFire-081920.jpg\" alt=\"\" width=\"650\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AfterFire-081920.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AfterFire-081920-160x82.jpg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Bonny Doon after the fire. \u003ccite>(Moving Parts Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]B[/dropcap]onny Doon only had about 2,600 residents, and Will describes it as a self-reliant community where working-class people, university-affiliated intellectuals and hippie artists lived side by side. “When you have a place that’s founded on the concept of ‘you can be what you want to be here,’ you end up having a lot of different types of folks,” he says.\u003c/p>\n\u003cp>That open-mindedness is what drew Felicia to Santa Cruz in the ’70s, when she found a “mutually beneficial economy” of underground artists and poets who supported one another’s work and helped her printing business thrive. “W\u003cspan class=\"s1\">e were creating community and creating culture,” she says.\u003c/span>\u003c/p>\n\u003cp>Over the years, that tradition continued. Growing up in the ’90s and early 2000s, Will encountered many generous neighbors who took the time to teach him music or join in spontaneous jam sessions, for whom music was a way of life and not just a hobby.\u003c/p>\n\u003cp>“I don’t want to talk about it in the past tense like it’s gone,” he adds with a sadness in his voice.\u003c/p>\n\u003cp>He recalls a childhood of roaming the land, feeling a sense of freedom while running through the trees. The stories that stick out in his memory show the ways the community raised him to value creativity and generosity: When he was 13, playing guitar in the woods at night, a neighbor in a nearby house joined in on trumpet—without ever showing their face.\u003c/p>\n\u003cp>“To have someone just be there, ready, to have a musical conversation with me when I didn’t know what I was saying—and them never needing to be seen or acknowledged—that speaks a lot to the integrity of the place to me,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When he was in high school, a UC Santa Cruz student taught him flamenco guitar for a few bucks an hour; a Turkish family introduced him to the collaborative improvisation of Romani music; and a Brazilian guitarist played in a hospital room while Will said his final goodbyes to a friend with cystic fibrosis.\u003c/p>\n\u003cp>In Bonny Doon, it was “normal to be in this musical exchange, with no purpose other than it makes life better,” Will says, reflecting that these experiences made him a better artist. Bonny Doon fed Felicia’s art, too; when she relocated her print shop there, the ink she mixed became more vivid, inspired by the local grass, leaves and branches interacting with the changing sky. The resulting illustrations made her poetry books come alive.\u003c/p>\n\u003cp>“You fall in love with that land, that land holds you,” says Will. “Being on a mountain with redwoods … and it goes all the way down to the ocean where there’s water as far as you can see, and there’s rivers running down into to that. … There’s this huge vastness of space that, when you lean into it, it embraces you.”\u003c/p>\n\u003cp>“And I think that’s why people tend to be more free-thinking or tend to embrace individuality,” he says. “You look out and you don’t see the hard lines of these systems of man that are either in a state of repair or in disrepair.”\u003c/p>\n\u003cp>[dropcap]W[/dropcap]hen the blaze spread into the Santa Cruz mountains in mid-August, Felicia was at her late parents’ home in Mendocino, taking a self-prescribed artist retreat and thinking about her next book, \u003cem>Justice & Injustices\u003c/em>—which, appropriately enough, deals with the intersecting issues of climate change, capitalism and oppression. (“From Trump through COVID through George Floyd and others, systemic racism, to what’s gonna happen next—wildfire is part of it, fire is part of it,” she says.) Jim had stayed behind, not wanting to take his chances traveling during the pandemic because of a health condition.\u003c/p>\n\u003cp>The summer was uncharacteristically hot for Bonny Doon; stretches of days had over-100-degree weather. When sparks ignited after an unlikely August lightning storm, wildfire season started early. Firefighting crews in California were stretched thin because the pandemic made the state’s strategy of deploying \u003ca href=\"https://www.kqed.org/science/1968728/shortage-of-inmate-firefighters-hampers-response-in-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">incarcerated firefighters\u003c/a> untenable. [aside postid='arts_13885195']\u003c/p>\n\u003cp>Neighbors in Bonny Doon assembled \u003ca href=\"https://www.kqed.org/news/11835949/most-beautiful-place-on-earth-the-citizen-firefighters-who-stayed-behind-to-save-their-santa-cruz-mountain-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">volunteer fire crews\u003c/a>. One retired firefighter who lived nearby called Jim on Aug. 19 and told him that flames were approaching. He drove off at midnight, packing little more than important documents and clothes for him and Felicia.\u003c/p>\n\u003cp>The next night, the couple found out from neighbors that their house had burned to the ground along with nearly two dozen neighboring properties.\u003c/p>\n\u003cfigure id=\"attachment_13885812\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885812\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Felicia-at-work-in-BD_small.jpg\" alt=\"\" width=\"650\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Felicia-at-work-in-BD_small.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Felicia-at-work-in-BD_small-160x120.jpg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Rice at work in Moving Parts Press. \u003ccite>(Moving Parts Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gone were floor-to-ceiling paintings by Ray Rice, Felicia’s father. Gone was an edition of a book by Miriam Rice, Felicia’s mother, who was best known for extracting a full color spectrum of natural dyes from mushrooms. (“That can be reprinted, so all is not lost,” Felicia sighs.)\u003c/p>\n\u003cp>A vast archive of Felicia’s artworks and collaborations burned too, including a book called \u003ca href=\"https://movingpartspress.com/publications/califas\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Califas: The Ancestral Journey/El Viaje Ancestral\u003c/em>\u003c/a>, a collaboration with five artists that folded out into an 18-foot, movable mural. Hand-bound copies—750 of them—were set to go out to K-12 and university classrooms, youth organizations, museums and libraries. A \u003ca href=\"https://movingpartspress.com/publications/latinx-chicanx-poetx-broadside-series\" target=\"_blank\" rel=\"noopener noreferrer\">broadside series\u003c/a> of queer Latinx poetry is mostly gone. And she lost 3/4 of a print run of a collaboration with environmental activist and art historian T.J. Demos, \u003ca href=\"https://movingpartspress.com/publications/necropolitics-of-extraction\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Necropolitics of Extraction\u003c/em>\u003c/a>—about capitalism’s exploitation of human labor and natural resources.\u003c/p>\n\u003cp>“I was just starting to sell them, and that’s heartbreaking because one book funds the next,” she says. There is a small silver lining, though: thanks to her supporters, Moving Parts Press recently raised enough on \u003ca href=\"https://www.gofundme.com/f/raise-moving-parts-press-from-the-ashes\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a> to buy back crucial equipment. With the ongoing campaign, Felicia now hopes to raise enough—$75,000—to create a new printing studio in Mendocino.\u003c/p>\n\u003cp>[dropcap]T[/dropcap]oday, the CZU Lightning Complex Fire is just over 40% contained, and it may be weeks until it’s safe to drive 2,500 feet up the mountain on a narrow, two-lane road to assess the damage or find anything that may have survived the flames.\u003c/p>\n\u003cp>Because the Schoonover Rices were renters, they don’t have to deal with the fallout of calling insurance companies or deciding whether or not to rebuild. But they’re still grappling with the emotional loss of saying goodbye to a community that nurtured them for decades. Despite their success in the arts, Bonny Doon home prices were never attainable for the family. Before the fire, houses in the Santa Cruz mountains neared the $1 million mark. Those now displaced may not be able to come back.\u003c/p>\n\u003cp>“There’s a lot of people living out here that when they lose that [their home], it’s done for them,” Bonny Doon resident and volunteer firefighter Glen Hanson \u003ca href=\"https://www.kqed.org/news/11835949/most-beautiful-place-on-earth-the-citizen-firefighters-who-stayed-behind-to-save-their-santa-cruz-mountain-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> in August.\u003c/p>\n\u003cp>For Will, that loss has been difficult to put into words. “Something I’ve been mourning that’s hard to articulate is the concept of when you lose someone, you’re able to be who they were to you to other people and, in that way, keep their legacy alive,” he says. “When you lose a place, I’m left with the question of how you’re supposed to do that.”\u003c/p>\n\u003cp>For Felicia’s part, she’s getting back to the basics, figuring out her new routine in Mendocino and taking the rebuilding of Moving Parts Press step by step. But she knows the losses of her house and Moving Parts Press are emblematic of a larger reality: climate change is devastating people and communities. Along with destroying homes and livelihoods, wildfires take history and culture with them. She worries about how bad it will get before meaningful steps are taken. She wants to see our elected officials take serious action on climate change.\u003c/p>\n\u003cp>“Let’s not get cozy. Let’s not get comfortable. This isn’t a comfortable time. Guillermo Gomez-Peña says our job as an artist is to keep the wound open, to remind people of these realities,” she says.\u003c/p>\n\u003cp>“I would like political leaders not to get in office on the basis of the platitudes and reassurances they give, but on the basis of their policies and plans to address the real dangers and threats that are a part of our world.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>elicia Rice’s husband, Jim Schoonover, often joked that the house they rented in the Santa Cruz mountains was really a one-bedroom apartment above her business, \u003ca href=\"https://movingpartspress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Moving Parts Press\u003c/a>.\u003c/p>\n\u003cp>Over the 25 years the family lived there, the book artist, publisher and former UC Santa Cruz administrator filled the downstairs with three vintage letterpresses, 190 cases of metal type and her personal collection of limited-run poetry and art books she’d published since starting her business in 1977. Paintings by her parents, artists who worked closely with the apprentices of Frida Kahlo and Diego Rivera, were lovingly kept there, as well as irreplaceable ancestry records and family photos.\u003c/p>\n\u003cp>The Schoonover Rices’ younger son, Will, the Oakland music producer \u003ca href=\"https://waxroof.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Wax Roof\u003c/a>, grew up in that house from the age of seven, watching his mother juggle the many roles involved in turning a niche art form into a thriving business. (His older brother, Gabe, was already in his late teens when the family moved there from Santa Cruz proper.) Felicia’s creative hustle inspired Will’s path toward guitar, trumpet, piano and music production for stand-out Bay Area hip-hop artists like \u003ca href=\"https://www.kqed.org/arts/13869513/rexx-life-raj-father-figure-3-empire\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> and Caleborate.\u003c/p>\n\u003cp>The Schoonover Rices’ woodsy home in the small, secluded community of Bonny Doon was sacred to three generations of creatives—but more than that, it held the memories that shaped them as people, as artists and as a family. And now it’s gone, along with the 1,000 structures burned in the CZU Lightning Complex Fire.\u003c/p>\n\u003cp>“The one thing that brings tears to my eyes is my community,” says Felicia. “My neighborhood is completely devastated. Everything is ash on the ground.”\u003c/p>\n\u003cfigure id=\"attachment_13885811\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885811\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/AfterFire-081920.jpg\" alt=\"\" width=\"650\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AfterFire-081920.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AfterFire-081920-160x82.jpg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Bonny Doon after the fire. \u003ccite>(Moving Parts Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>onny Doon only had about 2,600 residents, and Will describes it as a self-reliant community where working-class people, university-affiliated intellectuals and hippie artists lived side by side. “When you have a place that’s founded on the concept of ‘you can be what you want to be here,’ you end up having a lot of different types of folks,” he says.\u003c/p>\n\u003cp>That open-mindedness is what drew Felicia to Santa Cruz in the ’70s, when she found a “mutually beneficial economy” of underground artists and poets who supported one another’s work and helped her printing business thrive. “W\u003cspan class=\"s1\">e were creating community and creating culture,” she says.\u003c/span>\u003c/p>\n\u003cp>Over the years, that tradition continued. Growing up in the ’90s and early 2000s, Will encountered many generous neighbors who took the time to teach him music or join in spontaneous jam sessions, for whom music was a way of life and not just a hobby.\u003c/p>\n\u003cp>“I don’t want to talk about it in the past tense like it’s gone,” he adds with a sadness in his voice.\u003c/p>\n\u003cp>He recalls a childhood of roaming the land, feeling a sense of freedom while running through the trees. The stories that stick out in his memory show the ways the community raised him to value creativity and generosity: When he was 13, playing guitar in the woods at night, a neighbor in a nearby house joined in on trumpet—without ever showing their face.\u003c/p>\n\u003cp>“To have someone just be there, ready, to have a musical conversation with me when I didn’t know what I was saying—and them never needing to be seen or acknowledged—that speaks a lot to the integrity of the place to me,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When he was in high school, a UC Santa Cruz student taught him flamenco guitar for a few bucks an hour; a Turkish family introduced him to the collaborative improvisation of Romani music; and a Brazilian guitarist played in a hospital room while Will said his final goodbyes to a friend with cystic fibrosis.\u003c/p>\n\u003cp>In Bonny Doon, it was “normal to be in this musical exchange, with no purpose other than it makes life better,” Will says, reflecting that these experiences made him a better artist. Bonny Doon fed Felicia’s art, too; when she relocated her print shop there, the ink she mixed became more vivid, inspired by the local grass, leaves and branches interacting with the changing sky. The resulting illustrations made her poetry books come alive.\u003c/p>\n\u003cp>“You fall in love with that land, that land holds you,” says Will. “Being on a mountain with redwoods … and it goes all the way down to the ocean where there’s water as far as you can see, and there’s rivers running down into to that. … There’s this huge vastness of space that, when you lean into it, it embraces you.”\u003c/p>\n\u003cp>“And I think that’s why people tend to be more free-thinking or tend to embrace individuality,” he says. “You look out and you don’t see the hard lines of these systems of man that are either in a state of repair or in disrepair.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen the blaze spread into the Santa Cruz mountains in mid-August, Felicia was at her late parents’ home in Mendocino, taking a self-prescribed artist retreat and thinking about her next book, \u003cem>Justice & Injustices\u003c/em>—which, appropriately enough, deals with the intersecting issues of climate change, capitalism and oppression. (“From Trump through COVID through George Floyd and others, systemic racism, to what’s gonna happen next—wildfire is part of it, fire is part of it,” she says.) Jim had stayed behind, not wanting to take his chances traveling during the pandemic because of a health condition.\u003c/p>\n\u003cp>The summer was uncharacteristically hot for Bonny Doon; stretches of days had over-100-degree weather. When sparks ignited after an unlikely August lightning storm, wildfire season started early. Firefighting crews in California were stretched thin because the pandemic made the state’s strategy of deploying \u003ca href=\"https://www.kqed.org/science/1968728/shortage-of-inmate-firefighters-hampers-response-in-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">incarcerated firefighters\u003c/a> untenable. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Neighbors in Bonny Doon assembled \u003ca href=\"https://www.kqed.org/news/11835949/most-beautiful-place-on-earth-the-citizen-firefighters-who-stayed-behind-to-save-their-santa-cruz-mountain-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">volunteer fire crews\u003c/a>. One retired firefighter who lived nearby called Jim on Aug. 19 and told him that flames were approaching. He drove off at midnight, packing little more than important documents and clothes for him and Felicia.\u003c/p>\n\u003cp>The next night, the couple found out from neighbors that their house had burned to the ground along with nearly two dozen neighboring properties.\u003c/p>\n\u003cfigure id=\"attachment_13885812\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885812\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Felicia-at-work-in-BD_small.jpg\" alt=\"\" width=\"650\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Felicia-at-work-in-BD_small.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Felicia-at-work-in-BD_small-160x120.jpg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Rice at work in Moving Parts Press. \u003ccite>(Moving Parts Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gone were floor-to-ceiling paintings by Ray Rice, Felicia’s father. Gone was an edition of a book by Miriam Rice, Felicia’s mother, who was best known for extracting a full color spectrum of natural dyes from mushrooms. (“That can be reprinted, so all is not lost,” Felicia sighs.)\u003c/p>\n\u003cp>A vast archive of Felicia’s artworks and collaborations burned too, including a book called \u003ca href=\"https://movingpartspress.com/publications/califas\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Califas: The Ancestral Journey/El Viaje Ancestral\u003c/em>\u003c/a>, a collaboration with five artists that folded out into an 18-foot, movable mural. Hand-bound copies—750 of them—were set to go out to K-12 and university classrooms, youth organizations, museums and libraries. A \u003ca href=\"https://movingpartspress.com/publications/latinx-chicanx-poetx-broadside-series\" target=\"_blank\" rel=\"noopener noreferrer\">broadside series\u003c/a> of queer Latinx poetry is mostly gone. And she lost 3/4 of a print run of a collaboration with environmental activist and art historian T.J. Demos, \u003ca href=\"https://movingpartspress.com/publications/necropolitics-of-extraction\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Necropolitics of Extraction\u003c/em>\u003c/a>—about capitalism’s exploitation of human labor and natural resources.\u003c/p>\n\u003cp>“I was just starting to sell them, and that’s heartbreaking because one book funds the next,” she says. There is a small silver lining, though: thanks to her supporters, Moving Parts Press recently raised enough on \u003ca href=\"https://www.gofundme.com/f/raise-moving-parts-press-from-the-ashes\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a> to buy back crucial equipment. With the ongoing campaign, Felicia now hopes to raise enough—$75,000—to create a new printing studio in Mendocino.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>oday, the CZU Lightning Complex Fire is just over 40% contained, and it may be weeks until it’s safe to drive 2,500 feet up the mountain on a narrow, two-lane road to assess the damage or find anything that may have survived the flames.\u003c/p>\n\u003cp>Because the Schoonover Rices were renters, they don’t have to deal with the fallout of calling insurance companies or deciding whether or not to rebuild. But they’re still grappling with the emotional loss of saying goodbye to a community that nurtured them for decades. Despite their success in the arts, Bonny Doon home prices were never attainable for the family. Before the fire, houses in the Santa Cruz mountains neared the $1 million mark. Those now displaced may not be able to come back.\u003c/p>\n\u003cp>“There’s a lot of people living out here that when they lose that [their home], it’s done for them,” Bonny Doon resident and volunteer firefighter Glen Hanson \u003ca href=\"https://www.kqed.org/news/11835949/most-beautiful-place-on-earth-the-citizen-firefighters-who-stayed-behind-to-save-their-santa-cruz-mountain-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> in August.\u003c/p>\n\u003cp>For Will, that loss has been difficult to put into words. “Something I’ve been mourning that’s hard to articulate is the concept of when you lose someone, you’re able to be who they were to you to other people and, in that way, keep their legacy alive,” he says. “When you lose a place, I’m left with the question of how you’re supposed to do that.”\u003c/p>\n\u003cp>For Felicia’s part, she’s getting back to the basics, figuring out her new routine in Mendocino and taking the rebuilding of Moving Parts Press step by step. But she knows the losses of her house and Moving Parts Press are emblematic of a larger reality: climate change is devastating people and communities. Along with destroying homes and livelihoods, wildfires take history and culture with them. She worries about how bad it will get before meaningful steps are taken. She wants to see our elected officials take serious action on climate change.\u003c/p>\n\u003cp>“Let’s not get cozy. Let’s not get comfortable. This isn’t a comfortable time. Guillermo Gomez-Peña says our job as an artist is to keep the wound open, to remind people of these realities,” she says.\u003c/p>\n\u003cp>“I would like political leaders not to get in office on the basis of the platitudes and reassurances they give, but on the basis of their policies and plans to address the real dangers and threats that are a part of our world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he Velvet Bandit looks to the left, sizing up the street, and eyes a line of cars stopped at a red light in downtown Santa Rosa.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13881659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_.jpg\" alt=\"\" width=\"180\" height=\"204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_-160x181.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>“Let’s wait for the light to change,” she says. “There looks like a lot of…”\u003c/p>\n\u003cp>“Naysayers?” her assistant asks.\u003c/p>\n\u003cp>“Yeah.”\u003c/p>\n\u003cp>Soon the light turns green, and the two speed-walk to their destination: an alcove of an abandoned building, highly visible, where thousands of people pass each day and a bright light shines at night.\u003c/p>\n\u003cp>Visibility is a risk for the Velvet Bandit, a street artist who doesn’t fit the stereotypical profile of a “street artist.” I can’t really tell you who the Velvet Bandit \u003cem>is\u003c/em>, exactly; she operates under cover of night, and placing her art on public and private walls is, technically, not legal. This much is known: she is a single mom living in Sonoma County, and before COVID hit, she worked as a cafeteria aide at a local school, preparing lunch for schoolchildren.\u003c/p>\n\u003cp>As we reach the alcove, I take note of a “No Trespassing” sign, and quietly alert the Velvet Bandit.\u003c/p>\n\u003cp>She keeps walking briskly, unconcerned, and in a small burst of freedom—from shelter-in-place, from our toxic political climate, from her day job—she quips: “Lunch ladies don’t give a \u003cem>fuuuuuucccckkk\u003c/em>!”\u003c/p>\n\u003cp>A minute later, the deal is done, and the wall bears a hand-painted image of Uncle Sam, wearing a face mask, with a simple message: “VOTE.”\u003c/p>\n\u003cp>The two women step back to assess the job. “Oh, yeah,” one says to the other. “Yeah. That looks \u003cem>awesome\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13885642\" class=\"wp-caption aligncenter\" style=\"max-width: 1830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885642\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBanditRail1.jpg\" alt=\"Artwork by the Velvet Bandit, made during shelter-in-place, addresses the chaos of 2020.\" width=\"1830\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1.jpg 1830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-800x262.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-1020x334.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-768x252.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-1536x504.jpg 1536w\" sizes=\"(max-width: 1830px) 100vw, 1830px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by the Velvet Bandit, made during shelter-in-place, addresses the chaos of 2020. \u003ccite>(Courtesy the Velvet Bandit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> started to notice the Velvet Bandit’s colorful paintings a few months ago, wheat pasted to walls and poles, with their positive messages for the pandemic. At the start, they bore simple reminders, like “Stay Home” and “Wash Your Hands.” Then, while everyone waited for stimulus checks, I noticed one in my neighborhood of a woman holding a check, with the phrase “Mitch Better Have My Money.”\u003c/p>\n\u003cp>Later, people told me they’d seen her work in other cities too: as far north as Ukiah and Willits, and in Sonoma, Sebastopol and Petaluma. It evolved, also: her paintings have lately amplified messages of the Black Lives Matter movement and the need to save the Post Office. Most of them simply \u003ca href=\"https://www.instagram.com/p/CEmk93HFJJh/\" target=\"_blank\" rel=\"noopener noreferrer\">acknowledge the struggle\u003c/a>, for everyone, that is the year 2020.\u003c/p>\n\u003cp>So far, out in the streets at night, she and her assistant haven’t gotten caught—which is impressive, considering her work is prominent, colorful, and prolific.\u003c/p>\n\u003cp>“I always dreamed, like, ‘It’d be really cool to have this mom graffiti gang that goes around and puts these positive messages out,’” the lunch-lady-turned-street-artist tells me when we meet up on a recent weekend night.\u003c/p>\n\u003cp>In March, she says, like many, she was furloughed from her job. Shepard Fairey’s wheat-pasted art had been a longtime inspiration, and she’d kept a pile of newsprint in her studio, ready to paint. So, she says, “when I had nothing but my art supplies to keep me sane, it was the perfect opportunity.”\u003c/p>\n\u003cfigure id=\"attachment_13885645\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvBandit.OK2020.jpg\" alt=\"The Velvet Bandit takes a photo of her work on a recent night in Santa Rosa. \" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Velvet Bandit takes a photo of her work on a recent night in Santa Rosa. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Velvet Bandit has made about 600 pieces since, she estimates, putting up most of them in cities across the North Bay. Astonishingly, all of them have been painted individually, by hand. She tried making copies of her work like other street artists do, but “the vibrancy isn’t there,” she says.\u003c/p>\n\u003cp>So far, reaction to her work has been relatively positive. Rather than scraping her work from their walls, several area businesses owners have contacted her, either donating money or even requesting that she come put it up on their storefronts.\u003c/p>\n\u003cp>At the former Dollar Tree building in the Roseland district of Santa Rosa recently, a man came out and gruffly asked, “What are you doing? What agency are you from?”\u003c/p>\n\u003cp>She explained she was putting up art, and when he saw her work, he asked if she had any more. “And he said, ‘Put it around the whole building!’” she explains. “’And in fact, put it on those two taco trucks over there!’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I witness the same reaction in person later, when I accompany her and her assistant around downtown. While they dip into the supplies stored in their inconspicuous purses, and paste a “REGISTER + VOTE” painting in an alley, a man and a woman walk by. The woman points. For a flash of a second, I think we’re busted.\u003c/p>\n\u003cp>“Oh, look!” she says, pleasantly. “We’re getting a mural!”\u003c/p>\n\u003cfigure id=\"attachment_13885643\" class=\"wp-caption aligncenter\" style=\"max-width: 1819px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBanditRail2.jpg\" alt=\"The Velvet Bandit's work touches on a variety of social issues during a tumultuous year. \" width=\"1819\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2.jpg 1819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-800x263.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-1020x336.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-1536x506.jpg 1536w\" sizes=\"(max-width: 1819px) 100vw, 1819px\">\u003cfigcaption class=\"wp-caption-text\">The Velvet Bandit’s work touches on a variety of social issues during a tumultuous year. \u003ccite>(Courtesy the Velvet Bandit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>ublic art is always a source of debate, but it reached high temperature in Santa Rosa last month when a \u003ca href=\"https://www.pressdemocrat.com/article/news/white-hand-sculpture-painted-black-outside-santa-rosa-mall/\" target=\"_blank\" rel=\"noopener noreferrer\">giant marble hand in front of the mall\u003c/a> was painted black by Black Lives Matter activists. On one side of the issue, people argued that one should never vandalize art, and that the artist had intended the giant white hand to honor the region’s farmworkers. On the other side, people, mostly young, argued that the entire concept of public art should progress beyond staid marble sculptures that stay in place for 30 years and lose their relevance.\u003c/p>\n\u003cp>The Velvet Bandit wants public art to be “more fun.” She knows the city often looks for artists to participate in sanctioned art projects, “but it just seems like a lot of work to fill out an application,” she says. The idea of having to outline a project and its goals beforehand is cumbersome, too: “I just like to do it as I go, and not put too much thought into it.”\u003c/p>\n\u003cp>What about grants, or the money she could get from the city for art? “Maybe I’ll warm up to that idea,” she says. “But I get a thrill out of the fact that I’m not \u003cem>supposed\u003c/em> to be doing it.”\u003c/p>\n\u003cp>At any rate, the Velvet Bandit has goals beyond mere recognition. She truly does want people to wear masks, and to take COVID seriously. She wants Trump out of office. She wants people to register to vote. She wants people to take care of themselves, and each other; the very first artwork posted to \u003ca href=\"https://www.instagram.com/thevelvetbandit/\" target=\"_blank\" rel=\"noopener noreferrer\">her Instagram\u003c/a> reads, simply, “Free Hugs.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13885652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBandit.FISTGIF.gif\" alt=\"\" width=\"600\" height=\"600\">\u003c/p>\n\u003cp>Later, when she puts up a trio of raised fists in the center of town in Courthouse Square, I notice just how quickly and discreetly the Velvet Bandit works. In just half an hour, she and her assistant have pasted nearly 20 pieces downtown. Two dozen or so people mingle around the square, which is itself surrounded by plenty of chatty, unmasked outdoor diners. A man walks by with a stroller. A woman listens to Sheryl Crow nearby in her parked blue Hyundai. No one seems to notice us.\u003c/p>\n\u003cp>It’s then that I realize: why would they? The year 2020 has been such a turbulent mess. The news is a rollercoaster, everything changes quickly, hope is illusory and our attention spans are mush. And in that way, the \u003ca href=\"https://en.wikipedia.org/wiki/The_medium_is_the_message\" target=\"_blank\" rel=\"noopener noreferrer\">medium is the message\u003c/a>—the Velvet Bandit’s quickly changing, here-today-gone-tomorrow wheat pastes match this chaotic year, and simultaneously, they’re a liberating change from overthinking everything.\u003c/p>\n\u003cp>“Because all of this work is fleeting, and I don’t know the lifespan of it, I don’t get hung up,” she says. “If it works, it works. And if it doesn’t, whatever. Who cares? It’s all gonna get taken down anyway.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Find more at the Velvet Bandit’s \u003ca href=\"https://www.thevelvetbandit.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he Velvet Bandit looks to the left, sizing up the street, and eyes a line of cars stopped at a red light in downtown Santa Rosa.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13881659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_.jpg\" alt=\"\" width=\"180\" height=\"204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_-160x181.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>“Let’s wait for the light to change,” she says. “There looks like a lot of…”\u003c/p>\n\u003cp>“Naysayers?” her assistant asks.\u003c/p>\n\u003cp>“Yeah.”\u003c/p>\n\u003cp>Soon the light turns green, and the two speed-walk to their destination: an alcove of an abandoned building, highly visible, where thousands of people pass each day and a bright light shines at night.\u003c/p>\n\u003cp>Visibility is a risk for the Velvet Bandit, a street artist who doesn’t fit the stereotypical profile of a “street artist.” I can’t really tell you who the Velvet Bandit \u003cem>is\u003c/em>, exactly; she operates under cover of night, and placing her art on public and private walls is, technically, not legal. This much is known: she is a single mom living in Sonoma County, and before COVID hit, she worked as a cafeteria aide at a local school, preparing lunch for schoolchildren.\u003c/p>\n\u003cp>As we reach the alcove, I take note of a “No Trespassing” sign, and quietly alert the Velvet Bandit.\u003c/p>\n\u003cp>She keeps walking briskly, unconcerned, and in a small burst of freedom—from shelter-in-place, from our toxic political climate, from her day job—she quips: “Lunch ladies don’t give a \u003cem>fuuuuuucccckkk\u003c/em>!”\u003c/p>\n\u003cp>A minute later, the deal is done, and the wall bears a hand-painted image of Uncle Sam, wearing a face mask, with a simple message: “VOTE.”\u003c/p>\n\u003cp>The two women step back to assess the job. “Oh, yeah,” one says to the other. “Yeah. That looks \u003cem>awesome\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13885642\" class=\"wp-caption aligncenter\" style=\"max-width: 1830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885642\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBanditRail1.jpg\" alt=\"Artwork by the Velvet Bandit, made during shelter-in-place, addresses the chaos of 2020.\" width=\"1830\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1.jpg 1830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-800x262.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-1020x334.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-768x252.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-1536x504.jpg 1536w\" sizes=\"(max-width: 1830px) 100vw, 1830px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by the Velvet Bandit, made during shelter-in-place, addresses the chaos of 2020. \u003ccite>(Courtesy the Velvet Bandit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> started to notice the Velvet Bandit’s colorful paintings a few months ago, wheat pasted to walls and poles, with their positive messages for the pandemic. At the start, they bore simple reminders, like “Stay Home” and “Wash Your Hands.” Then, while everyone waited for stimulus checks, I noticed one in my neighborhood of a woman holding a check, with the phrase “Mitch Better Have My Money.”\u003c/p>\n\u003cp>Later, people told me they’d seen her work in other cities too: as far north as Ukiah and Willits, and in Sonoma, Sebastopol and Petaluma. It evolved, also: her paintings have lately amplified messages of the Black Lives Matter movement and the need to save the Post Office. Most of them simply \u003ca href=\"https://www.instagram.com/p/CEmk93HFJJh/\" target=\"_blank\" rel=\"noopener noreferrer\">acknowledge the struggle\u003c/a>, for everyone, that is the year 2020.\u003c/p>\n\u003cp>So far, out in the streets at night, she and her assistant haven’t gotten caught—which is impressive, considering her work is prominent, colorful, and prolific.\u003c/p>\n\u003cp>“I always dreamed, like, ‘It’d be really cool to have this mom graffiti gang that goes around and puts these positive messages out,’” the lunch-lady-turned-street-artist tells me when we meet up on a recent weekend night.\u003c/p>\n\u003cp>In March, she says, like many, she was furloughed from her job. Shepard Fairey’s wheat-pasted art had been a longtime inspiration, and she’d kept a pile of newsprint in her studio, ready to paint. So, she says, “when I had nothing but my art supplies to keep me sane, it was the perfect opportunity.”\u003c/p>\n\u003cfigure id=\"attachment_13885645\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvBandit.OK2020.jpg\" alt=\"The Velvet Bandit takes a photo of her work on a recent night in Santa Rosa. \" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Velvet Bandit takes a photo of her work on a recent night in Santa Rosa. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Velvet Bandit has made about 600 pieces since, she estimates, putting up most of them in cities across the North Bay. Astonishingly, all of them have been painted individually, by hand. She tried making copies of her work like other street artists do, but “the vibrancy isn’t there,” she says.\u003c/p>\n\u003cp>So far, reaction to her work has been relatively positive. Rather than scraping her work from their walls, several area businesses owners have contacted her, either donating money or even requesting that she come put it up on their storefronts.\u003c/p>\n\u003cp>At the former Dollar Tree building in the Roseland district of Santa Rosa recently, a man came out and gruffly asked, “What are you doing? What agency are you from?”\u003c/p>\n\u003cp>She explained she was putting up art, and when he saw her work, he asked if she had any more. “And he said, ‘Put it around the whole building!’” she explains. “’And in fact, put it on those two taco trucks over there!’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I witness the same reaction in person later, when I accompany her and her assistant around downtown. While they dip into the supplies stored in their inconspicuous purses, and paste a “REGISTER + VOTE” painting in an alley, a man and a woman walk by. The woman points. For a flash of a second, I think we’re busted.\u003c/p>\n\u003cp>“Oh, look!” she says, pleasantly. “We’re getting a mural!”\u003c/p>\n\u003cfigure id=\"attachment_13885643\" class=\"wp-caption aligncenter\" style=\"max-width: 1819px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBanditRail2.jpg\" alt=\"The Velvet Bandit's work touches on a variety of social issues during a tumultuous year. \" width=\"1819\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2.jpg 1819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-800x263.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-1020x336.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-1536x506.jpg 1536w\" sizes=\"(max-width: 1819px) 100vw, 1819px\">\u003cfigcaption class=\"wp-caption-text\">The Velvet Bandit’s work touches on a variety of social issues during a tumultuous year. \u003ccite>(Courtesy the Velvet Bandit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>ublic art is always a source of debate, but it reached high temperature in Santa Rosa last month when a \u003ca href=\"https://www.pressdemocrat.com/article/news/white-hand-sculpture-painted-black-outside-santa-rosa-mall/\" target=\"_blank\" rel=\"noopener noreferrer\">giant marble hand in front of the mall\u003c/a> was painted black by Black Lives Matter activists. On one side of the issue, people argued that one should never vandalize art, and that the artist had intended the giant white hand to honor the region’s farmworkers. On the other side, people, mostly young, argued that the entire concept of public art should progress beyond staid marble sculptures that stay in place for 30 years and lose their relevance.\u003c/p>\n\u003cp>The Velvet Bandit wants public art to be “more fun.” She knows the city often looks for artists to participate in sanctioned art projects, “but it just seems like a lot of work to fill out an application,” she says. The idea of having to outline a project and its goals beforehand is cumbersome, too: “I just like to do it as I go, and not put too much thought into it.”\u003c/p>\n\u003cp>What about grants, or the money she could get from the city for art? “Maybe I’ll warm up to that idea,” she says. “But I get a thrill out of the fact that I’m not \u003cem>supposed\u003c/em> to be doing it.”\u003c/p>\n\u003cp>At any rate, the Velvet Bandit has goals beyond mere recognition. She truly does want people to wear masks, and to take COVID seriously. She wants Trump out of office. She wants people to register to vote. She wants people to take care of themselves, and each other; the very first artwork posted to \u003ca href=\"https://www.instagram.com/thevelvetbandit/\" target=\"_blank\" rel=\"noopener noreferrer\">her Instagram\u003c/a> reads, simply, “Free Hugs.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13885652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBandit.FISTGIF.gif\" alt=\"\" width=\"600\" height=\"600\">\u003c/p>\n\u003cp>Later, when she puts up a trio of raised fists in the center of town in Courthouse Square, I notice just how quickly and discreetly the Velvet Bandit works. In just half an hour, she and her assistant have pasted nearly 20 pieces downtown. Two dozen or so people mingle around the square, which is itself surrounded by plenty of chatty, unmasked outdoor diners. A man walks by with a stroller. A woman listens to Sheryl Crow nearby in her parked blue Hyundai. No one seems to notice us.\u003c/p>\n\u003cp>It’s then that I realize: why would they? The year 2020 has been such a turbulent mess. The news is a rollercoaster, everything changes quickly, hope is illusory and our attention spans are mush. And in that way, the \u003ca href=\"https://en.wikipedia.org/wiki/The_medium_is_the_message\" target=\"_blank\" rel=\"noopener noreferrer\">medium is the message\u003c/a>—the Velvet Bandit’s quickly changing, here-today-gone-tomorrow wheat pastes match this chaotic year, and simultaneously, they’re a liberating change from overthinking everything.\u003c/p>\n\u003cp>“Because all of this work is fleeting, and I don’t know the lifespan of it, I don’t get hung up,” she says. “If it works, it works. And if it doesn’t, whatever. Who cares? It’s all gonna get taken down anyway.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Find more at the Velvet Bandit’s \u003ca href=\"https://www.thevelvetbandit.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "SF Announces $12.8 Million in Grants for Arts and Culture Organizations",
"headTitle": "SF Announces $12.8 Million in Grants for Arts and Culture Organizations | KQED",
"content": "\u003cp>San Francisco Mayor London Breed announced $12.8 million in grants to 227 arts and culture organizations throughout the city on Wednesday.\u003c/p>\n\u003cp>The funding comes from the city’s \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a> (GFTA) program. Unlike the majority of arts grants, it is designed to cover day-to-day operating expenses.\u003c/p>\n\u003cp>Grantees range from small companies like AfroSolo, which received $10,000 in GFTA funding, to major institutions like the San Francisco Opera, with its $600,000 grant. (A full list of grantees \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/GFTA-FY21-Grants-Final-1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">can be viewed here [PDF]\u003c/a>.)\u003c/p>\n\u003cp>Although the more substantial grants have been dispersed, as usual, to the largest and most entrenched organizations, these organizations are seeing slight losses in funding this year. The San Francisco Museum of Modern Art’s grant fell from $423,190 to $400,00 since 2019; the San Francisco Ballet’s from $428,890 to $400,000; and the San Francisco Opera’s from $680,000 to $600,000.\u003c/p>\n\u003cp>Conversely, many of the smaller, equity-focused community organizations are seeing an increase in 2020. Examples include the San Francisco Juneteenth Celebration, whose grant grew from $20,000 to $25,000; Project Level, up from $7,500 to $20,000; and the Transgender Film Festival, which was bumped up from $15,000 to $18,750.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And even though the total pot of money is down around $140,000 over last year, the available funds are being spread more widely, as there are seven more grantees this year. Those include the Clarion Alley Mural Project, Dancing Earth Creation, Art With Elders, the Festival of Latin American Contemporary Choreographers, Kultivate Labs, San Francisco Women Artists, and Youth Art Exchange.\u003c/p>\n\u003cp>City Administrator Naomi Kelly says these adjustments are strategic.\u003c/p>\n\u003cp>“We had a really deep dive into those organizations who tried to look at racial and ethnic equity lines in particular this year, such as the African-American community and the transgender community,” says Kelly. “We wanted to make sure that we are supporting those organizations that have been disproportionately impacted through COVID-19.”\u003c/p>\n\u003cp>At a time when so many cultural organizations have been forced to close their doors permanently or temporarily, or drastically reduce their operations owing to the coronavirus pandemic, such help from the city is a lifeline.\u003c/p>\n\u003cp>“It’s the only operating grant money that we receive,” says Suzanne Cervantes, founding executive director of \u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Precita Eyes Muralists\u003c/a>, a public art education nonprofit based in the Mission District. The company saw a slight increase in GFTA funding from $45,490 in 2019 to $46,350 this year. “So it makes a big difference,” adds Cervantes. “It helps pay for utilities and rent, as well as administrative costs like marketing and website management.”\u003c/p>\n\u003cp>GFTA funding, a portion of which comes from hotel tax revenues, has been in existence since 1961. But starting in the early 2000s, owing to financial issues, the city gradually reduced its arts budget, ultimately repealing the specific allocation altogether in 2013. In 2018, San Francisco residents \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">approved a ballot measure, Proposition E\u003c/a>, to restore the funding. Since then, 1.5% of the base hotel tax — a 14% tax levied on hotel stays in the city — has been dedicated to supporting arts and culture programs in San Francisco.\u003c/p>\n\u003cp>But COVID-19 has left San Francisco’s hotel industry in tatters. According to \u003ca href=\"https://www.sftravel.com/article/san-francisco-travel-updating-tourism-projections-due-global-covid-19-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">figures released earlier this month by the San Francisco Travel Association\u003c/a>, which markets San Francisco nationally and globally as a tourism and convention destination, the number of visitors to the city are down more than 50% over last year, and their total spending has plummeted nearly 70%.\u003c/p>\n\u003cp>Arts and culture industry workers like Precita Eyes’ Cervantes are worried about what the shortfall might mean for funding in the coming years.\u003c/p>\n\u003cp>“After the 2008 recession, everyone got a cut and we were slowly able to get it back,” says Cervantes. “And now there’s a big question of if we’ll be going back to those harder times.”\u003c/p>\n\u003cp>But the shrinking of hotel tax dollars won’t completely decimate GFTA funding, at least in the near-to-medium-term, thanks to a safeguard written into Proposition E.\u003c/p>\n\u003cp>“In bad years for the hotel tax, as is the case now, we only drop by up to 10% over the previous year, and that would be the case even if hotel tax dollars dwindle to nothing,” says GFTA director Matthew Goudeau.\u003c/p>\n\u003cp>But Goudeau says the reverse is also true.\u003c/p>\n\u003cp>“In years when the hotel tax revenues are strong and growing, our budget can only grow by up to 10% over the previous year, even if, for example, the hotel tax were to grow by something like 25%.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goudeau also says funding for each subsequent year uses the previous fiscal year as a baseline. So if the economy continues to suffer, GFTA arts funding will likely continue to fall — even if only by up to 10% each year.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Mayor London Breed announced $12.8 million in grants to 227 arts and culture organizations throughout the city on Wednesday.\u003c/p>\n\u003cp>The funding comes from the city’s \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a> (GFTA) program. Unlike the majority of arts grants, it is designed to cover day-to-day operating expenses.\u003c/p>\n\u003cp>Grantees range from small companies like AfroSolo, which received $10,000 in GFTA funding, to major institutions like the San Francisco Opera, with its $600,000 grant. (A full list of grantees \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/GFTA-FY21-Grants-Final-1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">can be viewed here [PDF]\u003c/a>.)\u003c/p>\n\u003cp>Although the more substantial grants have been dispersed, as usual, to the largest and most entrenched organizations, these organizations are seeing slight losses in funding this year. The San Francisco Museum of Modern Art’s grant fell from $423,190 to $400,00 since 2019; the San Francisco Ballet’s from $428,890 to $400,000; and the San Francisco Opera’s from $680,000 to $600,000.\u003c/p>\n\u003cp>Conversely, many of the smaller, equity-focused community organizations are seeing an increase in 2020. Examples include the San Francisco Juneteenth Celebration, whose grant grew from $20,000 to $25,000; Project Level, up from $7,500 to $20,000; and the Transgender Film Festival, which was bumped up from $15,000 to $18,750.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And even though the total pot of money is down around $140,000 over last year, the available funds are being spread more widely, as there are seven more grantees this year. Those include the Clarion Alley Mural Project, Dancing Earth Creation, Art With Elders, the Festival of Latin American Contemporary Choreographers, Kultivate Labs, San Francisco Women Artists, and Youth Art Exchange.\u003c/p>\n\u003cp>City Administrator Naomi Kelly says these adjustments are strategic.\u003c/p>\n\u003cp>“We had a really deep dive into those organizations who tried to look at racial and ethnic equity lines in particular this year, such as the African-American community and the transgender community,” says Kelly. “We wanted to make sure that we are supporting those organizations that have been disproportionately impacted through COVID-19.”\u003c/p>\n\u003cp>At a time when so many cultural organizations have been forced to close their doors permanently or temporarily, or drastically reduce their operations owing to the coronavirus pandemic, such help from the city is a lifeline.\u003c/p>\n\u003cp>“It’s the only operating grant money that we receive,” says Suzanne Cervantes, founding executive director of \u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Precita Eyes Muralists\u003c/a>, a public art education nonprofit based in the Mission District. The company saw a slight increase in GFTA funding from $45,490 in 2019 to $46,350 this year. “So it makes a big difference,” adds Cervantes. “It helps pay for utilities and rent, as well as administrative costs like marketing and website management.”\u003c/p>\n\u003cp>GFTA funding, a portion of which comes from hotel tax revenues, has been in existence since 1961. But starting in the early 2000s, owing to financial issues, the city gradually reduced its arts budget, ultimately repealing the specific allocation altogether in 2013. In 2018, San Francisco residents \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">approved a ballot measure, Proposition E\u003c/a>, to restore the funding. Since then, 1.5% of the base hotel tax — a 14% tax levied on hotel stays in the city — has been dedicated to supporting arts and culture programs in San Francisco.\u003c/p>\n\u003cp>But COVID-19 has left San Francisco’s hotel industry in tatters. According to \u003ca href=\"https://www.sftravel.com/article/san-francisco-travel-updating-tourism-projections-due-global-covid-19-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">figures released earlier this month by the San Francisco Travel Association\u003c/a>, which markets San Francisco nationally and globally as a tourism and convention destination, the number of visitors to the city are down more than 50% over last year, and their total spending has plummeted nearly 70%.\u003c/p>\n\u003cp>Arts and culture industry workers like Precita Eyes’ Cervantes are worried about what the shortfall might mean for funding in the coming years.\u003c/p>\n\u003cp>“After the 2008 recession, everyone got a cut and we were slowly able to get it back,” says Cervantes. “And now there’s a big question of if we’ll be going back to those harder times.”\u003c/p>\n\u003cp>But the shrinking of hotel tax dollars won’t completely decimate GFTA funding, at least in the near-to-medium-term, thanks to a safeguard written into Proposition E.\u003c/p>\n\u003cp>“In bad years for the hotel tax, as is the case now, we only drop by up to 10% over the previous year, and that would be the case even if hotel tax dollars dwindle to nothing,” says GFTA director Matthew Goudeau.\u003c/p>\n\u003cp>But Goudeau says the reverse is also true.\u003c/p>\n\u003cp>“In years when the hotel tax revenues are strong and growing, our budget can only grow by up to 10% over the previous year, even if, for example, the hotel tax were to grow by something like 25%.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goudeau also says funding for each subsequent year uses the previous fiscal year as a baseline. So if the economy continues to suffer, GFTA arts funding will likely continue to fall — even if only by up to 10% each year.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the Black Panthers’ influential and widely-circulated newspaper, Emory Douglas’ drawings held near-equal space to the lines of written text, shaping the visual aesthetic of the Black Power movement. His designs and illustrations commanded attention: police as pigs; iconic renderings of Party leaders; young men bearing arms; slogans rendered in fat block letters. And they lived on—well after newsprint pages crumpled into wastebaskets, or deteriorated over time. Next to each, an underlined “Emory” identified their creator, as if the images could be attributed to anyone but the Black Panthers’ Minister of Culture.\u003c/p>\n\u003cp>Over the five decades since the founding of the Black Panther Party, Douglas’ work has never lost its power. In a recent interview with \u003ca href=\"https://news.artnet.com/art-world/emory-douglas-interview-1889924\" rel=\"noopener noreferrer\" target=\"_blank\">Artnet\u003c/a>, he explained, “Fifty years later, the artwork still has relevancy to it. Because we still have some of the same things happening now as happening then. You have young people who see that. When I do a talk, they’ll say, ‘Well, you could just tweak this and tweak that.’”\u003c/p>\n\u003cfigure id=\"attachment_13885335\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/TheBlackPanther_1200.jpg\" alt=\"\" width=\"1200\" height=\"893\" class=\"size-full wp-image-13885335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-768x572.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Early issues of ‘The Black Panther’ from 1967. \u003ccite>(Courtesy The Freedom Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And now audiences will have that opportunity once again. On Thursday, Aug. 27, Douglas joins Stephen Coles, the associate curator and editorial director of San Francisco’s Letterform Archive, to talk about his creative process, his years with the Black Panthers and his relationship to the current uprising for racial justice. \u003c/p>\n\u003cp>If you haven’t heard of the hosting institution, a bit of background: The Letterform Archive is a nonprofit center in San Francisco’s Potrero Hill that houses over 60,000 items related to lettering, typography, calligraphy and graphic design (a.k.a. heaven for design geeks). Important for Thursday’s purposes, the collection holds 100 issues of \u003ci>The Black Panther\u003c/i> newspaper, which will be shown along with original prints during Douglas’ talk. \u003c/p>\n\u003cp>The event is part of the archive’s monthly Salon Series, in which a member of the staff or a guest expert takes a deeper dive into specific collections or themes. Unique in this new world of endless Zoom gatherings, these salons include a view of the discussed material via a live overhead camera, meaning audience members can see the objects as they would in person, leaning over one of the archive’s massive wooden tables.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Salon Series 23: A Conversation with Emory Douglas takes place Thursday, Aug. 27, 12–1:30pm, tickets are $10. \u003ca href=\"https://letterformarchive.org/events/letterform-archive-salon-series-23-a-conversation-with-emory-douglas\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the Black Panthers’ influential and widely-circulated newspaper, Emory Douglas’ drawings held near-equal space to the lines of written text, shaping the visual aesthetic of the Black Power movement. His designs and illustrations commanded attention: police as pigs; iconic renderings of Party leaders; young men bearing arms; slogans rendered in fat block letters. And they lived on—well after newsprint pages crumpled into wastebaskets, or deteriorated over time. Next to each, an underlined “Emory” identified their creator, as if the images could be attributed to anyone but the Black Panthers’ Minister of Culture.\u003c/p>\n\u003cp>Over the five decades since the founding of the Black Panther Party, Douglas’ work has never lost its power. In a recent interview with \u003ca href=\"https://news.artnet.com/art-world/emory-douglas-interview-1889924\" rel=\"noopener noreferrer\" target=\"_blank\">Artnet\u003c/a>, he explained, “Fifty years later, the artwork still has relevancy to it. Because we still have some of the same things happening now as happening then. You have young people who see that. When I do a talk, they’ll say, ‘Well, you could just tweak this and tweak that.’”\u003c/p>\n\u003cfigure id=\"attachment_13885335\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/TheBlackPanther_1200.jpg\" alt=\"\" width=\"1200\" height=\"893\" class=\"size-full wp-image-13885335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TheBlackPanther_1200-768x572.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Early issues of ‘The Black Panther’ from 1967. \u003ccite>(Courtesy The Freedom Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And now audiences will have that opportunity once again. On Thursday, Aug. 27, Douglas joins Stephen Coles, the associate curator and editorial director of San Francisco’s Letterform Archive, to talk about his creative process, his years with the Black Panthers and his relationship to the current uprising for racial justice. \u003c/p>\n\u003cp>If you haven’t heard of the hosting institution, a bit of background: The Letterform Archive is a nonprofit center in San Francisco’s Potrero Hill that houses over 60,000 items related to lettering, typography, calligraphy and graphic design (a.k.a. heaven for design geeks). Important for Thursday’s purposes, the collection holds 100 issues of \u003ci>The Black Panther\u003c/i> newspaper, which will be shown along with original prints during Douglas’ talk. \u003c/p>\n\u003cp>The event is part of the archive’s monthly Salon Series, in which a member of the staff or a guest expert takes a deeper dive into specific collections or themes. Unique in this new world of endless Zoom gatherings, these salons include a view of the discussed material via a live overhead camera, meaning audience members can see the objects as they would in person, leaning over one of the archive’s massive wooden tables.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Salon Series 23: A Conversation with Emory Douglas takes place Thursday, Aug. 27, 12–1:30pm, tickets are $10. \u003ca href=\"https://letterformarchive.org/events/letterform-archive-salon-series-23-a-conversation-with-emory-douglas\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tenderloin Murals Meet their Audience at Street Level",
"headTitle": "Tenderloin Murals Meet their Audience at Street Level | KQED",
"content": "\u003cp>Chad Hasegawa’s new mural, finished Aug. 1, is painted above Blessings Ministry, a medical marijuana dispensary with a star of David over the door. It’s right down the block from the historic Hibernia Bank Building. Across the street on McAllister, a man wearing shades and a sports coat has a lawn chair laid out. He’s playing Rhianna from a vintage speaker—loud, and he’s singing. The streets are full of people. \u003c/p>\n\u003cp>“People were sitting out every day watching me paint,” Hasegawa remembers, “I had fans. Well, there was nothing else they could do during the pandemic.” \u003c/p>\n\u003cp>[aside postID=\"artschool_826\"]Hasegawa’s mural, spread across two walls, pairs a patchworked brown bear on one section with two minimal spheres on the other. The bear, which he reasons is a symbol of California, was chosen rather arbitrarily. “Basically,” Hasegawa explains, “I started out painting all these animals, but then people wanted me to paint their pug or like a tiger and I didn’t want to be a pet portraitist so I decided to only do the bear.” \u003c/p>\n\u003cp>Thinking about the spectrum of browns that coalesce in the bear’s appearance, Hasegawa drew out two predominant hues that articulate different shades, red and blue. The colors illuminate extremes and the effect is radiant. “I wanted the colors to turn each other on,” Hasegawa says of \u003ca href=\"https://www.instagram.com/chadhasegawa/\" rel=\"noopener noreferrer\" target=\"_blank\">his work\u003c/a>. “As if there are energies in them.”\u003c/p>\n\u003cp>The panel opposite the bear features two interlocking spheres which the artist made painstakingly, with a meticulous tape stencil. It’s minimal and perfect, more like a printed image than a painting. But, Hasegawa assures, if you look closely you can see the brushstrokes.\u003c/p>\n\u003cfigure id=\"attachment_13885217\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/HasegawaMurals_1200.jpg\" alt=\"\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13885217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-1152x1536.jpg 1152w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chad Hasegawa’s recently completed ‘Kachusha the American,’ 2020. \u003ccite>(Darryl Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[pullquote size='medium' align='right' citation='Darryl Smith, The Luggage Store']I still see the importance of well-curated exhibitions but I love tearing down fences and putting art out there.[/pullquote]The mural, on 83 McAllister, is the latest in a series of large-scale public works commissioned in the Tenderloin and Mid-Market neighborhoods by The Luggage Store gallery and funded primarily by Someland Foundation. So far three other murals have been completed, the first was \u003ca href=\"https://anglimgilbertgallery.com/clare-rojas/#ms-7880\" rel=\"noopener noreferrer\" target=\"_blank\">Clare Rojas\u003c/a>’ \u003cem>PROMISE\u003c/em> on the Warfield; then in 2018, \u003ca href=\"http://www.jackhanley.com/artists/alicia-mccarthy\" rel=\"noopener noreferrer\" target=\"_blank\">Alicia McCarthy\u003c/a>’s \u003cem>Untitled\u003c/em> went up at 7th and Market; and in 2019 \u003ca href=\"https://www.taubaauerbach.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tauba Auerbach\u003c/a> painted the colossal \u003cem>2020\u003c/em> on 455 Eddy. A new mural is planned for October by the artist \u003ca href=\"https://monacaron.com/street/mona-caron-artist\" rel=\"noopener noreferrer\" target=\"_blank\">Mona Caron\u003c/a>.\u003c/p>\n\u003cp>“These projects,” explains Luggage Store co-founder Darryl Smith, “are about giving people access to art at the highest level. I still see the importance of well-curated exhibitions but I love tearing down fences and putting art out there—it seems to me a more interesting way to reach many cultures and people.”\u003c/p>\n\u003cp>Hasegawa has painted murals in San Francisco, his home of over 20 years, for almost as long as he’s lived in the city. Before he works on a mural he always spends time scoping out the area. “The first bear I did was right down the street from The Stud. I thought since there was a big bear scene in the gay community there, they’d like it. And they did.” \u003c/p>\n\u003cp>With museums and galleries shuttered during the pandemic, it is, at the risk of sounding corny, a beautiful thing to see art in the company of others. Especially in a community as strong and interlinked as the Tenderloin, where everyone seems to know each other’s name. This proliferation of public murals is an antidote to the staleness of art museums, providing a lively context, formed by an engaged scene on the streets, that knocks high art out of its rarified, and often apolitical, frame. \u003c/p>\n\u003cfigure id=\"attachment_13885213\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/DarrylSmith_1200.jpg\" alt=\"\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13885213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Luggage Store co-founder Darryl Smith with Alicia McCarthy’s mural in the background. \u003ccite>(Barrett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People really like them,” says Smith, who is constantly greeting people on Eddy. “Just being on the street, walking through the neighborhood, I encounter people who thank me for the murals. Some even talk to me about other walls that could use one.” \u003c/p>\n\u003cp>A longtime resident of the Tenderloin, Hasegawa wanted to honor McAllister’s strategic location as a protest route. “That’s why I had the bear throw its hand up, as a sign of hope,” he says. “Like keep going people, we still have to scream at City Hall, it’s not over yet.” \u003c/p>\n\u003cp>He painted the Pan-African flag in his mural as a sign of respect to the Black Lives Matter movement; he figured it was something the Black community that spends time on the block would appreciate, “even if they weren’t about the art.” The mural itself is titled \u003cem>Kachusha the American\u003c/em>, in honor of a friend of Hasegawa’s who was attacked by the police in the Mission after acting as a witness to their harassment of a family. According to Hasegawa, while defending himself from the violent officers, Kachusha screamed, “I can’t breathe. I’m an American.” \u003c/p>\n\u003cp>“He kept saying that,” says Hasegawa, “because he felt like he was caught in a war.”\u003c/p>\n\u003cfigure id=\"attachment_13885215\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/P1142229-adj-ver-05-clr-cntrst-ok-768x1050-1.jpg\" alt=\"\" width=\"768\" height=\"1050\" class=\"size-full wp-image-13885215\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142229-adj-ver-05-clr-cntrst-ok-768x1050-1.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142229-adj-ver-05-clr-cntrst-ok-768x1050-1-160x219.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Tauba Auerbach’s ‘2020,’ 2019 on Mosser Towers. \u003ccite>(Jay Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Color and Form on an Epic Scale\u003c/h2>\n\u003cp>A girl with “Elon Musk” written on her arm in thick black marker is marveling at 2020, Auerbach’s hypnotic black and white mural. She has a pile of high heels in front of her and is modeling a particularly nice pair of red pumps. Gliding back and forth impressively, lightly encouraging people to buy them off her feet, she engages someone about the mural. She says she thinks it’s beautiful, then, softly, and only to herself, she whispers, “Best art ever.”\u003c/p>\n\u003cp>Auerbach’s mural depicts what looks like a rectangular piece of glass being dipped into inky milk. Adroit painted shadows falling from the glass give the mural a disconcerting trompe l’oeil effect and from a distance it’s as if the building is caught in a perpetual collision. \u003c/p>\n\u003cp>The largest work Auerbach has ever done, the mural was made with the assistance of a two-person crew from \u003ca href=\"https://www.newbohemiasigns.com/\" rel=\"noopener noreferrer\" target=\"_blank\">New Bohemia Signs\u003c/a>, where Auerbach worked early in her career. The geometric precision and dedication to work by hand for which Auerbach is known wrap around the building with staggering care. \u003c/p>\n\u003cp>A few blocks away sits Alicia McCarthy’s 100-by-100-foot untitled mural. Made with foot-long rollers acting as stand-ins for brushes, it’s a net of interlocking stripes painted line by line. Each color in the painting is unique, mixed by the artist. Following a line horizontally or vertically lends the mural a visual undulation; each color is constantly re-contextualized by its intersections. McCarthy, who worked with a crew of artists to put up the mural, notes the pure pleasure of watching colors interact with one another.\u003c/p>\n\u003cp>“I’m not trying to illustrate anything,” says Oakland-born McCarthy. “It is just color and lines and you see exactly what goes into it. There is no manipulation. My work is just about adaptation and context.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Street Art and the Battle for the City’s Soul\u003c/h2>\n\u003cp>The Tenderloin and Mid-Market murals are funded by Sara Williams and her foundation \u003ca href=\"https://projects.propublica.org/nonprofits/organizations/453438376\" rel=\"noopener noreferrer\" target=\"_blank\">Someland\u003c/a>, which she started with her husband Evan Williams, a co-founder of Twitter. While political justice and education seem to be the primary recipients of Someland’s donations, they’ve supported the arts in San Francisco by contributing to 826 Valencia and the FOR-SITE foundations’s \u003cem>\u003ca href=\"https://www.for-site.org/project/home-land-security/\" rel=\"noopener noreferrer\" target=\"_blank\">Home Land Security\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>As the area has long been a site of discontent, where new money meets a resilient community, there is an inherent tension between tech companies and the shrinking viability of small DIY and nonprofit organizations. On top of that, street art has recently become a kind of code for “gentrifying neighborhood” in the vernacular of start-ups like Airbnb or Tripadvisor. \u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Alicia McCarthy']It means a lot to work on this with Darryl and Laurie. Luggage Store is family.[/pullquote]Someland’s decision to directly support a steward of the community like Luggage Store—and in turn, the people they serve—marks an unusual and somewhat optimistic moment. By working with artists who have deep roots in San Francisco, and are politically attuned to the responsibilities of making public work, Smith is helping restore the Mission School’s long history of painting artwork on city walls, for free and for everyone.\u003c/p>\n\u003cp>“We look at Mid-Market and the Tenderloin where there is a strong African American community and we are proud that a number of murals have been done by Black people, people of color and women,” Smith says. \u003c/p>\n\u003cp>The artists he’s curated have taken care to be politically conscious, weighing a number of factors before committing to a mural—and its location. The luxury hotel Proper that hosts Alicia McCarthy’s mural used to be an SRO. “That was a difficult decision for me,” McCarthy says of taking the commission. “I did it on the condition that half my artist fee be donated to a nonprofit.” Ultimately, she reasoned she could trust the The Luggage Store, where she has shown and viewed art for decades.\u003c/p>\n\u003cp>“I’m not in the field for any professional reasons, but it means a lot to work on this with Darryl and Laurie,” McCarthy says of the co-founders. “Luggage Store is family. They are one of my core influences, I don’t think anyone could do what they do the way they do.” \u003c/p>\n\u003cfigure id=\"attachment_13885216\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1.jpg\" alt=\"\" width=\"1024\" height=\"1007\" class=\"size-full wp-image-13885216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-800x787.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-1020x1003.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-768x755.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Alicia McCarthy’s ‘Untitled,’ 2018 on the Proper Hotel. \u003ccite>(Jay Jones )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Art and Access\u003c/h2>\n\u003cp>The term “art market” has always struck me as strange. It’s as if art is a naturally occurring resource like oil or corn. As if it can be mined, processed and commodified, and isn’t the result of deeply personal and political expression. \u003c/p>\n\u003cp>The Luggage Store is committed, in its own way, to protecting the Tenderloin from gentrification and the looming recession while bringing art to its neighbors. In this mural project, public art is not a stepping stone towards gentrification, but a way of improving the daily lives of the people who are already there.\u003c/p>\n\u003cp>The pandemic has irrefutably highlighted the link between wealth and access to art, as works become further entombed within galleries open only by appointment and museums, still closed. But in the streets of the Tenderloin, there is a vitality to these freely accessible murals—curated with extreme care and hand-painted by artists who love San Francisco—that no economic crisis or pandemic could extinguish. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The Luggage Store-organized murals break down barriers of access, commissioning artists with local ties to create art for an often-overlooked community.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chad Hasegawa’s new mural, finished Aug. 1, is painted above Blessings Ministry, a medical marijuana dispensary with a star of David over the door. It’s right down the block from the historic Hibernia Bank Building. Across the street on McAllister, a man wearing shades and a sports coat has a lawn chair laid out. He’s playing Rhianna from a vintage speaker—loud, and he’s singing. The streets are full of people. \u003c/p>\n\u003cp>“People were sitting out every day watching me paint,” Hasegawa remembers, “I had fans. Well, there was nothing else they could do during the pandemic.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hasegawa’s mural, spread across two walls, pairs a patchworked brown bear on one section with two minimal spheres on the other. The bear, which he reasons is a symbol of California, was chosen rather arbitrarily. “Basically,” Hasegawa explains, “I started out painting all these animals, but then people wanted me to paint their pug or like a tiger and I didn’t want to be a pet portraitist so I decided to only do the bear.” \u003c/p>\n\u003cp>Thinking about the spectrum of browns that coalesce in the bear’s appearance, Hasegawa drew out two predominant hues that articulate different shades, red and blue. The colors illuminate extremes and the effect is radiant. “I wanted the colors to turn each other on,” Hasegawa says of \u003ca href=\"https://www.instagram.com/chadhasegawa/\" rel=\"noopener noreferrer\" target=\"_blank\">his work\u003c/a>. “As if there are energies in them.”\u003c/p>\n\u003cp>The panel opposite the bear features two interlocking spheres which the artist made painstakingly, with a meticulous tape stencil. It’s minimal and perfect, more like a printed image than a painting. But, Hasegawa assures, if you look closely you can see the brushstrokes.\u003c/p>\n\u003cfigure id=\"attachment_13885217\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/HasegawaMurals_1200.jpg\" alt=\"\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13885217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/HasegawaMurals_1200-1152x1536.jpg 1152w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chad Hasegawa’s recently completed ‘Kachusha the American,’ 2020. \u003ccite>(Darryl Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "I still see the importance of well-curated exhibitions but I love tearing down fences and putting art out there.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The mural, on 83 McAllister, is the latest in a series of large-scale public works commissioned in the Tenderloin and Mid-Market neighborhoods by The Luggage Store gallery and funded primarily by Someland Foundation. So far three other murals have been completed, the first was \u003ca href=\"https://anglimgilbertgallery.com/clare-rojas/#ms-7880\" rel=\"noopener noreferrer\" target=\"_blank\">Clare Rojas\u003c/a>’ \u003cem>PROMISE\u003c/em> on the Warfield; then in 2018, \u003ca href=\"http://www.jackhanley.com/artists/alicia-mccarthy\" rel=\"noopener noreferrer\" target=\"_blank\">Alicia McCarthy\u003c/a>’s \u003cem>Untitled\u003c/em> went up at 7th and Market; and in 2019 \u003ca href=\"https://www.taubaauerbach.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tauba Auerbach\u003c/a> painted the colossal \u003cem>2020\u003c/em> on 455 Eddy. A new mural is planned for October by the artist \u003ca href=\"https://monacaron.com/street/mona-caron-artist\" rel=\"noopener noreferrer\" target=\"_blank\">Mona Caron\u003c/a>.\u003c/p>\n\u003cp>“These projects,” explains Luggage Store co-founder Darryl Smith, “are about giving people access to art at the highest level. I still see the importance of well-curated exhibitions but I love tearing down fences and putting art out there—it seems to me a more interesting way to reach many cultures and people.”\u003c/p>\n\u003cp>Hasegawa has painted murals in San Francisco, his home of over 20 years, for almost as long as he’s lived in the city. Before he works on a mural he always spends time scoping out the area. “The first bear I did was right down the street from The Stud. I thought since there was a big bear scene in the gay community there, they’d like it. And they did.” \u003c/p>\n\u003cp>With museums and galleries shuttered during the pandemic, it is, at the risk of sounding corny, a beautiful thing to see art in the company of others. Especially in a community as strong and interlinked as the Tenderloin, where everyone seems to know each other’s name. This proliferation of public murals is an antidote to the staleness of art museums, providing a lively context, formed by an engaged scene on the streets, that knocks high art out of its rarified, and often apolitical, frame. \u003c/p>\n\u003cfigure id=\"attachment_13885213\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/DarrylSmith_1200.jpg\" alt=\"\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13885213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DarrylSmith_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Luggage Store co-founder Darryl Smith with Alicia McCarthy’s mural in the background. \u003ccite>(Barrett Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People really like them,” says Smith, who is constantly greeting people on Eddy. “Just being on the street, walking through the neighborhood, I encounter people who thank me for the murals. Some even talk to me about other walls that could use one.” \u003c/p>\n\u003cp>A longtime resident of the Tenderloin, Hasegawa wanted to honor McAllister’s strategic location as a protest route. “That’s why I had the bear throw its hand up, as a sign of hope,” he says. “Like keep going people, we still have to scream at City Hall, it’s not over yet.” \u003c/p>\n\u003cp>He painted the Pan-African flag in his mural as a sign of respect to the Black Lives Matter movement; he figured it was something the Black community that spends time on the block would appreciate, “even if they weren’t about the art.” The mural itself is titled \u003cem>Kachusha the American\u003c/em>, in honor of a friend of Hasegawa’s who was attacked by the police in the Mission after acting as a witness to their harassment of a family. According to Hasegawa, while defending himself from the violent officers, Kachusha screamed, “I can’t breathe. I’m an American.” \u003c/p>\n\u003cp>“He kept saying that,” says Hasegawa, “because he felt like he was caught in a war.”\u003c/p>\n\u003cfigure id=\"attachment_13885215\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/P1142229-adj-ver-05-clr-cntrst-ok-768x1050-1.jpg\" alt=\"\" width=\"768\" height=\"1050\" class=\"size-full wp-image-13885215\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142229-adj-ver-05-clr-cntrst-ok-768x1050-1.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142229-adj-ver-05-clr-cntrst-ok-768x1050-1-160x219.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Tauba Auerbach’s ‘2020,’ 2019 on Mosser Towers. \u003ccite>(Jay Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Color and Form on an Epic Scale\u003c/h2>\n\u003cp>A girl with “Elon Musk” written on her arm in thick black marker is marveling at 2020, Auerbach’s hypnotic black and white mural. She has a pile of high heels in front of her and is modeling a particularly nice pair of red pumps. Gliding back and forth impressively, lightly encouraging people to buy them off her feet, she engages someone about the mural. She says she thinks it’s beautiful, then, softly, and only to herself, she whispers, “Best art ever.”\u003c/p>\n\u003cp>Auerbach’s mural depicts what looks like a rectangular piece of glass being dipped into inky milk. Adroit painted shadows falling from the glass give the mural a disconcerting trompe l’oeil effect and from a distance it’s as if the building is caught in a perpetual collision. \u003c/p>\n\u003cp>The largest work Auerbach has ever done, the mural was made with the assistance of a two-person crew from \u003ca href=\"https://www.newbohemiasigns.com/\" rel=\"noopener noreferrer\" target=\"_blank\">New Bohemia Signs\u003c/a>, where Auerbach worked early in her career. The geometric precision and dedication to work by hand for which Auerbach is known wrap around the building with staggering care. \u003c/p>\n\u003cp>A few blocks away sits Alicia McCarthy’s 100-by-100-foot untitled mural. Made with foot-long rollers acting as stand-ins for brushes, it’s a net of interlocking stripes painted line by line. Each color in the painting is unique, mixed by the artist. Following a line horizontally or vertically lends the mural a visual undulation; each color is constantly re-contextualized by its intersections. McCarthy, who worked with a crew of artists to put up the mural, notes the pure pleasure of watching colors interact with one another.\u003c/p>\n\u003cp>“I’m not trying to illustrate anything,” says Oakland-born McCarthy. “It is just color and lines and you see exactly what goes into it. There is no manipulation. My work is just about adaptation and context.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Street Art and the Battle for the City’s Soul\u003c/h2>\n\u003cp>The Tenderloin and Mid-Market murals are funded by Sara Williams and her foundation \u003ca href=\"https://projects.propublica.org/nonprofits/organizations/453438376\" rel=\"noopener noreferrer\" target=\"_blank\">Someland\u003c/a>, which she started with her husband Evan Williams, a co-founder of Twitter. While political justice and education seem to be the primary recipients of Someland’s donations, they’ve supported the arts in San Francisco by contributing to 826 Valencia and the FOR-SITE foundations’s \u003cem>\u003ca href=\"https://www.for-site.org/project/home-land-security/\" rel=\"noopener noreferrer\" target=\"_blank\">Home Land Security\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>As the area has long been a site of discontent, where new money meets a resilient community, there is an inherent tension between tech companies and the shrinking viability of small DIY and nonprofit organizations. On top of that, street art has recently become a kind of code for “gentrifying neighborhood” in the vernacular of start-ups like Airbnb or Tripadvisor. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Someland’s decision to directly support a steward of the community like Luggage Store—and in turn, the people they serve—marks an unusual and somewhat optimistic moment. By working with artists who have deep roots in San Francisco, and are politically attuned to the responsibilities of making public work, Smith is helping restore the Mission School’s long history of painting artwork on city walls, for free and for everyone.\u003c/p>\n\u003cp>“We look at Mid-Market and the Tenderloin where there is a strong African American community and we are proud that a number of murals have been done by Black people, people of color and women,” Smith says. \u003c/p>\n\u003cp>The artists he’s curated have taken care to be politically conscious, weighing a number of factors before committing to a mural—and its location. The luxury hotel Proper that hosts Alicia McCarthy’s mural used to be an SRO. “That was a difficult decision for me,” McCarthy says of taking the commission. “I did it on the condition that half my artist fee be donated to a nonprofit.” Ultimately, she reasoned she could trust the The Luggage Store, where she has shown and viewed art for decades.\u003c/p>\n\u003cp>“I’m not in the field for any professional reasons, but it means a lot to work on this with Darryl and Laurie,” McCarthy says of the co-founders. “Luggage Store is family. They are one of my core influences, I don’t think anyone could do what they do the way they do.” \u003c/p>\n\u003cfigure id=\"attachment_13885216\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1.jpg\" alt=\"\" width=\"1024\" height=\"1007\" class=\"size-full wp-image-13885216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-800x787.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-1020x1003.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/P1142250-adj-ver-06-trns-cntrst-clr-OK-1024x1007-1-768x755.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Alicia McCarthy’s ‘Untitled,’ 2018 on the Proper Hotel. \u003ccite>(Jay Jones )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Art and Access\u003c/h2>\n\u003cp>The term “art market” has always struck me as strange. It’s as if art is a naturally occurring resource like oil or corn. As if it can be mined, processed and commodified, and isn’t the result of deeply personal and political expression. \u003c/p>\n\u003cp>The Luggage Store is committed, in its own way, to protecting the Tenderloin from gentrification and the looming recession while bringing art to its neighbors. In this mural project, public art is not a stepping stone towards gentrification, but a way of improving the daily lives of the people who are already there.\u003c/p>\n\u003cp>The pandemic has irrefutably highlighted the link between wealth and access to art, as works become further entombed within galleries open only by appointment and museums, still closed. But in the streets of the Tenderloin, there is a vitality to these freely accessible murals—curated with extreme care and hand-painted by artists who love San Francisco—that no economic crisis or pandemic could extinguish. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Ruth Asawa has been commemorated in a run of official postage stamps, available today, Aug. 13. \u003c/p>\n\u003cp>The stamps honor the work of the late, beloved San Francisco-based Asawa, a Japanese American artist whose fountains adorn the city and whose detailed wire sculptures have become an instantly recognizable emblem of her long, varied career.\u003c/p>\n\u003cp>The 20 stamps in the set showcase Asawa’s wire sculptures, with a 1954 \u003cem>Life\u003c/em> magazine photograph of Asawa in the margin of the set. The stamps, good for use indefinitely as “Forever” stamps, cost 55¢ each or $11 for a sheet of 20. They can be purchased in person at any post office branch, or \u003ca href=\"https://store.usps.com/store/product/buy-stamps/ruth-asawa-S_476304\" rel=\"noopener noreferrer\" target=\"_blank\">online directly from the USPS\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13884760\" class=\"wp-caption aligncenter\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/RuthAsawa.Stampsheet.jpg\" alt=\"Stamps featuring the wire sculpture of Ruth Asawa.\" width=\"522\" height=\"470\" class=\"size-full wp-image-13884760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RuthAsawa.Stampsheet.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RuthAsawa.Stampsheet-160x144.jpg 160w\" sizes=\"(max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">Stamps featuring the wire sculpture of Ruth Asawa. \u003ccite>(USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Ruth Asawa stamps will be commemorated in a \u003ca href=\"https://stamps.org/news/c/news/cat/us-new-issues/post/star-treks-george-takei-featured-in-asawa-stamp-dedication\" rel=\"noopener noreferrer\" target=\"_blank\">virtual dedication ceremony\u003c/a> on Aug. 13 at 10:30am Pacific Time on the USPS’ \u003ca href=\"https://twitter.com/USPS\" rel=\"noopener noreferrer\" target=\"_blank\">Twitter\u003c/a> and \u003ca href=\"https://www.facebook.com/USPS/\" rel=\"noopener noreferrer\" target=\"_blank\">Facebook\u003c/a> pages. George Takei, of \u003cem>Star Trek\u003c/em> fame, is scheduled to speak.\u003c/p>\n\u003cp>Asawa’s wire sculptures will be familiar to visitors of the de Young Museum in San Francisco. Fifteen are on permanent display in the museum’s tower building. \u003c/p>\n\u003cp>Asawa was born in 1926. During WWII, she and members of her family were sent to Santa Anita racetrack, and then to Arkansas, as part of the U.S. internment of Japanese Americans. She later attended Black Mountain College in North Carolina. Though versed in a variety of disciplines, her work with wire sculpture attracted nationwide attention starting in the 1950s.\u003c/p>\n\u003cp>In 1966, Asawa created the mermaid fountain in San Francisco’s Ghirardelli Square. Fountains at the Hyatt in Union Square, the Embarcadero, and other locations around the Bay Area followed, often created in collaboration with schoolchildren. Asawa also led a drive to establish the San Francisco School for the Arts, now named in her honor.\u003c/p>\n\u003cp>Asawa died in 2013. A biography of her life and work, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13878921/everything-she-touched-emotionally-textured-biography-of-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Everything She Touched: The Life of Ruth Asawa\u003c/a>\u003c/em>, was released earlier this year by Chronicle Books. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ruth Asawa has been commemorated in a run of official postage stamps, available today, Aug. 13. \u003c/p>\n\u003cp>The stamps honor the work of the late, beloved San Francisco-based Asawa, a Japanese American artist whose fountains adorn the city and whose detailed wire sculptures have become an instantly recognizable emblem of her long, varied career.\u003c/p>\n\u003cp>The 20 stamps in the set showcase Asawa’s wire sculptures, with a 1954 \u003cem>Life\u003c/em> magazine photograph of Asawa in the margin of the set. The stamps, good for use indefinitely as “Forever” stamps, cost 55¢ each or $11 for a sheet of 20. They can be purchased in person at any post office branch, or \u003ca href=\"https://store.usps.com/store/product/buy-stamps/ruth-asawa-S_476304\" rel=\"noopener noreferrer\" target=\"_blank\">online directly from the USPS\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13884760\" class=\"wp-caption aligncenter\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/RuthAsawa.Stampsheet.jpg\" alt=\"Stamps featuring the wire sculpture of Ruth Asawa.\" width=\"522\" height=\"470\" class=\"size-full wp-image-13884760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RuthAsawa.Stampsheet.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RuthAsawa.Stampsheet-160x144.jpg 160w\" sizes=\"(max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">Stamps featuring the wire sculpture of Ruth Asawa. \u003ccite>(USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Ruth Asawa stamps will be commemorated in a \u003ca href=\"https://stamps.org/news/c/news/cat/us-new-issues/post/star-treks-george-takei-featured-in-asawa-stamp-dedication\" rel=\"noopener noreferrer\" target=\"_blank\">virtual dedication ceremony\u003c/a> on Aug. 13 at 10:30am Pacific Time on the USPS’ \u003ca href=\"https://twitter.com/USPS\" rel=\"noopener noreferrer\" target=\"_blank\">Twitter\u003c/a> and \u003ca href=\"https://www.facebook.com/USPS/\" rel=\"noopener noreferrer\" target=\"_blank\">Facebook\u003c/a> pages. George Takei, of \u003cem>Star Trek\u003c/em> fame, is scheduled to speak.\u003c/p>\n\u003cp>Asawa’s wire sculptures will be familiar to visitors of the de Young Museum in San Francisco. Fifteen are on permanent display in the museum’s tower building. \u003c/p>\n\u003cp>Asawa was born in 1926. During WWII, she and members of her family were sent to Santa Anita racetrack, and then to Arkansas, as part of the U.S. internment of Japanese Americans. She later attended Black Mountain College in North Carolina. Though versed in a variety of disciplines, her work with wire sculpture attracted nationwide attention starting in the 1950s.\u003c/p>\n\u003cp>In 1966, Asawa created the mermaid fountain in San Francisco’s Ghirardelli Square. Fountains at the Hyatt in Union Square, the Embarcadero, and other locations around the Bay Area followed, often created in collaboration with schoolchildren. Asawa also led a drive to establish the San Francisco School for the Arts, now named in her honor.\u003c/p>\n\u003cp>Asawa died in 2013. A biography of her life and work, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13878921/everything-she-touched-emotionally-textured-biography-of-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Everything She Touched: The Life of Ruth Asawa\u003c/a>\u003c/em>, was released earlier this year by Chronicle Books. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Arthur’ Reminds Us the Internet Can’t Replace Art Shows",
"headTitle": "‘Arthur’ Reminds Us the Internet Can’t Replace Art Shows | KQED",
"content": "\u003cp>Objectively, I know that looking at art on a screen is no replacement for the physical experience. But over the past five months, I convinced myself I was getting at least an approximation of the thing. With my powers of looking—so well-trained, so good at reading material lists!—I was doing an okay job, I told myself, at imagining a physical artwork in three-dimensional brain space based on nothing more than its flattened digital image.\u003c/p>\n\u003cp>Then I went to Ratio 3 to see Eddie Martinez and Sam Moyer’s \u003ci>\u003ca href=\"https://www.ratio3.org/exhibitions/sam-moyer-eddie-martinez-arthur/installation\" target=\"_blank\" rel=\"noopener noreferrer\">Arthur\u003c/a>\u003c/i>, and I was humbled.\u003c/p>\n\u003cp>You see—or you \u003ci>will\u003c/i> see, if you make an appointment to stop by the Mission Street gallery—Martinez and Moyer’s two-dimensional artworks are not exactly two-dimensional. They’re textured, luminous, rough-edged and layered. They blow their digital selves out of the water.\u003c/p>\n\u003cp>The biggest shock to my self-confidence came from the show’s opening piece, an untitled wall work by Moyer. In it, two flower-like arrangements of fractured gray marble sit against a golden field of painted canvas.\u003c/p>\n\u003cfigure id=\"attachment_13884358\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884358\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Arthur_Installation-011_1200.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-011_1200.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-011_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-011_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-011_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-011_1200-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Untitled marble and canvas works by Sam Moyer, both 2020. \u003ccite>(Courtesy Ratio 3)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Oh\u003c/i>, I thought. \u003ci>Marble!\u003c/i> Prior to my visit (and based on cursory web-browsing), I presumed I would see flat canvas, a uniform surface that held no surprises. Instead, Moyer’s canvas stretches over MDF that’s been cut to accommodate the irregular marble shapes. They nestle perfectly into their enclosures, the narrow gaps between gray stone and sunny canvas hinting at secret methods of affixing and unseen joinings of materials.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Being wrong was thrilling. What else had I glossed over that I could now experience in person? In Martinez’ works on paper, it was thick chunks of oil paint. His marks of erasure—white paint over dark lines—work almost too well on jpegs. In person, you get to see what’s covered.\u003c/p>\n\u003cp>And the arrangements. Even installation images can’t capture the feeling of seeing Martinez’s \u003ci>Snakes Take\u003c/i>, a patchwork head of brightly colored squares, on a wall next to Moyer’s series of fused glass pieces. It’s as if Martinez’s painting has been broken up into its constituent parts. One glass work, a soft-edged, bubbly and molten-looking combination of red, black and blue, even features a checkerboard pattern, a pattern also seen in Martinez’s recurring head motif.\u003c/p>\n\u003cfigure id=\"attachment_13884363\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884363\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Glass_Snakes.Take_.jpg\" alt=\"\" width=\"1200\" height=\"648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Glass_Snakes.Take_.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Glass_Snakes.Take_-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Glass_Snakes.Take_-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Glass_Snakes.Take_-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Glass_Snakes.Take_-768x415.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">(L) Sam Moyer, ‘Untitled,’ 2020; (R) Eddie Martinez, ‘Snakes Take,’ 2019. \u003ccite>(Courtesy Ratio 3)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is the first time Martinez and Moyer, who are married and live in New York, have shared an exhibition. The show’s title comes from the name of their child, born in September last year—a collaboration of a different sort. A pairing of any artists forces viewers to draw connections between the two, but in this case, the artists also share a life.\u003c/p>\n\u003cp>And yet this particular pairing works well, beyond the novelty of a family show, because their work is so different. Where themes and similarities emerge—like between \u003ci>Snakes Take\u003c/i> and the glass works—it feels like a reward to close looking rather than evidence of one artist’s influence over the other.\u003c/p>\n\u003cfigure id=\"attachment_13884361\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884361\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Arthur_Installation-012-LORES.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-012-LORES.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-012-LORES-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-012-LORES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-012-LORES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-012-LORES-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Martinez, ‘Bird Whiteout,’ 2020. \u003ccite>(Courtesy Ratio 3)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martinez’s works on paper and canvas are full of bold motion, thick brushstrokes and evidence of a laundry list of materials. One painting from 2020, \u003ci>Bird Whiteout\u003c/i>, is made from oil paint, silkscreen ink, oil bar, enamel, marker, foot print, pencil, push pins and canvas collage. His pieces push and pull at legibility through abstraction. A tennis ball is plainly visible in \u003ci>And Sports\u003c/i>, but in \u003ci>Bird Whiteout\u003c/i> only a cartoonish parrot is truly identifiable on the large canvas.\u003c/p>\n\u003cp>Moyer’s work, on the other hand, is much more restrained and orderly. But it’s not so restrained or orderly as to eliminate all possibility of chance. The glass works are a testament to this. Careful arrangements enter the kiln and emerge less precise, colors blending into one another and surfaces expanding with bulges.\u003c/p>\n\u003cp>In the marble and canvas pieces, Moyer balances the cool slices of stone with regular brushstrokes in muted tones of white, blue, green and gray. The pieces of marble are the off-cuts of other people’s projects (kitchen counters, bathroom floors); some bear measurements and labels on their edges. Moyer’s own marks answer those utilitarian bits of residue; she lines one canvas with washy horizontal stripes, another seems to mimic the veining of the stone it notches into.\u003c/p>\n\u003cfigure id=\"attachment_13884359\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884359\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Arthur_Installation-016_1200.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-016_1200.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-016_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-016_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-016_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-016_1200-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Arthur’ with Sam Moyer’s untitled oil on bristol works, all 2020. \u003ccite>(Courtesy Ratio 3)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the last room of \u003ci>Arthur\u003c/i>, a long line of 12 framed works on paper hint at the push and pull of Moyer’s own process, one that uses cut-outs and patterning to carve up and map rectangular space. Nearby, an untitled painting by Martinez depicts three people at a table, one slightly smaller than the others. It could be two parents and a child.\u003c/p>\n\u003cp>Not as many people will get to see this show as likely would have before the pandemic. Perhaps more will see it online than in person. But those are different shows entirely. The distance between the two is vast, a whole dimension; I encourage as many as possible to traverse it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Arthur’ is on view Saturdays through Aug. 19 at Ratio 3 (2831A Mission Street) by appointment. \u003ca href=\"https://www.ratio3.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Objectively, I know that looking at art on a screen is no replacement for the physical experience. But over the past five months, I convinced myself I was getting at least an approximation of the thing. With my powers of looking—so well-trained, so good at reading material lists!—I was doing an okay job, I told myself, at imagining a physical artwork in three-dimensional brain space based on nothing more than its flattened digital image.\u003c/p>\n\u003cp>Then I went to Ratio 3 to see Eddie Martinez and Sam Moyer’s \u003ci>\u003ca href=\"https://www.ratio3.org/exhibitions/sam-moyer-eddie-martinez-arthur/installation\" target=\"_blank\" rel=\"noopener noreferrer\">Arthur\u003c/a>\u003c/i>, and I was humbled.\u003c/p>\n\u003cp>You see—or you \u003ci>will\u003c/i> see, if you make an appointment to stop by the Mission Street gallery—Martinez and Moyer’s two-dimensional artworks are not exactly two-dimensional. They’re textured, luminous, rough-edged and layered. They blow their digital selves out of the water.\u003c/p>\n\u003cp>The biggest shock to my self-confidence came from the show’s opening piece, an untitled wall work by Moyer. In it, two flower-like arrangements of fractured gray marble sit against a golden field of painted canvas.\u003c/p>\n\u003cfigure id=\"attachment_13884358\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884358\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Arthur_Installation-011_1200.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-011_1200.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-011_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-011_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-011_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-011_1200-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Untitled marble and canvas works by Sam Moyer, both 2020. \u003ccite>(Courtesy Ratio 3)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Oh\u003c/i>, I thought. \u003ci>Marble!\u003c/i> Prior to my visit (and based on cursory web-browsing), I presumed I would see flat canvas, a uniform surface that held no surprises. Instead, Moyer’s canvas stretches over MDF that’s been cut to accommodate the irregular marble shapes. They nestle perfectly into their enclosures, the narrow gaps between gray stone and sunny canvas hinting at secret methods of affixing and unseen joinings of materials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Being wrong was thrilling. What else had I glossed over that I could now experience in person? In Martinez’ works on paper, it was thick chunks of oil paint. His marks of erasure—white paint over dark lines—work almost too well on jpegs. In person, you get to see what’s covered.\u003c/p>\n\u003cp>And the arrangements. Even installation images can’t capture the feeling of seeing Martinez’s \u003ci>Snakes Take\u003c/i>, a patchwork head of brightly colored squares, on a wall next to Moyer’s series of fused glass pieces. It’s as if Martinez’s painting has been broken up into its constituent parts. One glass work, a soft-edged, bubbly and molten-looking combination of red, black and blue, even features a checkerboard pattern, a pattern also seen in Martinez’s recurring head motif.\u003c/p>\n\u003cfigure id=\"attachment_13884363\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884363\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Glass_Snakes.Take_.jpg\" alt=\"\" width=\"1200\" height=\"648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Glass_Snakes.Take_.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Glass_Snakes.Take_-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Glass_Snakes.Take_-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Glass_Snakes.Take_-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Glass_Snakes.Take_-768x415.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">(L) Sam Moyer, ‘Untitled,’ 2020; (R) Eddie Martinez, ‘Snakes Take,’ 2019. \u003ccite>(Courtesy Ratio 3)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is the first time Martinez and Moyer, who are married and live in New York, have shared an exhibition. The show’s title comes from the name of their child, born in September last year—a collaboration of a different sort. A pairing of any artists forces viewers to draw connections between the two, but in this case, the artists also share a life.\u003c/p>\n\u003cp>And yet this particular pairing works well, beyond the novelty of a family show, because their work is so different. Where themes and similarities emerge—like between \u003ci>Snakes Take\u003c/i> and the glass works—it feels like a reward to close looking rather than evidence of one artist’s influence over the other.\u003c/p>\n\u003cfigure id=\"attachment_13884361\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884361\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Arthur_Installation-012-LORES.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-012-LORES.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-012-LORES-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-012-LORES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-012-LORES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-012-LORES-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Martinez, ‘Bird Whiteout,’ 2020. \u003ccite>(Courtesy Ratio 3)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martinez’s works on paper and canvas are full of bold motion, thick brushstrokes and evidence of a laundry list of materials. One painting from 2020, \u003ci>Bird Whiteout\u003c/i>, is made from oil paint, silkscreen ink, oil bar, enamel, marker, foot print, pencil, push pins and canvas collage. His pieces push and pull at legibility through abstraction. A tennis ball is plainly visible in \u003ci>And Sports\u003c/i>, but in \u003ci>Bird Whiteout\u003c/i> only a cartoonish parrot is truly identifiable on the large canvas.\u003c/p>\n\u003cp>Moyer’s work, on the other hand, is much more restrained and orderly. But it’s not so restrained or orderly as to eliminate all possibility of chance. The glass works are a testament to this. Careful arrangements enter the kiln and emerge less precise, colors blending into one another and surfaces expanding with bulges.\u003c/p>\n\u003cp>In the marble and canvas pieces, Moyer balances the cool slices of stone with regular brushstrokes in muted tones of white, blue, green and gray. The pieces of marble are the off-cuts of other people’s projects (kitchen counters, bathroom floors); some bear measurements and labels on their edges. Moyer’s own marks answer those utilitarian bits of residue; she lines one canvas with washy horizontal stripes, another seems to mimic the veining of the stone it notches into.\u003c/p>\n\u003cfigure id=\"attachment_13884359\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884359\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Arthur_Installation-016_1200.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-016_1200.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-016_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-016_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-016_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Arthur_Installation-016_1200-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Arthur’ with Sam Moyer’s untitled oil on bristol works, all 2020. \u003ccite>(Courtesy Ratio 3)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the last room of \u003ci>Arthur\u003c/i>, a long line of 12 framed works on paper hint at the push and pull of Moyer’s own process, one that uses cut-outs and patterning to carve up and map rectangular space. Nearby, an untitled painting by Martinez depicts three people at a table, one slightly smaller than the others. It could be two parents and a child.\u003c/p>\n\u003cp>Not as many people will get to see this show as likely would have before the pandemic. Perhaps more will see it online than in person. But those are different shows entirely. The distance between the two is vast, a whole dimension; I encourage as many as possible to traverse it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Arthur’ is on view Saturdays through Aug. 19 at Ratio 3 (2831A Mission Street) by appointment. \u003ca href=\"https://www.ratio3.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Updated Aug. 4, 3:45pm\u003c/i>\u003c/p>\n\u003cp>On a recent Saturday, Temi Washington, the great-great-granddaughter of Bridget “Biddy” Mason, spoke about the importance of seeing Black lives represented in American history. The occasion was a virtual panel discussion for LaborFest, the first virtual event for the annual San Francisco celebration of labor movements and the history of workers. Washington was there to talk about the future of a New Deal-era mural featuring her ancestor, a nurse and midwife in 19th-century Los Angeles. \u003c/p>\n\u003cp>“The story behind it certainly needs to be told,” Washington said of Bernard Zakheim’s 10-panel fresco \u003cem>History of Medicine in California\u003c/em>. In early June, the University of California San Francisco announced the frescoes would need to either be moved or destroyed to make way for a new research and academic building planned at the school’s Parnassus Heights campus. The school offered to preserve the frescoes digitally.[aside postID=\"news_11767493\"]\u003c/p>\n\u003cp>But Washington, the Zakheim family, and community supporters emphasized digital files would be no replacement for viewing the frescoes in person. Many argue that removing the murals will erase the already little-known history of Biddy Mason in the process. Mason was brought to California (a free state) by her enslaver, who was eventually apprehended with the help of local authorities. In a 1856 ruling by a Los Angeles court, she and 13 other enslaved people, including her three children, were declared free. \u003c/p>\n\u003cp>She later worked with one of California’s earliest trained physicians, John S. Griffin. In Zakheim’s fresco, Mason and Griffin are shown as equals, caring for a patient with malaria.\u003c/p>\n\u003cp>Growing up, Washington said she did not see positive portrayals of Black lives in history. She believes the frescoes are a gift to the school. \u003cem>History of Medicine in California\u003c/em> has greeted UCSF hospital workers and visitors to Toland Hall auditorium for over 80 years. Last week, San Francisco Supervisor Aaron Peskin expressed his interest in the frescoes, introducing a resolution to the Board of Supervisors to declare the artwork a historic landmark. \u003c/p>\n\u003cfigure id=\"attachment_13884221\" class=\"wp-caption aligncenter\" style=\"max-width: 991px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/zakheim2.jpg\" alt=\"\" width=\"991\" height=\"277\" class=\"size-full wp-image-13884221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2.jpg 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-800x224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-768x215.jpg 768w\" sizes=\"(max-width: 991px) 100vw, 991px\">\u003cfigcaption class=\"wp-caption-text\">Surgeon Don Pedro Prat treats a patient’s leg and James Ohio Pattie vaccinates Californians in a detail of ‘History of Medicine in California.’\u003cbr> \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zakheim’s frescoes, funded by the New Deal’s Federal Art Project, depict the history of medicine in California. The vibrant murals are curved along the walls of the auditorium. In addition to Mason, other medical practitioners treat patients with all varieties of diseases.\u003c/p>\n\u003cp>The GSA considers the frescoes to be the property of the federal government on loan to the university. But the building that houses them is now 103 years old and seismically unfit; the university says it needs to be replaced.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Nonetheless UCSF will continue to work in good faith with all parties to determine if a plan to save the murals is possible,” the school said in a statement.\u003c/p>\n\u003cp>Historic preservation firms hired by UCSF said it would cost about $8 million to remove the frescoes. But Nathan Zakheim, the artist’s son, who has professional experience removing and conserving his father’s work, guarantees he can do the job for just $1 million. “I don’t object to their $8 million quote because that’s the sort of thing greedy conservators like to charge,” he said in the same LaborFest panel, “but I can do it for less than a million.”\u003c/p>\n\u003cfigure id=\"attachment_13884224\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg\" alt=\"\" width=\"1024\" height=\"725\" class=\"size-full wp-image-13884224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-768x544.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Bernard Zakheim and his son Nathan Zakheim, circa 1967. \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“UCSF has decided not to use public funds to physically preserve the murals, especially at a time when the UC system faces financial challenges in the wake of COVID-19,” the university said in a statement to the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>In a legal letter issued to the Zakheim family on June 4, UCSF stated the frescoes were set for demolition, giving the family 90 days to come up with a proposal to save them. Sources close to the project say that due to the ensuing outcry surrounding the frescoes’ potential destruction, as well as discussions about ownership of the murals, that timeline may no longer be in effect. \u003c/p>\n\u003cp>Adam Gottstein, Bernard Zakheim’s grandson, is trying to increase public awareness around his grandfather’s frescoes. In the LaborFest panel, Zakheim family members and community supporters discussed the relevance of the murals to the working class and the public and the political nature that protects them. \u003c/p>\n\u003cp>Robert Sherins, a community member who supports the preservation of the murals, has written six books about Bernard Zakheim’s personal life and paintings. Sherins, as well as other supporters, emphasized the importance of preserving history, especially now. \u003c/p>\n\u003cp>“These frescoes tell the story like none other and they cannot be removed,” Sherins said, “or you will forget history—as everybody else has.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>This article has been updated to accurately describe how Biddy Mason attained her freedom—as a Black woman, she was not able to petition the court on her own behalf at the time.\u003c/i>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that Parnassus Hall is slated to be replaced with a complex of care units. It is slated to be replaced by a new research and academic building.\u003c/em>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that the murals were funded by the U.S> General Service Administration. The murals were funded by the Federal Arts Project.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Updated Aug. 4, 3:45pm\u003c/i>\u003c/p>\n\u003cp>On a recent Saturday, Temi Washington, the great-great-granddaughter of Bridget “Biddy” Mason, spoke about the importance of seeing Black lives represented in American history. The occasion was a virtual panel discussion for LaborFest, the first virtual event for the annual San Francisco celebration of labor movements and the history of workers. Washington was there to talk about the future of a New Deal-era mural featuring her ancestor, a nurse and midwife in 19th-century Los Angeles. \u003c/p>\n\u003cp>“The story behind it certainly needs to be told,” Washington said of Bernard Zakheim’s 10-panel fresco \u003cem>History of Medicine in California\u003c/em>. In early June, the University of California San Francisco announced the frescoes would need to either be moved or destroyed to make way for a new research and academic building planned at the school’s Parnassus Heights campus. The school offered to preserve the frescoes digitally.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Washington, the Zakheim family, and community supporters emphasized digital files would be no replacement for viewing the frescoes in person. Many argue that removing the murals will erase the already little-known history of Biddy Mason in the process. Mason was brought to California (a free state) by her enslaver, who was eventually apprehended with the help of local authorities. In a 1856 ruling by a Los Angeles court, she and 13 other enslaved people, including her three children, were declared free. \u003c/p>\n\u003cp>She later worked with one of California’s earliest trained physicians, John S. Griffin. In Zakheim’s fresco, Mason and Griffin are shown as equals, caring for a patient with malaria.\u003c/p>\n\u003cp>Growing up, Washington said she did not see positive portrayals of Black lives in history. She believes the frescoes are a gift to the school. \u003cem>History of Medicine in California\u003c/em> has greeted UCSF hospital workers and visitors to Toland Hall auditorium for over 80 years. Last week, San Francisco Supervisor Aaron Peskin expressed his interest in the frescoes, introducing a resolution to the Board of Supervisors to declare the artwork a historic landmark. \u003c/p>\n\u003cfigure id=\"attachment_13884221\" class=\"wp-caption aligncenter\" style=\"max-width: 991px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/zakheim2.jpg\" alt=\"\" width=\"991\" height=\"277\" class=\"size-full wp-image-13884221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2.jpg 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-800x224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-768x215.jpg 768w\" sizes=\"(max-width: 991px) 100vw, 991px\">\u003cfigcaption class=\"wp-caption-text\">Surgeon Don Pedro Prat treats a patient’s leg and James Ohio Pattie vaccinates Californians in a detail of ‘History of Medicine in California.’\u003cbr> \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zakheim’s frescoes, funded by the New Deal’s Federal Art Project, depict the history of medicine in California. The vibrant murals are curved along the walls of the auditorium. In addition to Mason, other medical practitioners treat patients with all varieties of diseases.\u003c/p>\n\u003cp>The GSA considers the frescoes to be the property of the federal government on loan to the university. But the building that houses them is now 103 years old and seismically unfit; the university says it needs to be replaced.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Nonetheless UCSF will continue to work in good faith with all parties to determine if a plan to save the murals is possible,” the school said in a statement.\u003c/p>\n\u003cp>Historic preservation firms hired by UCSF said it would cost about $8 million to remove the frescoes. But Nathan Zakheim, the artist’s son, who has professional experience removing and conserving his father’s work, guarantees he can do the job for just $1 million. “I don’t object to their $8 million quote because that’s the sort of thing greedy conservators like to charge,” he said in the same LaborFest panel, “but I can do it for less than a million.”\u003c/p>\n\u003cfigure id=\"attachment_13884224\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg\" alt=\"\" width=\"1024\" height=\"725\" class=\"size-full wp-image-13884224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-768x544.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Bernard Zakheim and his son Nathan Zakheim, circa 1967. \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“UCSF has decided not to use public funds to physically preserve the murals, especially at a time when the UC system faces financial challenges in the wake of COVID-19,” the university said in a statement to the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>In a legal letter issued to the Zakheim family on June 4, UCSF stated the frescoes were set for demolition, giving the family 90 days to come up with a proposal to save them. Sources close to the project say that due to the ensuing outcry surrounding the frescoes’ potential destruction, as well as discussions about ownership of the murals, that timeline may no longer be in effect. \u003c/p>\n\u003cp>Adam Gottstein, Bernard Zakheim’s grandson, is trying to increase public awareness around his grandfather’s frescoes. In the LaborFest panel, Zakheim family members and community supporters discussed the relevance of the murals to the working class and the public and the political nature that protects them. \u003c/p>\n\u003cp>Robert Sherins, a community member who supports the preservation of the murals, has written six books about Bernard Zakheim’s personal life and paintings. Sherins, as well as other supporters, emphasized the importance of preserving history, especially now. \u003c/p>\n\u003cp>“These frescoes tell the story like none other and they cannot be removed,” Sherins said, “or you will forget history—as everybody else has.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>This article has been updated to accurately describe how Biddy Mason attained her freedom—as a Black woman, she was not able to petition the court on her own behalf at the time.\u003c/i>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that Parnassus Hall is slated to be replaced with a complex of care units. It is slated to be replaced by a new research and academic building.\u003c/em>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that the murals were funded by the U.S> General Service Administration. The murals were funded by the Federal Arts Project.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Instagram page curated Amir Abdul-Shakur, aka \u003ca href=\"https://www.instagram.com/amirthephotographer/\" target=\"_blank\" rel=\"noopener noreferrer\">Amir The Photographer\u003c/a>, looks like a community yearbook. His shots are mostly portraits of Black folks in Oakland, and show each individual in their own radiant light.\u003c/p>\n\u003cp>His images, some of protests and others of parties, all seem to have an underlying joyous sentiment.\u003c/p>\n\u003cfigure id=\"attachment_13884147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884147\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/image_from_ios-800x800.jpg\" alt=\"Photographer Amir Abdul-Shakur\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/image_from_ios-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/image_from_ios-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/image_from_ios-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/image_from_ios.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Amir Abdul-Shakur \u003ccite>(Nancy Abdul-Shakur)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One image that caught my eye earlier this summer was a shot of Fitness owner \u003ca href=\"https://www.instagram.com/p/CB7SPA9h7cC/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Joli Zahra Drevitch.\u003c/a> The framing, the lighting, the strength in the posture of the subject– it all gave me a sense of joy.\u003c/p>\n\u003cp>After talking to Amir about the intended purpose of his photos, it seems like he’s meeting his intentions: highlighting Black joy.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC7672608757&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Amir Abdul-Shakur.\u003c/strong>\u003c/p>\n\u003cp>\u003cb>Amir: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. My thesis is to try to paint us in a beautiful light. it’s always been about elevating Black people and showing the beauty and, unfortunately, humanizing us.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen:\u003c/b> \u003cspan style=\"font-weight: 400\">Was there a moment, was there something that pushed you over the top? You’re like, yo, I got to start doing this right now?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Amir: \u003c/b>Around \u003cspan style=\"font-weight: 400\">2016 or 2017 my family was a part of a PBS documentary called \u003c/span>\u003ca href=\"https://www.pbs.org/show/talk-race-america/\">\u003cspan style=\"font-weight: 400\">The Talk: Race in America\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which focuses on law enforcement and how parents of color and particularly Black parents, mixed folks have conversations about law enforcement with their with their children. \u003c/span>And so we got a camera, because from there we thought we’re going to do a family channel and do vlogging. Fast forward to 2018, and the Black Joy Parade comes about. And I’m like, I got this brand new camera, got no shots on it and just take it out. And so I went out there, shot some images, then one grew to two, two and so forth.\u003c/p>\n\u003cp>\u003cb>Pen: \u003c/b>\u003cspan style=\"font-weight: 400\">I imagine that given your identity as a Black man, your partner’s identity as a Latina woman, you’re both Muslim. I imagine you have a lot to talk about with your son. How do you address everything? All of it? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Amir:\u003c/b> \u003cspan style=\"font-weight: 400\">We try to keep it real as much as possible.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen: \u003c/b>\u003cspan style=\"font-weight: 400\">Gotcha. Does he understand what’s going on currently? With addressing police brutality and–. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Amir: \u003c/b> \u003cspan style=\"font-weight: 400\">Absolutely. For an eight-year-old, he’s very, very much in tune with what’s going on. Cause, I mean, this the work that we do in general just kind of is privy to that, even as far as police brutality… \u003c/span>\u003cspan style=\"font-weight: 400\">Our family we’re dealing with a very personal kind of tragedy. On June 2nd in Vallejo, a young man named Sean Monterrosa was killed by law enforcement. And so my wife, Nancy, was his mentor for almost three years. So when he was murdered, it really hit my family hard and we still are dealing with that. So he knows about what’s going on. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13884190\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13884190 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n-800x530.jpg\" alt=\"A throwback photo of Amir Abdul-Shakur, Nancy Abdul-Shakur and their son, Zaire.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A throwback photo of Amir Abdul-Shakur, Nancy Abdul-Shakur and their son, Zaire. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Amir: \u003c/b>\u003cspan style=\"font-weight: 400\"> This is this is a very difficult time to be Black and to be a parent. It’s a very scary time, it’s a very troubling time, it’s a very revolutionary time. Yeah. I can’t really describe anything like it, to be in a pandemic and then a racial pandemic. And then to have these conversations and to be you know, in the house cooped up and just trying to make sense of it. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Instagram page curated Amir Abdul-Shakur, aka \u003ca href=\"https://www.instagram.com/amirthephotographer/\" target=\"_blank\" rel=\"noopener noreferrer\">Amir The Photographer\u003c/a>, looks like a community yearbook. His shots are mostly portraits of Black folks in Oakland, and show each individual in their own radiant light.\u003c/p>\n\u003cp>His images, some of protests and others of parties, all seem to have an underlying joyous sentiment.\u003c/p>\n\u003cfigure id=\"attachment_13884147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884147\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/image_from_ios-800x800.jpg\" alt=\"Photographer Amir Abdul-Shakur\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/image_from_ios-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/image_from_ios-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/image_from_ios-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/image_from_ios.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Amir Abdul-Shakur \u003ccite>(Nancy Abdul-Shakur)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One image that caught my eye earlier this summer was a shot of Fitness owner \u003ca href=\"https://www.instagram.com/p/CB7SPA9h7cC/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Joli Zahra Drevitch.\u003c/a> The framing, the lighting, the strength in the posture of the subject– it all gave me a sense of joy.\u003c/p>\n\u003cp>After talking to Amir about the intended purpose of his photos, it seems like he’s meeting his intentions: highlighting Black joy.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC7672608757&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Amir Abdul-Shakur.\u003c/strong>\u003c/p>\n\u003cp>\u003cb>Amir: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. My thesis is to try to paint us in a beautiful light. it’s always been about elevating Black people and showing the beauty and, unfortunately, humanizing us.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen:\u003c/b> \u003cspan style=\"font-weight: 400\">Was there a moment, was there something that pushed you over the top? You’re like, yo, I got to start doing this right now?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Amir: \u003c/b>Around \u003cspan style=\"font-weight: 400\">2016 or 2017 my family was a part of a PBS documentary called \u003c/span>\u003ca href=\"https://www.pbs.org/show/talk-race-america/\">\u003cspan style=\"font-weight: 400\">The Talk: Race in America\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which focuses on law enforcement and how parents of color and particularly Black parents, mixed folks have conversations about law enforcement with their with their children. \u003c/span>And so we got a camera, because from there we thought we’re going to do a family channel and do vlogging. Fast forward to 2018, and the Black Joy Parade comes about. And I’m like, I got this brand new camera, got no shots on it and just take it out. And so I went out there, shot some images, then one grew to two, two and so forth.\u003c/p>\n\u003cp>\u003cb>Pen: \u003c/b>\u003cspan style=\"font-weight: 400\">I imagine that given your identity as a Black man, your partner’s identity as a Latina woman, you’re both Muslim. I imagine you have a lot to talk about with your son. How do you address everything? All of it? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Amir:\u003c/b> \u003cspan style=\"font-weight: 400\">We try to keep it real as much as possible.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen: \u003c/b>\u003cspan style=\"font-weight: 400\">Gotcha. Does he understand what’s going on currently? With addressing police brutality and–. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Amir: \u003c/b> \u003cspan style=\"font-weight: 400\">Absolutely. For an eight-year-old, he’s very, very much in tune with what’s going on. Cause, I mean, this the work that we do in general just kind of is privy to that, even as far as police brutality… \u003c/span>\u003cspan style=\"font-weight: 400\">Our family we’re dealing with a very personal kind of tragedy. On June 2nd in Vallejo, a young man named Sean Monterrosa was killed by law enforcement. And so my wife, Nancy, was his mentor for almost three years. So when he was murdered, it really hit my family hard and we still are dealing with that. So he knows about what’s going on. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13884190\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13884190 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n-800x530.jpg\" alt=\"A throwback photo of Amir Abdul-Shakur, Nancy Abdul-Shakur and their son, Zaire.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/95056049_152005526335795_6898500916941249726_n.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A throwback photo of Amir Abdul-Shakur, Nancy Abdul-Shakur and their son, Zaire. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Amir: \u003c/b>\u003cspan style=\"font-weight: 400\"> This is this is a very difficult time to be Black and to be a parent. It’s a very scary time, it’s a very troubling time, it’s a very revolutionary time. Yeah. I can’t really describe anything like it, to be in a pandemic and then a racial pandemic. And then to have these conversations and to be you know, in the house cooped up and just trying to make sense of it. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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